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86-646: Also known as ' tsotsi taal ' or 'township talk', scamto is a youth language that has formed in South Africa at 1990s. Spoken usually only by the youth, scamto comprises a mix of many languages. Some of the languages include Afrikaans , Sotho , Zulu , English and Xhosa . South Africa's large cultural melting pot is the cause of this informal language, because with every new day South Africans are finding different ways in which to interact with each other on different levels. 2 Scamto Dictionaries have been written and published by author, Lebo Motshegoa. The first book

172-414: A criminal cant , as it had the power of ensuring secrecy when speaking: initially only criminals could understand it. Later, as a prestigious sign of rebellion against the state and its police, and as gangsters were admired by youths who would see in them examples of success, Tsotsitaal became a youth and street language. At the time, it would exceptionally be heard in households, as tradition did not allow

258-461: A crucial role in the genre's emergence and popularization. In the late 1990s and early 2000s, the kwaito industry witnessed swift expansion and escalated rivalry. Zola , Mandoza, Trompies, Mzekezeke, Brown Dash, Mahoota, Spikiri, Mzambiya, Chippa, Msawawa, Mshoza, Thembi Seete, Thandiswa Mazwai, Brickz, TKZee, Unathi, and Brenda Fassie emerged as influential figures in South Africa, shaping

344-575: A crucial role, known for his combination of melodic elements and rhythmic innovation. During the genre's inception, kwaito rapidly gained popularity in South Africa. Musicians such as Mandoza, Arthur Mafokate, and Boom Shaka achieved significant commercial success, earning platinum status and solidifying the genre's position in the South African music scene. During the 1990s and early 2000s, kwaito consistently topped local music charts, reflected in numerous gold and platinum certifications. Kwaito

430-455: A cultural and political force. Kwaito also faced political scrutiny and censorship as outlined by Arthur Mafokate and Boom Shaka's encountered criticism from political and social leaders due to their provocative content. Overall, the rise of kwaito and its impact on South African society demonstrated its significance not only as a musical genre but also as a medium for political expression and social commentary. According to Rudeboy Paul, "Kwaito

516-405: A deeper relationship between South Africa and Jamaican music. African reggae artists like Côte d'Ivoire's Alpha Blondy and South Africa's own Lucky Dube were popular throughout the continent during apartheid, and Alpha helped shed a negative light on the oppressive regime when he compared apartheid to Nazism. Many currently renowned Kwaito musicians grew up listening to Jamaican music, and Stoan,

602-588: A direct descendant of hip hop. Furthermore, many scholars and researchers of the genre, including Gavin Steingo, agree with Mhlambi in that they disclaim the idea that kwaito is purely South African hip hop. Steingo writes in an article titled "South African music after Apartheid: kwaito, the 'party politic,' and the appropriation of gold as a sign of success" that the genre was influenced by both house music and American hip hop, while also drawing on inspiration from ancient African music. Therefore, kwaito cannot be simply

688-672: A distinct genre between the late 1980s and early 1990s, becoming prominent music within the post-apartheid cultural milieu. Schools in the townships were burdened by severe financial limitations and were unable to offer programs such as music classes that might have enriched students' educational experiences. During and shortly after the apartheid era, the South African education system was characterized by severe segregation and inequality. Schools in townships received scant resources and inadequate support in comparison to those in more affluent areas, further constraining educational opportunities for township students. In this context, kwaito emerged as

774-439: A distinct spinoff and subsequently birthed the subgenre, sgubhu (not to be confused with the term or Durban kwaito). Due to its significant influence on the gqom genre, Durban kwaito, is often conflated with or referred to as gqom. Future Kwaito blends traditional kwaito with gqom, drone music , industrial music and traditional house music developed by Stiff Pap in the late 2010s. TKZee’s, "guz" sound exemplified

860-402: A duet with R&B star Keith Sweat . Iyaya, formerly of group Abashante, was known for "taking raw, street sexuality to the stage". Goddess, Venus, Chocolate and Rasta Queen were the four members of the all-female kwaito group Ghetto Luv. They adopted an "in your face" sexual style; the cover of their first album You Ain't Gonna Get None displayed all four members completely naked. During

