Historicising gqom as a post-kwaito phenomenon

Abstract

This article examines gqom’s position as a post-kwaito phenomenon as it occupies both a landscape significantly shaped by kwaito and distinguishes itself from it. Kwaito represents a major milestone in the development of South African electronic dance music and has significantly shaped personal expression amongst black youth. The development of kwaito and its broader relationship with South African history are discussed here. A subsequent section deals with the history of gqom and addresses its name, emergence, dissemination, production, gender discourse, relationship with party spaces, and the way that these elements continue and challenge the legacy of kwaito. This is followed by an analysis of the musical characteristics of gqom, many of which are distinguishable from the sound of kwaito. These include a ‘raw’ dark sound, the subordination of harmony and melody to emphasise a distinguishable rhythmic beat, an unmistakable ‘slow-burn’ structure, and the further transformation of these characteristics in more recent releases. While gqom certainly resembles kwaito and owes a great deal to its history, it stands out in the South African musical landscape as a wholly new form of music with a new mode of self-definition and approach to music-making.