dc.rights.license | CC-BY-NC-ND | |
dc.contributor.advisor | Olivieri, D | |
dc.contributor.author | Dekker, S. | |
dc.date.accessioned | 2011-09-08T17:01:47Z | |
dc.date.available | 2011-09-08 | |
dc.date.available | 2011-09-08T17:01:47Z | |
dc.date.issued | 2011 | |
dc.identifier.uri | https://studenttheses.uu.nl/handle/20.500.12932/8857 | |
dc.description.abstract | South 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.sponsorship | Utrecht University | |
dc.format.extent | 404314 bytes | |
dc.format.mimetype | application/pdf | |
dc.language.iso | en | |
dc.title | Carving out new identities - The subversion of mainstream identities through representations in South African music | |
dc.type.content | Bachelor Thesis | |
dc.rights.accessrights | Open Access | |
dc.subject.keywords | South 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.courseuu | Taal- en cultuurstudies | |