946-605: A first language. In addition, a post-apartheid evolution has been the adoption of Iscamtho and other tsotsitaals by many female speakers. Especially, many girls in deep Soweto now have Iscamtho as (one of) their native language(s). Iscamtho as a symbol of youth, city-slickness and the multilingualism of the South African democracy (each language is represented in Iscamtho) has become a language proper for both male and female speakers despite some remaining conservative behaviours and considerations towards female speakers. Especially among

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1032-542: A form of "standardization" of tsotsitaals around the norm of Iscamtho might be on its way. This is largely the consequence of the presence of Iscamtho on the radio (through music but also because many national radios are based in Soweto and Johannesburg), on television (in series and entertainment shows) and in the kwaito culture. As a gangster language, Tsotsitaal originally was a male-only language. The same applies to Iscamtho. A female speaker would then be identified as either

1118-484: A formal knowledge of music theory , large spaces to rehearse, and expensive instruments, it was easily accessible to individuals especially in downtrodden communities. Newfound freedom gave South African musicians easier access to international works and a greater ability to freely express themselves. As a result, kwaito has also been known as the expression of this new freedom, and many anti-apartheid chants have been used as lyrics for kwaito songs. Kwaito has been called

1204-452: A fusion of kwaito with hip hop elements, signifying a significant evolution within the genre. It retained the quintessential kwaito rhythm and incoporated augmented 1990s hip hop influences through rap-style vocals. Guz demonstrated how kwaito had evolved over time, integrating elements of hip hop. Guz was noted as having appealed to a wider audience. New Age Kwaito incorporates hip hop with "kwaito classics", samples. It emerged mid-2017 and

1290-406: A gangster language to be used in the house. But it quickly became a symbol of the ethnically, culturally, and linguistically mixed culture of Sophiatown. Tsotsitaal is now a moribund variety in the black townships, as its speakers are mainly above the age of 70. However, it has maintained in slightly different forms as a prison language and among the black communities who are Afrikaans-speaking. From

1376-412: A gangster's girlfriend or a prostitute. For male speakers however, the language quickly acquired a meaning of city-slickness and street-wisdom, and mastering it was the proof that one knew the urban environment well enough to cope and not be threatened. However, as Tsotsitaal became the symbol of the cultural life of Sophiatown (before the area was cleared of its residents in the mid-1950s) it was adopted by

1462-416: A genre that did not necessitate formal music theory, extensive rehearsal space, or costly instruments, thus proving particularly accessible to individuals in these disadvantaged communities. The genre's minimal barriers to entry enabled young people in the townships to engage with music and exercise their creativity, despite the constraints imposed by their educational and economic environments. Key figures in

1548-475: A kwaito compilation CD in the UK called Kwaito—South African Hip Hop ). It would seem that this perceived familiarity is based primarily on the shared characteristic of rhyming in verse. And, though this is not totally invalid, it should be stated that there is a South African version of hip hop in South Africa and it is not (and has even come into conflict with) kwaito." Additionally, it is difficult to define Kwaito as

1634-589: A local television station opened in Orlando West, Soweto. Called SowetoTV, this station uses Iscamtho as one of its main languages, together with English, Zulu and Sotho. A number of programs for the youths are in Iscamtho only, such as Dlalangeringas (which means “Let's speak Iscamtho”). Through the media, and considering the symbolic power of Soweto over black township youths, Iscamtho is influencing young speakers of tsotsitaals in South Africa, and many adopt

1720-400: A man who is committed." In 1994 apartheid ended in South Africa. Kwaito music in South Africa became a symbol of the new generation of youth; furthermore it was not just music, but it stood for a way of life and associated with it was a way of talk, dance, and dress. Kwaito reflects life for the South African youth in the townships, much in the same manner that American hip hop portrays life in

1806-600: A means of addressing the masses and selling products. A combination of the popularity of Kwaito music and the search by transnational marketers for a means of addressing Soweto youth (considered to be popular cultures' trendsetters) has led to the use of Kwaito music as a method for advertising mainstream North American products. Kwaito acts as a reference point for understanding the social situation and cultural norms of Soweto society. Many songs such as Bantwan by Bob Mabena , "whose lyrics marry consumerism and female objectification" or Isigaga by Prophets of Da City which "expresses

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1892-465: A member of Bongo Maffin , explained in an interview just how necessary an outlet this kind of music was: the representations of black people imported into the country during apartheid were singularly negative ones, and Jamaican music was one of the few imported forms that celebrated blackness and gave ghettoized black youth in South Africa something to embrace and identify with. As he describes it, "If we had to look at any other example of black people off

