How to dance kwaito
kwaito dance moves sa | TikTok SearchTikTok
south Africans will know #kwaitomusic #pretoria #dancestyles #southafricatiktok
TikTok video from Kay-Bee🦋 (@goldensnow_kay): "south Africans will know #kwaitomusic #pretoria #dancestyles #southafricatiktok". old dance moves. Original Sound.
Original Sound - Unknown
Only in South Africa, let's do a dance challenge with your creates #kwaito #kasi #foryourpage #foryou #phenyocools #southafrica #dancechallenge
14. 4K Likes, 167 Comments. TikTok video from PhenyoCools (@phenyocools): "Only in South Africa, let's do a dance challenge with your creates #kwaito #kasi #foryourpage #foryou #phenyocools #southafrica #dancechallenge". Only in South Africa | Have you seen these guys before? . Shay'mpempe amapiano mix.
Shay'mpempe amapiano mix - Muzzy D Pilot
We Love Dancing, PANTSULA FOR LIFE #dance #dancers #dancersoftiktok #dancerlife #mzansi #southafricatiktok #southafrican #proudlysouthafrican #kwaito #trompies #pantsula
TikTok video from Lakhe (@its_lakhe91): "We Love Dancing, PANTSULA FOR LIFE #dance #dancers #dancersoftiktok #dancerlife #mzansi #southafricatiktok #southafrican #proudlysouthafrican #kwaito #trompies #pantsula". PANTSULA FOR LIFE🇿🇦. original sound.
original sound - Lakhe
Y’all still remember these moves #fypシ #mugwantiwapitori #kwaitodance #dancemoves🔥
TikTok video from Thabo (@uncle_t._): "Y’all still remember these moves #fypシ #mugwantiwapitori #kwaitodance #dancemoves🔥". Who still remembers these moves. Mugwanti / Sgwejegweje.
Mugwanti / Sgwejegweje - DJ Mujava
#kwaitodancechallenge Big Vibes 🤩🥳🔥🔥@fathermoh_official Visuals By @kasunje #fyp #kenrichmwanza #foryou #goviral #fypシ
2. 8K Likes, 128 Comments. TikTok video from Kenrich Mwanza (@kenrich_lamar): "#kwaitodancechallenge Big Vibes 🤩🥳🔥🔥@fathermoh_official Visuals By @kasunje #fyp #kenrichmwanza #foryou #goviral #fypシ". Kwaito.
Kwaito - Fathermoh
KWAITO DANCE 💥dc:🙋 #KwaitoDance #beingceb
2.4K Likes, 62 Comments. TikTok video from 👑Being Ceb👑 (@beingceb): "KWAITO DANCE 💥dc:🙋 #KwaitoDance #beingceb". NewChallengeAlert 🚨🚨 . original sound.
original sound - 👑Being Ceb👑
Ruben_Ruby Original Damara🤩
Fire burning on the mountain ⛰️ 🔥 Remember to take it easy🧠. Stay blessed 🙌 😇 #easy #moves #southwestafrica #dance #kwaito #amapiano
TikTok video from Ruben_Ruby Original Damara🤩 (@ruben_ruby911): "Fire burning on the mountain ⛰️ 🔥 Remember to take it easy🧠. Stay blessed 🙌 😇 #easy #moves #southwestafrica #dance #kwaito #amapiano". Boomerang.
Boomerang - Mdu a.k.a TRP & Bongza
#brown #boys can #dance to #kwaito #moves #tiktok_sa #da_crazylegz #alterdspicesquad #tiktoksa #freestyle #amapiano #afro #mzansi #tiktoksouthafrica
208 Likes, 21 Comments. TikTok video from Crazylegz (@da_crazylegz): "#brown #boys can #dance to #kwaito #moves #tiktok_sa #da_crazylegz #alterdspicesquad #tiktoksa #freestyle #amapiano #afro #mzansi #tiktoksouthafrica". VOROSO.
