Jaargang 8, nommer 2 – Augustus 2011 - LitNet

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LitNet Akademies Jaargang 8(2) – Augustus 2011 Die uiteenlopende standpunte waarna hier bo verwys word, maak dit duidelik dat Parow nie in sy doel slaag om “almal saam te laat paartie hou” nie (Parow in Rust 2010:146). In “Cooler as ekke” is daar eerder (veral) sprake van ’n skeiding van “klasse” en van “groepe”, en dus sprake van ’n distansiëring van die ander (“fragmentation” in Thompson se terme). Swarts suggereer egter dat Parow se aanhang nie alleen in ’n soort verheerliking van minder glorieuse aspekte van die Afrikaner se verlede en hede geleë is nie, maar ook in sy grondige disrespek vir uitgediende, pretensieuse voorstellings van Afrikanerskap. Van die inskrywings op Rapporteer (2010) bevestig hierdie sienings; Kafka (19 September 2010) meen selfs “Dis kunstenaars soos Parow wat sorg dat Afrikaans bloei en weer gewild word onder jong (en ouer) mense.” En in antwoord op andre pretoria wat hier bo aangehaal is: “Ou Andre jy en jou trawante is die rede hoekom ons mense soos Jack Parow het. Jou banale, enge, fanatiesisme gaan goed saam met jou baard (jy moet ten minste ’n baard he) so al wat kort is a Al Qeida lidmaatskap jou vark! haha.” Dit is op hierdie vlak van “verdeling” – wat ooglopend in “Cooler as ekke” aanwesig is – dat die liedjie ’n minder onskuldige Afrikaner-identiteit teken. Dit is hier waar die oënskynlik onskadelike en oppervlakkige pierewaaier-skermutseling ondertone van ’n minder tegemoetkomende, ideologiese identiteitsvorming begin inhou: aan die een kant is ’n veronderstelde gedeelde afkoms ter sprake en aan die ander kant ’n eensydige (hipernormatiewe) tekening van Afrikanerskap, wat terselfdertyd growwe skeidings binne Afrikaner-geledere trek. 19 Dit is immers op hierdie komplekse sosiokulturele (diskursiewe) vlak dat rap opereer – en waarop dit eensydige verklarings weerstaan. As die konstruksie van ’n banale (rap-) identiteit kan die liedjie dus aan die een kant dien om ’n bepaalde tipe Afrikaneridentiteit te verabsoluteer – maar, net soos in Barthes se voorbeeld, kan dit terselfdertyd ’n vorm van sosiale kritiek uitoefen (vgl. Swarts 2010). Om Krims (2000:9) dus nogmaals aan te haal: Indeed, the association of rap music with marginalized and aggrieved groups virtually guarantees that the carving out of discursive presence will take center stage in serious discussions. In addition, it is arguable that hip-hop culture, with its focus on “realness” and claims of cultural ownership, foregrounds identity with an explicitness well-nigh unprecedented even in the ethnically and gender-loaded world of popular musics. Bibliografie Agawu, K. 1996. Analyzing music under the new musicological regime. Music Theory Online, 2(4). http://mto.societymusictheory.org/issues/mto.96.2.4/mto.96.2.4.agawu. html?q=mto/issues/mto.96.2.4/mto.96.2.4.agawu.html (3 Desember 2010 geraadpleeg). Akrofi, E., M. Smit en S-M. Thórsen. 2007. Music and identity: Transformation and negotiation. Stellenbosch: Sun Uitgewers. Allen, L. 2004. Kwaito versus crossed-over: Music and identity during South Africa’s rainbow years, 1994-99. Social Dynamics, 30(2): 82-111. ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
LitNet Akademies Jaargang 8(2) – Augustus 2011 Baker, H.A. 1994. Beyond artefacts: Cultural studies and the new hybridity of rap. InEzell en O’Brien O’Keefe (reds.) 1994. Ballantine, C. 2004. Re-thinking “whiteness”? Identity, change and “white” popular music in postapartheid South Africa. Popular Music, 23(2):105–31. Barthes, R. 1957. Mythologies. Parys: Editions du Seuill. Barrer, P. 2009. “My white, blue, and red heart”: Constructing a Slovak identity in rap music. Popular Music and Society, 32(1):59–75. Battersby, J. 2003. “Sometimes it feels like I’m not black enough”: Recast(e)ing coloured through South African hip-hop as a postcolonial text. In Wasserman en Jacobs (reds.) 2003. Boloka, G. 2003. Cultural studies and the transformation of the music industry: Some reflections on Kwaito. In Wasserman en Jacobs (reds.) 2003. Campany, D. 2003. Safe in numbness. In Green (red.) 2003. Chew, G. 1992. Culture and value: The musical canon in a “New South Africa”. South African Journal of Musicology, 12:1-9. Cook, N. 2001. Theorising musical meaning. Music Theory Spectrum, 23(2):170–95. —. 1999. What is musicology? http://www.rma.ac.uk/articles/what -ismusicology.htm (10 September 2010 geraadpleeg). —. 1998. Analysing musical multimedia. Oxford: Clarendon Press. Cook, N. en M. Everist. 1999. Rethinking music. Oxford: Oxford University Press. Culler, J. 1988. Framing the sign: Criticism and its institutions. Londen: University of Oklahoma Press. Danielsen, A. 2008. The musicalization of “reality”: Reality rap and rap reality on Public Enemy’s Fear of a Black Planet. European Journal of Cultural Studies, 11(4):405–20. Derrida, J. 1981. Positions. Vertaal deur A. Bass. Chicago: University of Chicago Press. Eagleton, T. 1992. Capitalism, modernism, and postmodernism. In Frascina en Harrison (reds.) 1992. Eco, U. 1988. The structure of bad taste. Amsterdam: Bert Bakker. —. 1986. Travels in hyperreality. New York: Harcourt. Edwards, G. 2010. Parow “cooler” as Kurt. http://m.news24.com/volksblad/Suid- Afrika/Nuus/Parow-cooler-as-Kurt-20100903 (10 November 2010 geraadpleeg). Erlmann, V. 1984. Resensie: Jacques P. Malan, South African Music Encyclopedia, Vol II. South African Journal of Musicology, 4:73–6. ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
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