1978-533: A model for Iscamtho, due to the cultural prestige of Sophiatown. But the youth abandoned it in the 1970s, when Afrikaans came to be no more associated with the power of the state, as it had been so far, but was recognized as the language of apartheid and oppression (especially after the 1976 Soweto Uprising). Iscamtho then became the one youth language in Soweto. A number of Afrikaans terms from Tsotsitaal have maintained in Iscamtho (such as niks , vandag , goed , maat ,"daso", "darr", vrou , vriendin , mooi ). Also,

2064-453: A novel form of agency for self-representation in post-apartheid South Africa. A CNN article considered Boom Shaka alongside TKZee the most influential kwaito groups in South African music. Boom Shaka's music gained popularity not only in South Africa but throughout Africa. The group's music represented the voice of young people who were often neglected by governments in post-colonial Africa Durban Kwaito (also kwaito house or Durban house)

2150-474: A number of women. But only the most independent and self-affirmed women would then become Tsotsitaal-speakers. Due to the importance of gangsterism in Soweto over about four decades and due to the large numbers of Sowetan youths who experienced prison for criminal or political activities in the last two decades of apartheid, the status of Iscamtho changed: from a street language, it became the main language of most youths, started to be spoken within households among

2236-525: A picture we had of us as an out of body experience. Yeah, so I think you'll find that a lot of people, you know, have been touched by the culture, in South Africa, within 10 years." Kwaito is more than just a music genre. A CNN article described kwaito as a whole subculture with a swirl of irresistible dance beats. According to Sonjah Stanley-Niaah in her article "Mapping Black Atlantic Performance Geographies: From Slave Ship to Ghetto," dancing has given kwaito increased appeal. In South Africa, beginning in

2322-581: A related or new context. M'du Masilela - a pioneering kwaito artist, said, "When house music got popular, people from the ghetto called it Kwaito after the Afrikaans slang word kwai [ sic ], meaning those house tracks were hot, that they were kicking." An Isicamtho word derived from the Afrikaans word kwaai is amakwaitosi , which means gangster . Arthur Mafokate described the relationship between kwaito and gangsterism as music revolving around ghetto life. Kwaito evolved and emerged in South Africa as

2408-574: A representation of success and wealth. Today, kwaito music using tsotsitaal and more especially Iscamtho can be heard on national radio stations such as YFM (for Youth FM). Some prominent artists such as Zola7 speak Iscamtho when they appear in the media (Zola7 especially has its own regular TV show). Iscamtho is also used in advertisement, for all products which aim at the youths. Finally, Iscamtho has spread on television, through youth programs such as series (especially Yizo Yizo ), soapies ( Rhythm City or Generations ) and entertainment shows. From 2007,

2494-462: A slower tempo range than other styles of house music and often contain catchy melodic and percussive loop samples, deep bass lines and vocals. They are also very similar tempos to early 1990s NYC house tracks. The word kwaito originates from the South African slang "kwaai," which conveys the meaning of "cool" or "bad" in a positive context. The term "kwaai" itself is rooted in Afrikaans, where it initially signified "angry" or "fierce." However, within

2580-424: A type of South African hip hop, as there is an actual emergent hip-hop scene. As kwaito, for the most part, remains apolitical, the hip hop scene, although less popular, generates a more political and gangster-esque style. This difference is described by the South African hip hop group Godessa, "Hip-hop is universal. We were excluded from Kwaito because we cannot understand it. To us, music is not just about dancing, it

2666-405: A window into the everyday life of South Africans by building on traditional dance styles from the region. New dance style had also led to discussion over gender relations. Pantsula is a male-dominated dance that came about in the 1980s representing the lower class culture. The dance includes synchronized movements by large groups of male dancers. "Mapantsula" is the title of a 1988 film describing

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2752-706: Is a platform that serves to drive thoughts, ideas, gives kids from the township a voice in which to speak on what their concerns are, social ills happening around them, the fact that they can't find jobs out there, HIV and AIDS awareness as well." Kwaito's considered innovative use of local languages, played a key role in shaping a new cultural identity for South Africans. The genre had a significant impact on South African fashion and lifestyle, closely tied to urban youth culture. It inspired styles and trends, such as casual streetwear and eclectic fashion choices. Beyond South Africa, kwaito garnered international attention. Kwaito has received criticism. The kwaito music industry