VOROSO - Jashmir
Kwaito | African Music and Dance Wiki
Kwaito Band Bongo Maffin
Kwaito is a style of music that originated around Soweto, South Africa in the early 1990s. It has been described as an "urban soup" of South African jazz and township pop, mixed with Western house and rap. It is also influenced by mbaqanga, dancehall, and disco music and carries a "four to the floor" disco/house beat. It draws musical influence from the U.S. and Europe, but also from local roots which can for example be heard in the use of synthesized marimba and in the use of Izibongo praise poetry. (1)
"It came from house, but we needed to put an African feel into it, so we added our own melodies, congas and basslines," said DJ and producer Oscar waRona. (3)
The lyrics are sung mostly in "Tsotsitaal" which is a mix of English, Zulu, Xhosa, Afrikaans and street slang spoken in the townships. (1)
"Here in Joburg we have such an integral culture. We can mix languages and still get a general gist of what someone's trying to say. We call it totsi taal." - Unathi Nkayi, YFM radio DJ and Kwaito performer (2)
Kwaito lyrics are often shouted, blabbered, and/or chanted. Most of the songs feature a call and response. The call is typically performed by males and the response by females.
The first Kwaito smash hit was Arthur Mafokate's 1993 song "Kaffir" which protested against the use of the racial slur against black South Africans. Mafokate has been called the "king of Kwaito" by local media. (3)
Kwaito has become a cultural phenomenon in South Africa. It's style is distinctive and one in which dress, appearance, language, ritual occasions, and styles of music form a unity which then defines the group's public identity. (4)
The floppy hat (Spotti) and canvas all-star sneakers have become a fashion staple for the Kwaito generation. The spotti was first worn during cricket games, which were historically played by the white-elite ruling class. Using the spotti as a symbol of Kwaito culture, mocks the previous ruling class. (4)
Kwaito is a musical genre that originated in the slums outside of Johannesburg, towards the end of the apartheid. This leads to the connotation that Kwaito is "ghetto music". It is almost impossible to separate Kwaito music from the political history of South Africa. Although many of the Kwaito artists are considered "bad boys" and "thugs", this can be seen as an overgeneralization. For instance, the famous Kwaito artist Zola, was appointed as the Goodwill Ambassador for UNICEF in 2006. Zola took his stage name from the area of Soweto where he grew up. But by taking the Zola name he is making the point that he comes from there, but he is also different. (5)
In 1998, the year South Africa participated in its first Soccer World Cup (6), Kwaito group TKZee's single "SHIBOBO" (meaning to shoot or dribble between someone's legs) became an instant hit selling over 100,000 copies. At the Soccer World Cup in France that year during a match against Denmark, South Africa scored its first ever World Cup goal. Incidentally, the type of goal made was a "shibobo," between the legs of the goalkeeper. (7)
Some of the most well known and popular Kwaito artists are: Arthur Mafokate, Zola, Brickz, Trompies, Bongo Maffin, BoomShaka
1. Mhlambi, Thokozani. "'Kwaitofabulous': The study of a South African urban genre." Journal of the Musical Arts in Africa, vol 1 (2004)
4. Swartz, Sharlene. "Is Kwaito South African Hip Hop?" The Youth Institute. 14 May (2003)
5. Lynskey, Dorian. "I saw blood on the street" Guardian. 16 March (2006).
6. "Soccer World Cup - History." http://www.cup2010.info/history/SoccerWorldCup_history.html
7. "TKZee: South Africa." http://www.music.org.za/Artist.asp?ID=120
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guide to contemporary African music
In recent years, African music has experienced an unprecedented rise. The number of performers from South Africa, Mali, Senegal, Congo and other African countries at major European festivals is growing every year, and some of them even get into the European and American charts.
