Related Papers
In the Mix: Expressions of Coloured Identity in Cape Town-Based Hiphop
2019 •
Warrick Moses
My dissertation project, In the Mix, investigates expressions of “mixed race,” or “coloured” socio-political and cultural identity in the performance genre of Cape Town-based hiphop music. South African hiphop originated in this city and has been associated with the concerns and sensibilities of its working-class coloured population from the outset. Based on fieldwork completed between 2015 and 2017, I interrogate contemporary conceptions of identity formulated by the members of this racialized social group practitioners of the musical style themselves both during and after the end of official apartheid; how their representations disrupt, and in some instances, overturn prevailing negative imaginaries within South Africa of coloured lived experience. A major contention of my work is that racial categorization predicated on visual apperception remains the primary means of self, and social identification in South Africa, despite the post-1994 promise of equity heralded by inclusive “R...
Antwoord gooi zef liminality : of monsters, carnivals and affects
2011 •
Amanda du Preez
Die Antwoord gooi zef Liminality: Of monsters, carnivals and affects
Amanda du Preez
Zef as Performance Art on the Interweb : how Ninja from Die Antwoord performs South African White Masculinities through the Digital Archive
2016 •
Esther Rossouw
producer (formerly DJ Hi-Tek). Their image revolves around the South African counterculture movement known as zef and has incorporated work by other artists associated with the movement, such as photographer Roger Ballen. Their unique style is exemplified by their music videos and involves the alternating interplay between Yolandi's high-pitched Die Antwoord. Take a trip to the zef side of Cape Town to meet the interweb rap rave stars in their first major interview. Tim Noakes. BlockedUnblock. FollowFollowing. Nov 8, 2014. Today, their 56th day since becoming celebrities, Die Antwoord rappers Ninja and Yo-Landi Vi$$er have come to Golden Acre, a run down shopping centre in Cape Town, to talk about world domination over a Wimpy milkshake. Sliding into the booth, Ninja, a lanky UPSpace Home → University of Pretoria: Research Output → Theses and Dissertations (University of Pretoria) → View Item
Published in Performative Inter-Actions in African Theatre 3: Making Space, Rethinking Drama and Theatre in Africa <http://www.c-s-p.org/Flyers/Performative-Inter-Actions-in-African-Theatre-3--Making-Space--Rethinking-Drama-and-Theatre-in-Afric1-4438-5250-3.htm>
Chapter Ten: ZEF/POOR WHITE KITSCH CHIQUE: SOUTH AFRICAN COMEDIES OF DEGRADATION
Anton Krueger
Zef/Poor White Kitsch Chique: South African Comedies of Degradation
2013 •
Anton Krueger
Die Antwoord and a delegitimised South African whiteness: a potential counter- narrative
Claire Scott
This paper explores the potential for the ostensibly marginal discourse of ‘Afrikaans Zef Rap Rave’, as performed by Die Antwoord, to present a meaningful “counter-narrative of nation”(Bhabha 1994, 300) within a South African context in which “being ‘white’ is replete with dissonance”(Steyn 2004, 122). Die Antwoord is a Afrikaans zef-rap-rave band who are ‘taking over the interweb’ and have garnered a fair-sized fan base both on the internet and through live gigs. The band’s image is ‘zef’ or ‘common’, making use of an amalgamation of ‘white trash’ and ‘Cape coloured gangster’ signifiers. This however is a carefully crafted appropriation of a particular mix of marginalized South African identities, and as such, offers fruitful material for analysis. In order to explore whether Die Antwoord does in fact suggest new narrative strategies that are able to simultaneously construct, resist, maintain and challenge dominant discourses of white identity in South Africa, this paper attempts, firstly, to briefly situate Die Antwoord within a broader historical framework of alternative music production, and secondly, to examine the performance of the band from within the discourse of ‘critical whiteness studies’. Finally, the performance and lyrics of Die Antwoord are explored in light of the strategies of irony and the carnivalesque in order to suggest whether they do in fact offer a ‘counter-narrative of nation’ or if they merely reinforce the dominant discourses of white South African identity.
Acta Academica
Postures of protest: The reinterpretation of FAK folk songs as expressions of (a new) nationalism and nostalgia
2021 •
Charla H Schutte
In post-apartheid South Africa, as part of deeprooted socio-political and cultural disputes, Afrikaner ethnic anxiety is pervasive, while marginal and liminal experiences of being white and Afrikaans bring to the fore both self-protective positions of whiteness, and those that strive to undo regressive ideas of white power. Even before the demise of apartheid, Afrikaans alternative music has voiced dissenting positions that confront questions of race, ethnicity, and power. In this article ‘recycled’ FAK songs are analysed by way of Postural Theory, a theoretical framework developed by the South African philosopher Johann Visagie. Complemented by relevant perspectives relating to an understanding of opposing dislocated apartheid and post-apartheid senses of self, our examination of the deeper strata of the songs highlights postures of (morally and ethically) taking care, either of the self or the other – but also postures of meaninglessness and suffering, pointing to loss as a central aspect of the ‘threatened identity’
Giftige misfits: a semiotic investigation into whiteness as represented in "I Fink U Freeky"
Desré Barnard
Language in Society
Parodies of whiteness: Die Antwoord and the politics of race, gender, and class in South Africa
2020 •
Erez Levon
The dramatic reconfiguration of the social, political, and ideological order in South Africa since 1990/1994 has demanded a concomitant reconceptualization of (white) Afrikaner notions of self and belonging in the (new) nation. In this article, we draw on recent developments in the study of varidirectional voicing (polyphony), performance, and mediatization to examine how the South African rap-rave group Die Antwoord makes use of parody and metaparody in their music to critique emerging ‘new Afrikaner’ identities and the racial, class, and gender configurations on which they are based. We also discuss the structural limits of these critiques and the political potential of (meta)parodic performance more generally. ((Meta)parody, polyphony, performance, race, class, gender, South Africa)*