2838-480: Is a variant of kwaito that emerged in Durban between the 1990s and early 2000s. It originated before it had an official name and was influenced by more diverse house music styles than traditional kwaito. Durban kwaito began to take shape driven by a new wave of artists and producers preponderantly from Durban who infused traditional kwaito sounds with local drum rhythms and progressive production techniques. Key figures in

2924-522: Is a vehicle for us to speak to the masses." Similarly, hip hop is gaining popularity in Johannesburg, kwaito's stomping ground, and its emergence is fostering a rivalry of sorts, further separating the two genres. As Kwaito is more of a mixture of hip hop, disco, and house, the hip hop scene mirrors a more American style of hip-hop. Regardless of criticism, kwaito music now plays an important and prominent role in South African youth culture. Kwaito

3010-448: Is attributed to Kwesta , Riky Rick , Spoek Mathambo , Okmalumkoolkat , Cassper Nyovest and K.O . Skhanda Rap blends elements of traditional kwaito with rapping . Skhanda rap began to take shape in the mid- 2010s. Artists include K.O, Ma-E , Maggz, Kid X and Moozlie . The album, Skhanda Republic , was pivotal in defining skhanda rap. Kwai-jazz (also kwaai jazz), is kwaito with jazz integrated elements developed by Don Laka in

3096-484: Is characterized by a slow tempo. The genre is distinguished by its prominent, synthesized bass lines and songs often features a funky, melodic quality. The drum patterns in kwaito are influenced by house music however are executed with a more relaxed approach. The genre prominently features drum machines and electronic percussion . Production techniques in kwaito frequently involve sampling from traditional South African music, hip hop, and disco. The influence of Zulu music

3182-472: Is not or cannot be a voice of reason, intelligence, love or even respect among its speakers. This then, may just be the reason as to why the language is being unrecognized by many communities and institutions. There is however a very distinct level of respect accompanied by the language that many may not understand. When a fellow tsotsi taal speaker sees and meets another; a very profound sense of respect and belonging can be witnessed. The term "ka" followed by what

3268-442: Is particularly notable, with kwaito often incorporating traditional Zulu musical elements and rhythms. Vocals in kwaito are typically delivered in a conversational or narrative style. Lyrics are performed in various South African languages, such as Zulu, Sotho , and Afrikaans, and explore themes ranging from social and political commentary to personal experiences and celebratory subjects. Sometimes kwaito lyrics are explicit, reflecting

3354-404: Is reflected by Kwaito is in the dancehall nature of its origins and rhythms. It shows the prevalence of the dancehall in the impoverished townships and flat lands and illustrates the importance of the dancehall as a cultural meeting place. South African Kwaito enthusiast Nhlanhla Sibongile Mafu best articulated the balance between social commentary and recreation when he said, "dancing itself becomes

3440-411: Is viewed as a cultural product of the societal norms and historical context of the townships of South Africa. It is both affected by Black South African society and influences the popular culture of Johannesburg, Cape Town, and their surrounding suburbs. Kwaito serves a transmitter of popular fashion, language, and attitude. Kwaito has also been adopted by mainstream advertisers and production companies as

3526-604: Is viewed as male-dominated, especially in management. There are few successful female artists. Lebo Mathosa, who was one of kwaito's most famous female artists and a member of Boom Shaka, noted that it is "difficult because every producer that you meet in our country is male there isn't even one female producer that you could say ok I like that record that is produced by so and so." Others accuse kwaito as being talentless, commercialized and mass-produced, consisting of sexually-driven lyrics and dances. Being male-dominated, kwaito tends to misrepresent women in their lyrics by referencing

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3612-464: The 1950s, people went to shebeens to listen to music, dance, and socialize on the weekends. The dancing girls at the parties, often hosted in houses as opposed to licensed clubs, served as a motivation for men to attend. As kwaito emerged and became the norm of music in the shebeens, its popularity rapidly increased. Boom Shaka, the first kwaito group, was also the first to create and popularize dance moves to accompany kwaito. The dances were said to offer

