![]() ![]() Video is more like a human or lived time frame. 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.Photography is difficult because everything has to occur faster than you can blink. 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’. ![]() This however is a carefully crafted appropriation of a particular mix of marginalized South African identities, and as such, offers fruitful material for analysis. The band’s image is ‘zef’ or ‘common’, making use of an amalgamation of ‘white trash’ and ‘Cape coloured gangster’ signifiers. ![]() 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. 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). ![]() > Henry Louis Gates, Jr., Alphonse Fletcher University Professor Harvard University" Haupt brilliantly engages readers at both levels. Seen by some as ‘trash talk’ and by others as art, hip-hop and other forms of popular music take lofty discussions of identity politics out of the academic stratosphere and place them decidedly in the public square. > Murray Forman, Associate Professor, Media and Screen Studies Northeastern University As in the United States, music in general and hip-hop in particular are fertile ground for the articulation, examination, and contestation of racial identity. The close readings of lyrics, videos and films are loaded with keen insights explaining what the cultural issues are and why they matter. Static is a sophisticated and well-argued analysis that establishes a new context for understanding post-apartheid culture in South Africa. The book will appeal to scholars in media, sociology, anthropology, music, African and cultural studies as well as to anybody with an interest in music, media, identity politics and debates about change in post-apartheid South Africa. It cuts across academic disciplines, the creative arts and the media and poses two central questions: Is South Africa changing for the better, or are we static? Is there too much static for us to hear each other clearly? Static provides key insights into recent media phenomena, such as Die Antwoord the 2010 Soccer World Cup Bok van Blerk Tsotsi Kuli Roberts’ Sunday World column on ‘coloureds’ revisionist film Afrikaaps and the University of the Free State’s Reitz video scandal. "Static: Race and Representation in Post-apartheid Music, Media and Film critically examines music, cinema, social media and the politics of change after apartheid. Consequently, a cultural branding model is explored and by examining this cultural brand identity it becomes easier to understand and categorise the appeal the brand holds for global target audiences. These cultural signifiers are revealed to play only a small part in the development of Die Antwoord's brand identity, but the affective responses on cultural and emotional levels elicited by Die Antwoord through marketing themselves as such presents a unique selling proposition for the band that defies conventional branding approaches. This provides a valid contemporary definition of a term that historically arises from a place of cruel denigration of lower and working class South African whites. These themes are interrogated for their semiotic value and plotted graphically to determine their relevance in defining the brand identity Die Antwoord call 'zef'. This paper examines a sample of three of rap/rave band Die Antwoord's music videos, critically analysing their content to identify repeated visual themes. ![]()
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