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dc.rights.licenseCC-BY-NC-ND
dc.contributor.advisorOlivieri, D
dc.contributor.authorDekker, S.
dc.date.accessioned2011-09-08T17:01:47Z
dc.date.available2011-09-08
dc.date.available2011-09-08T17:01:47Z
dc.date.issued2011
dc.identifier.urihttps://studenttheses.uu.nl/handle/20.500.12932/8857
dc.description.abstractSouth Africa is a country in transition. New musical genres have been created that South Africans can identify with and that assist them in shaping new forms of national identities. In a country where political changes imply a renegotiation of social relations and a redefinition of national identities, music has a significant role to play. South African academic Angela Impey writes “All South African popular musics have been fashioned out of a creative blend of indigenous musical practices and western influences, and have been implicated in, and expressive of, broader socio-political transformations in national cultural identity. ” This to me sums up the topic of this paper. I explore three genres of South African music: Afro-pop, Kwaito, and Zef-Side. I discuss how each of these genres works towards constructing South African identities, carving out new spaces of belonging in a relatively young democracy. In the process I analyse representations in the works of various South African musicians within these musical genres.
dc.description.sponsorshipUtrecht University
dc.format.extent404314 bytes
dc.format.mimetypeapplication/pdf
dc.language.isoen
dc.titleCarving out new identities - The subversion of mainstream identities through representations in South African music
dc.type.contentBachelor Thesis
dc.rights.accessrightsOpen Access
dc.subject.keywordsSouth Africa, identity, gender, music, ethnicity, post-apartheid, kwaito, afro-pop, Zef, Die Antwoord, Jack Parow, Zola, Freshly Ground, Hot Water, Gang of Instrumentals, class
dc.subject.courseuuTaal- en cultuurstudies


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