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Qamata Festival
Iphupho Lâka Biko x Sive Mqikela
For God So Loved Us - Selaelo Selota
Video: Nkazimulo Moyeni

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everyday iâm learning more and more that i have to protect myself and my gifts. âpeople will want your eyes and not your heart.â theyâll see what you can do for them and will milk you of it all & dip when theyâre finished. protect ya energy. protect ya heart. protect ya mind.
Once there was Kwaito and it made us dance: the past and futures of Kwaito - Sive Mqikela
From a distance, I have been looking at the conversations around the apparent death and/or survival of Kwaito music. The originators of Kwaito in the form of the Trompies, Mdu, B.O.P and others are unwilling to admit to this death. They insist (justifiably so) that the cultural phenomenon that was once (if not still) the âsoulâ of post-apartheid popular culture can never die, it took new forms as any culture should. They also seem to suggest that Kwaito will subsist as long as there are still townships in South Africa. In other words, as long as the conditions that created it subsist, the music will always be.
 Many are of the view that the (Sowetan) sensibilities we once knew from the sound are no more. The slow-tempo bass and drum accompaniment to the hardcore-joyful-lamenting lyrics of âkasiâ (township) living are catching dust in zones of nostalgic frenzy; they say. In public perception (parties and stuff) the music is considered an âold schoolâ moment; a music for reminiscing. No one cares to know what Kwaito song is âhotâ at the moment, people seem to be only interested in the classics â Mandoza, Zola, Mdu, Brown Dash, Spikiri etc, except if they hear from the new sounds something similar to the old sound â a verse, a sample, a chorus.
Boundaries have been widened (arguably) and a new breed of âPantsulasâ (Kwaito men and women) has emerged, self-appointed to take up the task to preserve and continue the music. âKwaito is not dead, it evolved; it is now âNew Age Kwaitoâ bruhâ, they say.
 Fair enough.
 In what we could call the âgolden ageâ of Kwaito, this new breed of Pantsulas (new Pantsulas) occupied the category of âaboMrapperâ (rappers), a detested group of American wannabes â âamakoporoshâ. For the âgolden age Pantsulaâ, the âaboMrapperâ could not fit-in to the quintessential ârough and readyâ Panstula image that was demanded from a Kwaito figure. They spoke too much English and gibberish â a sign of weakness and affluence; their âswag and slangâ was alien to what was understood by the township at the time (see Mzekezeke, Amakoporosh). The aboMrapperâs image was in contradiction to the Kwaito sensibility that privileged the mastery of marginality of âOlovaâ and âOguluvaâ - the quintessential hustlers.  As the influence of hip-hop grew globally, attitudes towards it changed and aboMrapper gained access to the Kwaito subculture by demonstrating that they too are âhardcoreâ hustlers fit for the Pantsula label.
 The year is 2018âŚ
 The ânew Pantsulaâ (formerly known as aboMrapper) is trying to convince us that the preservation and continuity of Kwaito will happen by way of âsamplingâ Kwaito âclassicsâ. To the ânew Pantsulaâ sampling seems to be an appropriate model for composing and continuing Kwaito music. I am, however sceptical of the sincerity of this process and I wish to explain why. In popular music cultures like Hip-hop and Kwaito, sampling, as Professor Bheki Peterson asserts, is used as a democratic music-making means to âdisplace previous and sometimes conservative music production methods predicated on the centrality of live musiciansâ; and thus through this process music-making as a vocation is made available to those who do not necessarily have the opportunities due to lack of resources. As observed by Peterson, sampling could also be viewed as a method to ârenew past musical milestones, updating them to make them sound fresh in the presentâ. In this process, Mariam Sulakian argues that producers and artists âcultivate a realm of musical preservation while embedding their own creativity into the original songâs creative legacyâ. Although unannounced, the creative genius is always measured by the degrees in which the new track artistically modifies or supplements the original. Precedence also tells us that the producer samples from a different genre and era (sometimes) which serves two functions: firstly to bring audiences of that other genre to this new music (Kwaito); and secondly, to present the listener of the new music (Kwaito) to the musical worlds traveled by the particular artists/producer to create the new sound. Msawawaâs Bowungakanani and TKZeeâs Shibobo, are a case in point.
