- Title
- A problematisation of Afrikaner identity subject positions as found in the coverage of contemporary Afrikaans music in HUISGENOOT magazine discourse
- Creator
- Hughes, Lestie
- Subject
- Afrikaners -- South Africa -- Music -- History and criticism
- Subject
- Multimedia (Art)
- Date Issued
- 2021-04
- Date
- 2021-04
- Type
- Doctoral theses
- Type
- text
- Identifier
- http://hdl.handle.net/10948/52558
- Identifier
- vital:43686
- Description
- Through the lens of Foucauldian genealogy, this thesis problematises the subject positions towards Afrikaner identity reflected in contemporary Afrikaans songs covered by Huisgenoot magazine. Such a genealogical exploration thematises the games of truth underpinning the formation of Huisgenoot, highlights its role in solidifying white Afrikaner Nationalist discourse of apartheid, observes its more populist, profit-oriented approach from the 1970s onwards and considers the residual echoing of its former discursive orientation. The song analysis of selected Afrikaans songs/music videos covered in Huisgenoot is guided by the semiotics of Nicholas Cook, such that it frames the analytical question of how such music is driven by conformance, contest and complementation between multi-media elements in ways that make meaning possible. Accordingly, this methodology resonates with the non-essentialising focus of Foucauldian problematisation, premised on critical resistance that makes new responses simultaneously possible. The self-reflexive autoethnographical approach employed, entailing the author’s dialogical engagement with her own ‘Afrikaner self’, similarly facilitates the dynamic interplay between multiplicities. Correlatively, on the one hand, more ‘closed’ and more ‘open’ Afrikaner identity positions reflected within the songs are analysed, as well as seemingly ‘reconciliatory’ / collaborative’ musical manifestations which ultimately revert back to more ‘closed’ identity constructs. But on the other hand, observation of adherence to a ‘white-black’ dichotomy within songs that manifest more ‘closed’ identity positions also leads to consideration of the parallels between the goals of white Afrikaner Nationalism and the current Decolonisation narrative, which is informed by Black Consciousness thought and generated by the ‘Colonisation of a Special Kind’ ANC policy. Both such Decolonisation rhetoric and the countering rhetoric of the Neo-Afrikaner Protest Movement (NAP) are thus identified as metanarratives, underpinned by a ‘white-black’ dichotomy. In this regard, while Huisgenoot’s predisposition towards songs manifesting more ‘closed’ Afrikaner identity positions is considered in terms of its aforementioned profit-oriented endeavour to appeal to its ostensible primary readership, an encouraging increase in coverage of coloured artists is both noted and occasionally seen to overlap with its coverage of songs manifesting more ‘open’ Afrikaner identity positions. Among the latter one may – again in Foucauldian terms – differentiate between songs focussed on an engagement in cross-cultural relations of power, and songs intent on shattering states of domination of power blocks, often through shocking juxtaposition of disparate elements. These more violently dismantling endeavours, it is argued, comprise examples of Foucauldian transversal struggles, although their coverage in Huisgenoot is also attributed to their shock value and/or record sales, rather than their transformational potential. Furthermore, such Huisgenoot coverage is also seen to place more transformationally oriented artists at risk of media ‘domestication’, with its concomitant inhibiting of creativity. Finally, the researcher’s commitment to creative problematisation of her own Afrikaner identity, coupled with acknowledgement of her inescapable textual entrapment, culminates in her acceptance of the continual flux characterising dialogical power relations, before she – in accordance with the Foucauldian methodology employed – presents all ‘conclusions’ in a non-dictatorial spirit of ‘truth creation’, desirous of continual self/other dialogue.
- Description
- Thesis (PhD) -- Faculty of Humanities, 2021
- Format
- computer
- Format
- online resource
- Format
- Format
- 1 online resource (xiii, 297 pages)
- Publisher
- Nelson Mandela University
- Publisher
- Faculty of Humanities
- Language
- English
- Rights
- rights holder
- Rights
- All Rights Reserved
- Rights
- Open Access
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NMU School of Music, Art and Design
| Thumbnail | File | Description | Size | Format | |||
|---|---|---|---|---|---|---|---|
| View Details Download | SOURCE1 | Hughes, L.pdf | 3 MB | Adobe Acrobat PDF | View Details Download |