Afrikaanse vryheidsliedjies as konfigurasie van identiteit: 'n ideologie-kritiese perspektief

[摘要] English: Article I - More than a decade after democratisation, identity politics are still extremely topical in South Africa and a renegotiation of this is still taking place. In this article the role of Afrikaans freedom songs and reconstructions of white identity are discussed, while it more specifically aims to establish a point of departure for an ideologically critical theorising of the topic. In this regard, Johann Visagie's (1996) interpretative tools, namely metaphor analysis and ideology criticism, is employed within the broader framework of the so-called Critical Theory. This framework serves as the point of departure for the critical evaluation with regard to the relevance of a model, as formulated by André P. Brink (1991) about this topic. An important point of departure for this study is five dominant post-apartheid narratives, as recorded by Melissa Steyn (2001). A selection of freemdom songs are used with specific constructions of whiteness as portayed in the mentioned narratives. It was found that Brink's model demonstrates specific limitations with respect to the topic.Article II: More than a decade after the democratic elections in 1994, the South African society is stillvery labile, and many white Afrikaners in particular are experiencing a deep-found identitycrisis. This crisis is coupled with the search for a new identity. In order to analyse thisquestion from a musicological perspective, two models are contrasted to each other in thisarticle. On the one hand, one finds the structuralist framework of Vladimir Karbusicky(1975), which specifically deals with the analysis of musical texts. This model serves tostudy a number of songs in which the theme of the boer plays a prominent role asconfiguration of specific types of Afrikaner identity. However, the model only mediates thestudy of what could be described as politistic norms - and for this reason the ideologicalcriticaltheory of Johann Visage (1996), in which ideology is approached as a negativephenomenon, is discussed in support of the study.An ideological-critical analysis of the abundance of polemic literature surrounding De laRey shows that the song can be regarded as an ideologically one-sided portrayal ofAfrikaner identity. The song, as well as the enclosed music video, sketches a very specificperiod in the history of the Afrikaner by focusing on the Anglo-Boer War: the Afrikaner'sso-called era of innocence. Within the context of a type of Neo-Afrikaner Protestmovement these portrayals can be distorted to serve as hyper-normative views of whatbeing an Afrikaner means.

[发布机构] University of the Free State