3698-471: The 1980s. Kwaito, which emerged during South Africa's transition from apartheid, exerted significant political influence. It served as a powerful form of expression and resistance, reflecting the social and political realities of the post-apartheid era. The genre addressed issues such as poverty, inequality, and urban experiences, deeply resonating with the struggles and aspirations of marginalized communities in South Africa. A scholar, Gavin Steingo, examined

3784-578: The African version of hip hop or an imitator. In Thokozani Mhlambi's article "Kwaitofabulous", he points out various European scholars who have disclaimed the authenticity of hip hop as they believe it to undermine the cultural and historical struggles of the South African people because of Kwaito's similarity with American hip hop. Mhlambi, however, disclaims by pointing out that the Black youth of America and South Africa have faced similar oppressive histories by

3870-523: The American ghetto. This type of music seems to be the newly unsilenced voice of the people speaking out freely in their society. Critics have compared Kwaito to other international subgenres such as Jamaica's dancehall and the UK's grime. Dancehall was founded in the 1950s and '60s right when Jamaicans were trying to gain independence from the British. Similarly Kwaito was formed right after the apartheid

3956-521: The Black townships as well as in the Coloured townships, where Afrikaans-speaking populations have their own tsotsitaals. More often than not, when celebrated in the media capacity or space, tsotsi taal speakers are presented in a manner in which the older generations of such a culture would be described; fairly violent, conniving and restless. This kind of media portrayal usually spreads the logic; like all marginalized and unofficial languages; that there

4042-475: The Iscamtho word kasi 'township', itself derived from Afrikaans lokasie ), or simply i-taal 'the language'. However, Iscamtho is quite different from the original Tsotsitaal. It originates in a different criminal argot created in the 1920s by the AmaLaita gang and known as Shalambombo . It is not based on Afrikaans, but on Bantu grammars, mainly Zulu and Sotho. The Zulu-based and Sotho-based varieties are

4128-419: The South African version of hip hop. Also, Steingo writes that a version of hip hop music does already exist in the country, and it is not kwaito: "Because of seemingly obvious parallels between African American youth culture and the new Black South African youth culture, people have been inclined to think of kwaito as South African hip hop, or a South African version of hip hop (In 2000, Sterns/Earthworks released

4214-514: The Spanish island of Ibiza known for its house music and rave scene for two years, 2000 and 2001). The isiZulu term Isgubhu refers to a drum or beat emitting from speakers, that became synonymous with Durban kwaito. Durban kwaito's sound influenced the development of bacardi house and later gqom . The word "gqom", which could be interpreted as "hitting drum" in the Zulu language later evolved into

4300-445: The abolition of apartheid in South Africa in 1994, kwaito, already a popular music form in South Africa, and its artists came to embrace the use of tsotsitaal in lyrical content. Because they are associated with urban thugs and the criminal subculture, tsotsitaals and Iscamtho are seen by many as a South African form of gangsta slang. However, the language is more than a mere slang, and is referred to by its speakers as "our language". With

4386-436: The advent of rising middle-class and elite Blacks in South Africa after apartheid and the significance of gold to the South African history and culture, the attitudes prevalent in kwaito music appropriate gold to notions of success and wealth. Because of their urban nature and form, tsotsitaals came to be emblematic of the attitudes of post-apartheid South African black poor youth that were largely apolitical, concerned mainly with

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4472-621: The album AmaJovi Jovi , which achieved major national success and is acknowledged as the first kwaito album from KwaZulu-Natal . As kwaito attained mainstream prominence in South Africa, collaborations became increasingly prevalent, exemplified by the notable collaborations between South African R&B artists such as Danny K and, Mandoza . Kwaito hits frequently attracted significant media attention. Arthur Mafokate's August 2005 release, "Sika Lekhekhe" (a Zulu expression that translates literally to "cut this cake" and figuratively to "have sex with me") generated considerable controversy. The song

4558-545: The anti-apartheid struggle in South Africa. It was the first anti-apartheid film relating to black South Africans. The homogenization of kwaito with American rap music , due to globalization , was viewed by kwaito artists as a threat to the preservation of their local South African music credibility. Thus, kwaito artists focused on maintaining an emotional link between the customer and brand. Transnational corporations were much less interested in homogenizing or Americanizing kwaito music because true kwaito represented and dictated

4644-451: The body and sexual images. Some kwaito groups like Trompies are using the image of the woman to make a social and political statement. In one of their music videos, there is a beauty contest and the women that win and get all the male attention are all on the heavier side. The group is trying to say that today's perception and definition of beauty does not have to adhere to other cultures' societal standards. Furthermore, more women are entering