The rise of the music industry in Africa was largely driven by accessible technology. Previously, to record a track, a studio was required, for which African musicians most often did not have the money to rent. And getting into the world clip was impossible without a local representation of a big label or at least a visiting scout. Now a laptop and a couple of controllers are enough for recording. The whole process can be organized in the bedroom or even outdoors: there would be electricity. And in order to bring the song to millions of listeners, a video on YouTube is enough.
Today's African music grows from two roots:
- national - musicians carefully monitor the preservation of identity: language, instruments, traditional rhythmic patterns or harmonies;
- modern technological - electronic arrangements and orientation to the club scene.
African music has integrated into the global musical space and has built ideal relationships with global trends – it does not ignore them, but in no case adapts to them, as if saying “we have something to say even without you”. In order to understand what the music of modern Africa is, we have compiled a short guide to the most important genres and scenes.
Until December 15, the Present Time website will release the series "Fonko" every Friday about the musical revolution of the African continent.
The genre originated at the beginning of the 20th century in the British colony of the Gold Coast (now Ghana) and is a synthesis of the traditional music of the Akan people with the European sound of brass bands, foxtrot, rumba and calypso - music that came to Africa along with the soldiers of the British armies of West Indian origin.
Highlife is performed by large ensembles consisting mainly of Western instruments, primarily guitars and brass. The rhythmic pattern "three beats - two beats", which is tapped out by clave sticks, is very reminiscent of Cuban, but at the same time similar to the original African. However, the rhythmic patterns of African and Caribbean music have so much in common that these rhythms have been collectively called "Afro-Caribbean". Highlife is associated primarily with the African colonial aristocracy, from which it got its name, but it reached its peak of popularity after the independence of Ghana in the 60s.
Originated at the turn of the 1960s and 1970s, it is a synthesis of highlife and fuji (Nigerian music that evolved from Muslim morning songs "vere") with funk, jazz and rock.
The Nigerian composer and multi-instrumentalist Fela Kuti was the creator and main promoter of Afrobeat. He coined the term back in 1968, and at first Afrobeat was just a local version of American music. However, after a trip to the United States and communication with African-American musicians and politicians, Fela Kuti began to pay more attention to African roots.
Afrobeat was not only popular far beyond Africa, but also had a great influence on European and American musicians. Among the longtime fans of Afrobeat (and African music in general), for example, the leader of Blur Damon Albarn (Damon Albarn). In his project The Good, The Bad And The Queen, Nigerian drummer Tony Allen, a longtime collaborator of Fel Kuti, constantly plays.
This music is popular in Senegal and the Gambia and originated in the 1970s as a synthesis of the religious music of the Serer people with jazz, rock and Latin American genres such as rumba.
Like most African styles, mbalax is dance music, and the central element here is percussion and the sabar drum, traditional for this region. However, in relation to other African genres, mbalax sounds downright lyrical. It often has singsong, lingering vocals, and the "progressively" distinct dance groove is combined not only with intricate rhythmic patterns, but also with the most complex instrumental parts.
The main promoter of the genre in Europe was the singer Youssou N'Dour, whom we know primarily from the ballad "7 Seconds". Today, N'Dour is also the face of the Senegalese political opposition. Despite being denied registration as a presidential candidate in 2012, N'Dour was able to secure the post of minister of culture and became a presidential adviser.
The South African variety of house is distinguished by a relatively slow pace, deep bass, active use of African percussion, as well as vocals or vocal samples.
Kwaito originated in the mid-1990s in Soweto, a group of settlements on the outskirts of Johannesburg that was a forced African population during apartheid. The genre has occupied about the same social niche in South Africa as gangster rap in the US: it is apolitical music, surrounded by a criminal veil and promoting a beautiful life (the term itself comes from the word "kwaai", which in Afrikaans slang means something like "cool" or "handsome").
Hip Hop Galsen
Senegal and its capital Dakar is the center of African hip-hop. Rappers here are often called modern griots - this is how the West African peoples called a separate caste of professional singers, musicians and storytellers. The genre has been popular here since the mid-80s, and this popularity was strengthened by the worldwide success of MC Solaar, a French rapper with Senegalese and Chadian roots.
