’n Multimodale ondersoek na nostalgiese en patriargale Afrikanersimbole in populere Afrikaanse musiekvideo’s

Booysen, Gysbert Albertus (2021-12)

Thesis (MA)--Stellenbosch University, 2021.

Thesis

ENGLISH ABSTRACT: This study aims to identify patriarchal and nostalgic symbols in popular Afrikaans music videos. With a complex South African history, the issue of power or loss of power is often linked to the Afrikaner in modern society. It is argued that this so-called loss of power has had a profound impact on the identity formation of the Afrikaner group in a democratic South Africa, more specifically after the 1994 elections. From this political and cultural positioning, nostalgia plays a significant role when creating exclusive spaces with which the Afrikaner community can identify in an attempt to experience a degree of belonging, familiarity and security. This analysis is carried out through Bourdieu's capital, field and habitat theory as a theoretical lens to determine which cultural markers are used to create these exclusive and romanticised spaces for the Afrikaner. Spaces like the farm have special significance for the Afrikaner, and this study focuses on music videos that display the extent to which the farm and additional symbols such as farm equipment and clothing play a role in the Afrikaner's identity formation. Cultural Afrikaner spaces are further studied to investigate specific hierarchical structures and role distribution and division, especially between men and women. The idea of a conventional family structure with specific responsibilities linked to men and women also emphasises nostalgic practices that clearly surfaced in the conservative and traditional Afrikaner families. These roles often reinforce the view that women, in particular, should be the supporting figure for men. Various Afrikaans music videos are divided according to three categories from the above cultural spaces and practices, namely (1) the longing for an Afrikaner nationalist environment, (2) the longing for the farm, and (3) the positioning of the man as primary figure and leader and the woman as secondary support figure within the Afrikaner community. The symbols and cultural capital mentioned above, which are investigated in the context of popular music videos, possibly create a confusing and often misconstrued images between reality and fictional spaces used to escape reality. These spaces are created and structured to provide the Afrikaner with an opportunity for escape to a place that feels more familiar ─ “the good old days”.

AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om patriargale en nostalgiese simbole in populêre Afrikaanse musiekvideo’s te identifiseer. Met ’n komplekse Suid-Afrikaanse geskiedenis word die kwessie rondom mag of die verlies daarvan dikwels aan die Afrikanerkultuur gekoppel. Daar word geargumenteer dat hierdie sogenaamde magsverlies ’n hewige impak op die identiteitsvorming van die Afrikanergroep in ’n demokratiese Suid-Afrika het, spesifiek na die 1994-verkiesing. Juis vanuit hierdie posisionering speel nostalgie ’n beduidende rol wanneer eksklusiewe ruimtes geskep word waarmee spesifiek die Afrikanergemeenskap kan vereenselwig in ’n poging om ’n mate van tuiste, bekendheid en veiligheid te ervaar. Die analise word met behulp van Bourdieu se kapitaal-, veld en habitusteorie uitgevoer om vas te stel watter kulturele merkers gebruik word om hierdie eksklusiewe en romantiese ruimtes vir die Afrikaner te skep. ’n Ruimte soos die plaas het spesiale betekenis vir die Afrikaner en daar word in die musiekvideo’s gekyk in hoe ’n mate die plaas en bykomende simbole soos plaastoerusting en kleredrag ’n rol in die Afrikaner se identiteitsvorming speel. Kulturele Afrikanerruimtes word verder bestudeer om spesifieke hiërargiese strukture en rolverdeling, veral tussen man en vrou, te ondersoek. Die idee van ’n konvensionele gesinstruktuur met spesifieke verantwoordelikhede wat aan mans en vrouens gekoppel word sluit ook aan by nostalgiese praktyke wat duidelik in die konserwatiewe en tradisionele Afrikanergesinne figureer. Hierdie rolle bevestig dikwels dat veral vrouens die ondersteunende rol vir die man moet wees. Verskeie Afrikaanse musiekvideo’s word volgens drie kategorieë vanuit die bogenoemde kulturele ruimtes en praktyke verdeel, naamlik (1) die verlange na Afrikanernasionalistiese tuiste, (2) die verlange na die plaas, en (3) die posisionering van die man as primêre figuur en leier en die vrou as sekondêre ondersteuningsfiguur binne die Afrikanergemeenskap. Hierdie bogenoemde simbole wat dikwels in die musiekvideo’s figureer skep ’n verwarrende en onakkurate beeld tussen realiteit en fiktiewe ruimtes wat gebruik word om die realiteit te ontsnap. Hierdie ruimtes word juis geskep en gestruktureer om vir die Afrikaner geleentheid vir ontsnapping te bied na ’n plek wat meer bekend voel ─ “die goeie ou dae”.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/123951
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