4730-567: The community of speakers are added. It is a permanent work of language-mix, language-switch, and terms-coining . The tsotsitaal phenomenon originates with one variety known as Flaaitaal or Flytaal, and then Tsotsitaal, which became popular under this latter name in the freehold township of Sophiatown , west of Johannesburg , in the 1940s and 1950s. Tsotsitaal, the original variety, is based on Afrikaans, in which were originally added SeTswana terms, and later terms from IsiXhosa , IsiZulu and other South African languages. Tsotsitaal spread first as

4816-423: The continent who have found their essence, it's Jamaicans. For us, for South Africans after the curtain was lifted, after we could see other things besides what was presented to us on television which was blacksploitation [sic.] movies and stuff like that, buffoons, you know the picture of us. Any other picture of a successful black man was him behaving like a caricature of himself. Jamaicans brought another element to

4902-437: The country's culture, language, and economy in ways that were unattainable during the era of government-imposed segregation under apartheid. TS, Ghetto Ruff, Kalawa Jazmee, Afrotainment and Bulldogs were the leading recording companies responsible for discovering kwaito artists. The South African talent show Jam Alley provided a significant platform for many emerging kwaito musicians, such as Mandoza, Mzambiya, and Zola. Kwaito

4988-505: The development of Durban kwaito include DJ Fisherman, Durban's Finest ( DJ Tira and DJ Sox), Sandy B, DJ Tira, Big Nuz , L'vovo, DJ Cleo , Danger, Shana, Professor , Character, Tzozo, Sox, Zakes Bantwini , DJ Siyanda, NaakMusiQ , Unathi, DJ Cndo and DJ Bongz who were instrumental in popularizing the Durban kwaito sound, characterized by its incorporation of faster tempos, tribal house , deep house , electro and regional influences (such as associated musicians like DJ Tira who performed on

5074-546: The early kwaito scene included Mdu Masilela (M'du), Mandla Mofokeng (Spikiri), Arthur Mafokate, Sandy B and groups such as MM Deluxe (M'du Masilela, Spikiri), Boom Shaka ( Lebo Mathosa , Theo Nhlengethwa, Thembi Seete ), Trompies (Spikiri, Mahoota, Donald Duck, Jakarumba, Mjokes), B.O.P, TKZee (Tokollo Tshabalala, Kabelo Mabalane , Zwai Bala ) and Bongo Maffin (Stone Seate, Jah Seed, Speedy, and Thandiswa Mazwai ) whose contributions were instrumental in shaping both its musical and cultural identity. Kwaito did not require

5160-537: The educational system are an important issue in Soweto: children considered by the authorities as being Zulu- or Sotho-speakers are educated in those languages. But the languages used at school are the standard ones. As a result, many pupils face comprehension problems, as they don't really know those rural standards. Some can miss up to 30% of the information which they receive. And teachers are so far not allowed to use Iscamtho, although many of them do it informally. Also,

5246-435: The emergence of the kwaito, Boom Shaka emerged as a voice for young women and a symbol of empowerment. They used sexuality as an expression and celebration of black female bodies and the natural female sexual desires. Boom Shaka engaged in political activism by advocating for women's voices through their recording of a new South African anthem that emphasized women's capacity to effect societal change. Kwaito provided women with

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5332-526: The framework of South African youth culture, its connotation had shifted to represent something fashionable or noteworthy. Kwaito led a post-Apartheid township subculture into the mainstream despite the fact that the Afrikaans language is associated with the apartheid regime and racial oppression, Afrikaans words are often drawn into the Sabela and Tsotsitaal and Camtho vocabularies, reshaped and used in

5418-511: The genre’s engagement with real-life issues and experiences. Additionally, the use of Tsotsi Taal adds a layer of linguistic richness. Producers who played a major role in the genre's evolution include M'du, Arthur Mafokate, Spikiri, Don Laka , Sandy B, Oskido, Rudeboy Paul, Dope, Sanza and Sello Chicco Twala . Spikiri, refined kwaito’s signature sound by incorporating distinctive rhythms and local musical elements. Sello Chicco Twala, mentored several kwaito artists. Mdu Masilela also played

