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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - "Tussen stasies" : 'n aanwending van die stylfiguur van die trein in die Afrikaanse musiekvideo : geesteswetenskappe

Volume 9, Issue 3
  • ISSN : 1995-5928

 

Abstract

Jack Parow se mees onlangse musiekvideo, "Tussen stasies", waarin hy saam met die Kaapse groep Die Heuwels Fantasties optree, verskil grotendeels van die meeste van die rapper se vorige musiekvideo's wat gebaseer is op liedjies wat ontleen is aan Parow se debuutalbum, (2010). Die video spreek van 'n soberheid van uitdrukking wat ongekend in Parow se ander treffers is, en nie met sy gevestigde platvloerse beeld versoenbaar is nie. Hierdie artikel beoog om die musiekvideo "Tussen stasies" aan die hand van onlangse teoretiserings oor musiekvideo te oordink en die liedjie ten opsigte van ander sogenaamde treintekste te kontekstualiseer. In hierdie opsig is daar bevind dat "Tussen stasies" wegbeweeg van die stereotiepe produksietegnieke van musiekvideo-genres, maar terselfdertyd aspekte van historiese voorlopers van rapmusiek, soos spirituals en die blues, oproep. Daar word nagegaan in watter mate die rap-aspek van die video verskil van genrekonvensies soos in Krims (2000) uiteengesit. Uiteindelik word daar beredeneer dat die musiekvideo deur middel van 'n kunstige versmelting van mediakomponente 'n eie artistieke seggingskrag in Afrikaans bevestig. Daar is ook bevind dat die video die rapper se selferkende gesplete artistieke identiteit bevestig.


Jack Parow's most recent music video, "Tussen stasies", in which he performs with the Cape group, Die Heuwels Fantasties, differs markedly from the rapper's previous music videos as based on songs derived from his debut album, (2010). The video reflects soberness of expression that is absent in Parow's other hits, and which is not reconcilable with his well-known banal image. The rap aspect of the video differs from genre conventions as formulated in Krims (2000), and is therefore not easily classifiable in terms of existing rap genres.
This article aims to reflect on "Tussen stasies" in the context of recent theorisation on music video and to contextualise the song in terms of other so-called train texts. It is found that since its inception in the early 1980s, music video production has often followed the conventions of classic film genres. Kaplan's (1987) influential study, however, proposes that early music video production has often been conceptualised according to a postmodern "anti-aesthetic" which she traces to early avant-garde art. She finds that such productions broke away from the traditional narrative strategies of popular culture, and from expected relationships of cause and effect, of time and space, and of ideas of continuity, as well as from traditional conceptions of character.

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/content/litnet/9/3/EJC129821
2012-12-01
2016-12-11

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