Parodies of whiteness

Die Antwoord and the politics of race, gender, and class in South Africa

Datos Bibliográficos

ID2883274
AutoresIan Bekker (0000-0001-7602-2642, North-West University), Erez Levon (0000-0003-1060-7060, Queen Mary University of London, autor de correspondencia)
Año2020
Volumen49
Número1
Páginas115-147
Fecha de publicación2020-02-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaLanguage in Society (JOURNAL)
Identificadores de la revistaISSN: 0047-4045 • E-ISSN: 1469-8013
EditorialCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0047404519000630
OpenAlexW3001619086
IdiomaEN
Citas recibidas7
Referencias citadas86

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

Class (philosophy) · Epistemology · Ideology · Linguistics · Political science · Politics · Polyphony · Race (biology) · Sociology · Voice · White (mutation) · Gender Studies · Law · Multilingual Education and Policy · Music History and Culture · Philosophy · South African History and Culture