5504-413: The group Boom Shaka , and later became a solo artist despite (or perhaps because of) being sometimes called South Africa's "wild child" because of her sexually explicit lyrics and dance moves, she gained widespread popularity, and performed at Nelson Mandela 's 85th birthday celebration. Lebo Mathosa had performed alongside American superstar performers Will Smith and Missy Elliott and had also recorded

5590-399: The issue of language in the judicial system suffers from the non-recognition of Iscamtho. South African citizens have the right to be tried in their language, but dispositions are only provided for the 11 official languages of the country. As a consequence, first-language Iscamtho-speakers face inequalities compared to the rest of the population, as they might be tried in a language which is not

5676-453: The kwaito music scene like artist Lesego Bile. She has claimed she enjoys the challenge of entered a male dominated music genre and uses her struggles from her past to help her stay true. She refuses to never exploit her body and dance sexually to please the crowd, like other female artists. She plans on making a strong statement for female artists, while commenting on social issues. Kwaito has also been criticized in that it has been labeled as

5762-480: The material which forms their vocabulary. But since the seventies and for political reasons, the use of Afrikaans as a matrix has been excluded in Iscamtho. Due to the popularity of Soweto among Black South African youth, and due also to the importance of Soweto-based artists in the foremost post-apartheid culture, kwaito , Iscamtho has been spreading to other township youths in the country, and different tsotsitaals have been enriched with typically Iscamtho material. Thus

5848-549: The most diverse linguistic setting in the country. It was originally known as Iscamtho or Isicamtho (from Zulu, it is a combination of the class 7 prefix isi- here representing language — see Noun classes in Zulu ; with a derivation of ukuqamunda [uk’u!amunda], meaning 'to talk volubly'), but it is now more often referred to as Ringas (from English ringers , as in people forming a ring to chat). Other alternative names are Isitsoti or Setsotsi ('the tsotsi language' in Zulu or Sotho), Sekasi (the township language, from

5934-509: The most widespread in Soweto, but one can actually build Iscamtho over any grammar of the South African Bantu languages, such as Xhosa, Tsonga, Tswana, Venda and others. But as Zulu is the dominant language in Soweto, and as Sotho in Soweto often unifies Sesotho, Setswana and Sepedi in one single variety and is the second most popular language in the township, Iscamtho is more often used "in" Zulu or "in" Sotho. Tsotsitaal has been

6020-778: The music that defines the generation who came of age after apartheid. A notable kwaito track titled "Kaffir" by Arthur Mafokate exemplified the freedom of expression that emerged with South Africa's political liberation. In the early 1990s, house music made its way to Cape Town through raves such as the World Peace Party and in iconic venues like Club Eden , followed by Euphoria and DV8. Concurrently, house music also began to influence Durban 's nightlife scene. This musical movement then spread northward, gaining prominence in Johannesburg clubs like 4th World. Durban also made significant contributions. In 1994, Sandy B released

6106-444: The one they master best. On the contrary, when trying to use “their” language at court, they rarely have the opportunity to be supported by a translator who can understand this language, as translators are recruited for their competence in one or more of the 11 official languages. One should consider that what occurs with native Iscamtho-speaking communities can also be applied to other tsotsitaal speaking communities in South Africa, in

6192-406: The original Tsotsitaal, the noun tsotsitaal came to refer to any gang or street language in South Africa. However, the specific variety behind the term would depend on the languages actually present in the specific urban environment were one tsotsitaal appears. The most important tsotsitaal nowadays in South Africa is the one from the township of Soweto , the largest township and the place which shows

6278-443: The political dimensions of kwaito and analyzed how the genre functioned as a vehicle for political commentary and social critique, arguing that its development and reception mirrored broader shifts in South African society, including changes in political consciousness and identity. Steingo’s research highlighted how kwaito's lyrics and performances frequently engaged with themes of empowerment and resistance, underscoring its role as both

6364-442: The same negative and misogynistic attitudes.". Kwaito also addresses the oppression of black people and the context of colonialism in which they still live. Songs such as Arthur Mafokate's song 'Kaffir' addresses the prevalence of direct racism and Zola's song Mblwembe (problem child) reflects the prevalence of crime in the townships serve as a means of social dialogue. A third way in which a specific aspect black South African Society