 My suspicion is that this sampling relationship between âthe new Pantsulaâ and âgolden age Kwaitoâ operates at a very exploitative manner. If we argue that Kwaito is not dead, it took new forms, then we must be willing to regard the âgolden age Kwaitoâ and the new Pantsula Kwaito/New Age Kwaito as contemporaries, operating in one temporality â this spacious present of post-apartheid South Africa. If we agree with this proposition, then we should remember that in Kwaito and hip-hop cultures the âsamplingâ and âchoppingâ of your contemporaryâs music is considered as âbitingâ or âukugawulaâ (plagiarism) (see Magawula by B.O.P). Therefore, the ânew Pantsulaâ cannot justify their perpetuating the Kwaito sound by the current musical practices they undertake. In their songs and music videos, the ânew Pantsulaâ assembles Kwaito tropes and imagery rhetorically - from lyrics and beat to costume and dance without any display of commitment to the furtherance and variation of the music. This happens in a manner that is intended to manipulate public sentiment by pre-empting the responses that will arise from those who listen to the âbeatâ and remember the cultural value the âsoundâ of Kwaito once and still occupies. The ânew Pantsulaâ knows very well that no other music has captured the imagination of post-apartheid South Africa in the manner that Kwaito did, and that is why he/she will sample the Kwaito song in such a way that you wonât mistake it for anything else (taking the song as it is). I am not suggesting that the ânew Pantsulaâ is not a participant to the cultures that make up the sound, I am saying that the manner in which the ânew Pantsula engages Kwaito exploits the cultures that make up the sound without any sign of commitment. For example in his 2017 Stay Shining music video and song, Ricky Rick makes a visual reference to TKZeeâs We love this place and Dlala Mapantsula, to such an extent that he couldnât conceal the borrowed lines and flow from Kabelo Mabalanesâs Pantsula for life. He is not alone; there are many others from Casper Nyovest to Major League and many more.  Although these could be deliberate moves; but do we call Ricky Rick and company creative for reiterating to us, a moment which has not escaped our memory?
 I doubt!
In conclusion, I am of the view that Kwaito music cannot be sustained in the manner that it is happening (sampling the self); possibilities should be extended and explored by the new Pantsula in the same manner that Kwaito emerged in the early 90s. If Kwaito is still alive (at least a healthy life), we should be able to detect it from the current (Panstula) musical practices without the help of these suspicious sampling methods alluded to above. To convince us that they are serious about this continuity and survival of Kwaito, the ânew Pantsulaâ should be able to do a song without any use of a line or verse or a sample from a âgolden age kwaitoâ or house song.
Not all hope is lost though; there are some of the ânew Pantsulaâsâ, although not many, who display some commitment to the development of this sound in ways that are not so exploitative. These new Pantsulas have inflected their interventions with more hip-hop influenced approaches â and I think the reason why their sound always works with the people is because it goes back to the source (Kwaito/kasi) â think of Kwestaâs success for example.Â
M&G Link
https://mg.co.za/article/2018-12-07-00-kwaito-golden-or-new-age?fbclid=IwAR0OiecTBDFGF0KOLHIb27uHfHCg7v3228UA4-zzhOH9Pcx26mWw9s7kk7M#.XAmg3-qqHBQ.facebookÂ
u realize theres no going back. cycles must be broken so we must force change by wholeheartedly accepting what was + what is and creating towards and around the future on what can be or could. theres baggage on the surface; thru sorting thru and must be rid of.
Credits Composed and Written by: Sive Mqikela & Gabe Letswalo (BLK Thought Music) Vocals: Sive Mqikela, Gabe Letswalo Alto Saxophone: Mathapelo Wesinyane Tru...
The Hunger yet to come

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Imbawula
Black Thought Symposium Book Launch: The Underworld Vol 1
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