Da Kruk takes amapiano to new heights with Kwa Piano Comics

DJ Kutloano “Da Kruk” Nhlapo has stepped into the world of visual storytelling and is using his voice to reimagine how amapiano is seen by the global audience.

Nhlapo recently launched Kwa Piano Comics, a weekly graphic series that documents the genre’s evolution through fictionalised stories inspired by real events and figures in the scene.

Set in the heart of township life, the comic dives into the culture behind the music – from the rise of bedroom producers and the formation of Scorpion Kings to the birth of the log drum. It tracks how the genre grew from local taxis and backyard sessions to global festival stages and streaming charts.

Nhlapo spoke to the Sowetan.

What stories are told in the series?

This series is a slice of life of what’s been happening in the amapiano industry for as long as it’s been popular. The series travels in time to the milestones, funny and controversial moments and facts about the genre – think Supa Strikas but for the amapiano industry. It creates a nice channel to tell a story in a cool yet witty way that speaks to nostalgia as well as to what’s happening now. It also cross-pollinates through different age groups.

Which characters are in the series?

The first episode talks about the log drum and the origins of Mdu, aka TRP. The second one will be how Maphorisa met Kabza de Small, and the third one is about Vigro Deep. People will also see an episode of Kabza from a collaboration perspective, and other episodes on DBN Gogo’s story as well as MFR Souls, but with a fun and comedic touch.

The one that’s coming out this Wednesday will not only show how Maphorisa and Kabza met but it will have a witty play on how Phori engages his followers on social media using his funny viral tagline: “Hao kgonagale”… but the cornerstone of it all is bringing to light this ecosystem that’s feeding everyone.

Why this series? What’s the importance of it?

I created this comics series to preserve and reimagine the culture. Amapiano is more than music, it's movement, mythology and memory. We’re documenting the genre’s energy through storytelling that young people can hold in their hands. And, based on how people are consuming content, everything is short format. The comic series is another cool way for people not to physically sit with a 500-page book just to learn about some of the milestones of the genre. It’s minimised in a way for people to enjoy, engage and evoke an interlinking of generations.

[This is] for kids who love the genre but can’t date back to 2016– this comic book will serve as a reference point of the milestones that happened before they were introduced to the genre.

The biggest thing above all of this is, if we’re going to claim this genre as ours and want to preserve it the way we want — it needs to be documented very well and properly, not only in the music but the stories that are told about it. [The other] cool thing is that I’m currently writing two books in parallel with this series.

How does it feel to see the evolution of amapiano?

Seeing everything come to fruition is quite cool. I started investing in the amapiano space in 2014 and officially had my music playing on the radio in 2016. Reflecting on the decade, I strongly believe there’s more to be done and a lot more people need to occupy the different spaces to make it even bigger.

I don’t think amapiano needs another artist but an artist manager, a strategist, a head of content, to make it more holistic.

What is your biggest takeaway from this experience?

I’m a culture-based person, and what I’ve noticed is that SA culture hasn’t been properly referenced, from the inner workings of the kwaito and bubblegum industry right to house music ... It’s usually hearsay. However, I’m glad that we’re at a very fluid age that allows us to document history, genres and the broader African culture, which is what I’m trying to do with this.