6450-404: The site for a radical rejection of the traditional struggle lyrics in favour of the liberation of pleasure, while at the same time attempting to use the language of the street to grapple with and articulate the present reality for the man and woman in the streets of the ghetto". It is said that " ...a repressive society would result in a creative art...it is an ingredient, it acts as a catalyst to

6536-460: The taste of Tsotsitaal-speakers for word transformation, language-mixing and word creation has been transmitted to Iscamtho speakers. Thus, linguistic creativity is the main characteristic of the speakers of the Sowetan language. And although it has different varieties, Iscamtho carries a single identity for all of its speakers, who recognize it as one variety, whatever form it takes. This is due to

6622-533: The way the language operates: from one grammar which serves as a matrix, the speaker adds words from other languages (including English, Afrikaans, and different Bantu languages) or typically Iscamtho words. One can also create words by modifying existing ones or by coining completely new terms. Thus, Iscamtho and other tsotsitaals experience continuous evolution. Sometimes, new terms made famous by prominent artists can spread extremely quickly and replace older terms. Iscamtho and Tsotsitaal are very similar in form and in

6708-492: The western world would normally call a fist bump was traditionally a shortened versioned term for "kasi" meaning township - a proud expression indicating where one was from - the townships. Kwaito Kwaito is a music genre that emerged in Soweto , Johannesburg , South Africa, between the late 1980s and 1990s. It is a variant of house music that features the use of African sounds and samples . Kwaito songs occur at

6794-414: The white population, and thus makes sense to have its music similar as well. He also points out that the criticism from onlookers from other cultures do not realize how both kwaito and hip hop require performances and music making to be a group process and thus requires collaboration. He believes kwaito and hip hop to have many similarities due to both genre's origins; however, he does not believe kwaito to be

6880-550: The words or expressions they discover on television or in kwaito. Thus, Iscamtho directly influences and reshapes local tsotsitaals. Nowadays in Soweto, possibly up to 500,000 youths speak Iscamtho as their main language or one of their main languages. Some of them have learnt it from birth, and master Iscamtho better than any other language. As the South African Constitution provides for everyone to be educated in his/her native language, linguistic problems in

6966-485: The younger lesbian community. Iscamtho is often used as a strong identity marker, and many young lesbians appreciate it and use it as their main language. Iscamtho has also become a language used in exchanges with older people, who previously would have been offended to be addressed to in the tsotsi language. But as native speakers of Iscamtho refuse to be discriminated against, they often impose their language in exchanges, and consider it as respectful as any other. After

7052-450: The youths, and then between the youths and adults. In the course of the 1980s for the latest, Iscamtho reached the status of mother language for thousands of Sowetan youths, meaning that children learnt Iscamtho in the cradle from their parents along with their family's other languages. Today, the distinction between Iscamtho and urban Zulu or urban Sotho in Soweto tends to be thinner as hundreds of thousands of youths actually speak Iscamtho as

7138-516: Was banned by the South African Broadcasting Corporation ( SABC ) radio station, and Mafokate was required to reshoot the song's music video in response to viewer complaints regarding its sexually suggestive content. Similarly, Boom Shaka encountered substantial criticism from the political establishment for their interpretation of the national anthem with a kwaito beat. Although Johannesburg-based artists played

7224-535: Was initially a largely male-dominated music genre, in regards to the artists as well as the management. However, there were a number of female artists that managed to become quite successful. Brenda Fassie , a South African pop superstar, quickly adopted a kwaito style as it surged to popularity in the 1990s. According to Time , she was known both for her diva attitude and scandals involving sex and drugs, but also for lyrics that dealt with complex issues of African culture and life. Lebo Mathosa rose to fame as part of

7310-431: Was lifted in South Africa, both by young members of the lower class. Additionally both have "taken cues from the trends of new governments that supposedly gave rise to the advancement of personal wealth, and glamorized lifestyles." They also share a number of themes in common including commentary on violence and crime, AIDS awareness, and women's safety. The commonalities between dancehall and Kwaito are in fact rooted in

7396-457: Was published in 2002 under a title, Scamto Dictionary. The second offering was published in 2005, titled, Township Talk. This language-related article is a stub . You can help Misplaced Pages by expanding it . This South Africa-related article is a stub . You can help Misplaced Pages by expanding it . Tsotsitaal A tsotsitaal is built over the grammar of one or several languages, in which terms from other languages or specific terms created by

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