In the 1990s, Senegalese hip hop began to take on its own identity, incorporating elements of the culture of the Wolof people, not only musically, but also linguistically. One of the main features of galsen hip-hop is the lyrics in a mixture of French and Wolof and the alternation of singing with recitative.
A hybrid of club electronics and traditional Tsonga music originating in South Africa in the early 2000s.
Shangaan electro is characterized by a very fast tempo (170 beats per minute or more) and complex percussion patterns performed by marimba and African "talking drums". The genre is closely associated with a set of specific dance moves and, like Chicago footwork, has spawned an entire subculture. At first, this music developed in the deep underground and was distributed in the form of self-published CDRs and cassettes, but then the Honest Jon's label, created on the basis of the London record shop of the same name with the support of Damon Albarn, took up the popularization of the genre. Since then shangaan electro has been taken up by many DJs and electronic musicians from The Knife and Hype Williams to Legowelt and Ricardo Villalobos.
This collective term (not to be confused with Afrobeat without the "s") refers to a mix of hip hop, dancehall and R&B popular in West Africa, primarily in Nigeria and Ghana, with highlife and juju (Nigerian popular music of the middle of the last century, where the rhythmic pattern of "talking drums" plays a leading role).
Since the stylistic scope of this genre is very wide, belonging to the scene is determined not so much by the sound as by the West African registration. The appearance of the term is attributed to the London DJ Abrantee, and the rise of Afrobeats occurred at the time of the opening of the African version of the MTV Base TV channel, focused specifically on urban genres. The international popularity of this music has reached such proportions that American stars of the caliber of Drake and Kanye West began to address this topic and record joint tracks with Afrobeats artists.
This dance genre was created in the early 2000s by the Ivorian diaspora in Paris, then was reimported to the Ivory Coast and other Francophone Africa and became the number one pop music there.
Sounds like a commercial "beach house" of the early 21st century, heavily diluted with elements of Caribbean zouk music and Ivorian zuglu. This genetics makes the decale coupe a real brainchild of globalization, as zooglu, in turn, has absorbed elements of reggae and other Caribbean genres. On the coupe, the decal can be viewed as a prototype of global pop music, which will arise at the moment of the final mixing of everything and everything.
The genre originated in Ghana in the early 2010s and combines elements of house and uptempo reggae with the rhythmic patterns of kpalongo dance, which originated in the Ghanaian capital in the 1960s.
Another hallmark of the Azonto is the recitative or singing in Pidgeon, the local dialect of English. Perhaps that is why asonto is considered the direct heir of the hip-life genre, a hybrid of hip-hop and high-life that was popular in Ghana in the 1990s. Sarkodie&EL's video "U Go Kill Me" brought worldwide popularity to Azonto music, which went viral. First, this clip spawned a wave of homemade videos, where social media users copied the dance moves from the clip in different ways, and then the Ghanaian footballers, who performed a dance after each goal scored, picked up the fashion.
This is a fast and rather hard club genre, built on a minimalist arrangement, often consisting only of drums and solid bass, and vocals or recitative.
Rhythmically, kuduru inherits Caribbean genres such as zuka and soki, as well as the Angolan kizomba dance. At first, kuduru, which appeared in the mid-90s in the ghetto of the capital of Angola, Luanda, was considered a low and condemned genre - especially this music was criticized for its emphasized sexuality (kuduru in Portuguese means "tight ass").
In the mid-2000s, kuduru was popularized in Europe and the United States by the efforts of the disc jockey and producer Diplo, after which it began to be considered a pride and cultural export at home. Even European and Latin American performers began to turn to kudura, for example, Puerto Rican singer Don Omar recorded a giant hit in this genre, heavily adapting kudura to a commercial pop format.