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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die banale as (rap-) identiteit : Jack Parow se "Cooler as ekke"

 

Abstract

As deel van die onlangse neiging om niekanoniese repertoria in musikologiese studies in te sluit, fokus hierdie artikel op die Afrikaanse rapper Jack Parow se liedjie "Cooler as ekke" (2010). My ontleding berus op die rekonstruktiewe daarstelling van 'n spekulatiewe konteks waardeur die liedjie as 'n bepaalde rap-identiteit benader kan word. Met ander woorde, ek beoog om die liedjie (liriek sowel as musiek) te lees vanuit die konstruksie van 'n bepaalde geïmpliseerde sosiokulturele konteks waarbinne intrinsieke en ekstrinsieke teksbetekenisse as kontekstueel verbonde gesien word. Vanuit hierdie metodologiese perspektief, wat op Krims (2000) se rap-teorie steun, word dit duidelik dat "Cooler as ekke" 'n weergawe van Afrikaner-identiteit konstrueer wat vashou aan oorbekende, alledaagse simbole van die "zef" Afrikaanse lewe. Ofskoon Parow se "opponent" in die liedjie nie 'n oorheersende etniese groep verteenwoordig nie, word daar tog 'n tipe kulturele weerstand in die liedjie gesuggereer. Dit is egter veral die banaliteit van Parow se straatwysheid wat die luisteraar in ideologies gerieflike maniere van ervaring kan vasvang, omdat die liedjie skynbaar nie ernstig (of krities) opgeneem wíl word nie.


'n Ideologiekritiese interpretasie van die resepsie van die liedjie aan die hand van Visagie (1996) en Thompson (1990) bring aan die lig dat sommige Afrikaanse luisteraars "Cooler as ekke" binne die huidige sosiopolitieke landskonteks enersyds as 'n stelling van "die bekende" en van "die eie" mag verstaan, of andersyds as kritiek op uitgediende, pretensieuse weergawes van Afrikanerskap. In albei gevalle wek die liedjie by ander Afrikaanse luisteraars sterk weerstand. Dit is op hierdie vlak dat "Cooler as ekke" ondertone van 'n minder tegemoetkomende weergawe van Afrikaneridentiteit begin inhou waarby 'n veronderstelde gedeelde afkoms deur 'n eensydige (hipernormatiewe) tekening van Afrikanerskap weerspreek word.


Some scholars regard the art of rap as the new poetics of postmodern art - a postmodern form that is fiercely intertextual, openended and hybrid. Others are more pessimistic, viewing rap as a fundamentally postapocalyptic form which, in a thoroughly commercialised manner, only scratches the decaying surface of postindustrial values. However, there is common agreement that rap is deserving of serious academic scholarship, and that it signally transforms cultural gestures and relocates inflections of meaning in its globalised contexts of operation.
As part of the recent trend of including noncanonical repertoires in musicological studies this article focuses on the song "Cooler as ekke" ("Cooler than I") by the Afrikaans rapper Jack Parow (2010). My analysis is based on the reconstructive creation of a speculative context by means of which the song can be approached. In other words, I intend to read the song (both the lyrics and the music) from the construction of a particular sociocultural context in which intrinsic and extrinsic textual meanings are seen as contextually linked. In this respect I disagree with certain local New-Musicological readings which, in order to escape the idea of "the music itself" as an autonomous, formal phenomenon, have changed the subject of their inquiry to such a degree that the musical text is no longer the focus of inquiry, but merely the fictional springboard for a politically correct discussion of gender, cultural identity, ideology or politics.

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/content/litnet/8/2/EJC62294
2011-08-01
2016-12-03
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