Kwaito is a music genre that emerged in Soweto, Johannesburg, South Africa, between the late 1980s and 1990s. It is a sound that features the use of African sounds and samples. Kwaito songs occur at 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 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 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 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 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 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 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 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 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 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 a crucial role in the genre's emergence and popularization.