Zwanze

' or ' is a form of humour typical of Brussels. It is considered as representative of Brussels identity as Manneken Pis, the Grand-Place, or the city’s frietkot culture.

Etymology

The word zwans derives from the German Schwanz, also used to denote the male genitalia. The French zwanze is a francisation of the Brussels Flemish zwans. Referring to genitals when speaking of jokes or foolishness is a common phenomenon, as seen in French couillonnades or Brussels Flemish klûteraa.

Characteristics

In the 19th century and until the Second World War, zwanze was primarily a farce, an exaggeration, or a mystification. A zwanzeur would ridicule their audience with solemn seriousness, yet was the last person entitled to laugh at their own jokes. It combined exaggeration with absurd linguistic constructions, often blending Flemish dialects and French, and involved self-mockery, summed up in the saying: “Blessed are those who can laugh at themselves, for they will never be laughed out.”
Zwanze is a mischievous, Rabelaisian form of humour that is inseparable from Brussels’ popular heritage and local dialects. It is primarily oral and spontaneous, appearing in private conversations, market cries, disputes, or casual exchanges, and requires at least a passive knowledge of a Brussels dialect to fully appreciate. Examples include “manne pa zaaine auto!” or “ei eit moote ne devis moêke!”. Zwanze also occurs in street exchanges, as when a woman shouts “occupe-toi de tes casseroles!” to passersby and receives a comic response in dialect.
In cultural life, zwans is also expressed in literature, pseudo-historical essays, fables, theatre, comics, songs, sketches, and parodies. Fables offer opportunities to parody well-known authors by placing their words in contemporary contexts. While Jean de La Fontaine mocked the nobility and bourgeoisie of his time, zwanze targets political leaders and everyday events. It has also been adapted in musical parody, such as a comedic version of Bizet’s Carmen aria “Habanera”. This combination of wordplay, local accent, and cultural reference has made zwanze a distinctive Brussels art of living and, according to some, even a civic virtue.

Origins and development

The precise origins of zwanze are difficult to determine, much like exaggeration in Marseille. One of the earliest known references is a farce from 1695, written just days after the city was bombarded by Marshal de Villeroy’s troops in the service of Louis XIV. This piece, T’ Mantien-Pis Claeghende om dat het door de Fransche Bombarderinge met eenen ongelukkiggen Letter-wissel ofte Anagarama geworden is Man-Pist-Niet, depicts Manneken Pis losing his “natural function” from fright, reflecting the psychosomatic impact of the bombardment. While this text is among the oldest attestations of the zwans, it does not imply that the tradition originated there.
In the 19th century, the zwans increasingly appeared in literature, fables, and popular theatre. French-speaking authors were particularly active, often borrowing expressions from Brussels Flemish, including Barès, Bazoef,, and Jacques Collin de Plancy. Dutch-speaking authors also contributed, such as Cypriaan Verhavert, and the traditional puppet theatre Toone, founded around 1830 in the Marollen, often showcased zwanze through parodies of plays, opera, and classical literature. Literary and social associations like the Société des Joyeux and the promoted colorful, humorous performances, with members including notable figures such as Alphonse Balat, Charles De Coster, Alexandre Dumas père, and Michel de Ghelderode.
Large-scale zwanze events emerged during the Belle Époque, including the “” of 1885, 1897, and 1914, presenting works that prefigured abstract art, Dadaism, and Surrealism. Early in the 20th century, the play Le Mariage de Mademoiselle Beulemans helped the concept of zwanze spread beyond Belgium, influencing writers like Marcel Pagnol. Throughout the 20th century, the Marollen remained a central stage for the tradition, from post-war public festivities parodying Kaiser Wilhelm II and Hitler, to the 1943 Faux Soir resistance publication. Zwanze also permeated popular culture through boulevard theatre, football rivalries, and annual events such as the “.” Today, zwanze continues to be celebrated in public gatherings and literary creation, preserving its role as a living facet of Brussels’ cultural life.

Cultural presence

Beyond daily life, zwanze plays a recognised role in Brussels’ cultural scene, appearing in parades, festivals, literature, and the visual arts. Cafés, theatre cafés, and cultural associations help maintain the tradition through local events and major festivities such as the Meyboom and Folklorissimo. Zwanze transcends social class: working-class audiences often favour mischievous humour, while more educated circles tend to appreciate wordplay.
Theatrical works in Brussels’ dialect, such as Le mariage de Mademoiselle Beulemans and Bossemans et Coppenolle, remain popular, attracting both French- and Dutch-speaking audiences across generations. Figures frequently cited as ambassadors of the tradition include Jacques Brel, Félicien Rops,, Les Moustaches, and Royal Theatre Toone. The form and prominence of zwanze can also vary depending on the cultural backgrounds of immigrant communities in the city.

Legacy and recognition

The phenomenon of zwans is intrinsically linked to Brussels, but its influence extends beyond the Brussels-Capital Region. The Brussels word zwanze has been recorded in major lexicographical sources, including Larousse, Le Petit Robert, the Base de données lexicographiques panfrancophone at Laval University in Québec, and the Trésor de la Langue Française informatisé of the CNRS/Université de Lorraine. Books on zwanze are published throughout Belgium and are sometimes available abroad.
Zwanze has been studied at universities both in Belgium and internationally. Examples include a 1993 literary study on onomastics, geography, and adventure entitled Zwanze et science à la conquête de l’empire: Nirep et les mystères du Congo and a 2020 interuniversity competition in international public law focused on a simulated case regarding the restitution of cultural and archaeological works in the context of zwanze. The Charter of the Zwanze and the Brussels Regional Languages was created to encourage further research into zwanze and its linguistic heritage, emphasising its status as an intangible cultural expression.