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Annie Tesis Finaal Geredigeer Foster DIE OPKOMS VAN AFRIKAANSE ROCK EN DIE LITERÊRE STATUS VAN LIRIEKE, MET SPESIFIEKE VERWYSING NA FOKOFPOLISIEKAR ANNIE ELIZABETH KLOPPER Tesis ingelewer ter gedeeltelike voldoening aan die vereistes vir die graad van Magister in die Lettere en Sosiale Wetenskappe aan die Universiteit van Stellenbosch Studieleier: PROF PH FOSTER (Departement Afrikaans en Nederlands) Medestudieleier: PROF AM GRUNDLINGH (Departement Geskiedenis) MAART 2009 ii VERKLARING Deur hierdie tesis elektronies in te lewer, verklaar ek dat die geheel van die werk hierin vervat, my eie, oorspronklike werk is, dat ek die outeursregeienaar daarvan is (behalwe tot die mate uitdruklik anders aangedui) en dat ek dit nie vantevore, in die geheel of gedeeltelik, ter verkryging van enige kwalifikasie aangebied het nie . Datum: 4 Maart 2009 Kopiereg © 2009 Universiteit Stellenbosch Alle regte voorbehou iii OPSOMMING Die doel van hierdie studie is om die opkoms van Afrikaanse rock en die literêre status van Afrikaanse rocklirieke te ondersoek, met Fokofpolisiekar as voorbeeld. Daar word nagespoor hoe die spesifieke sosiopolitieke konteks waarbinne Afrikaanse rock ontwikkel, die lirieke en styl daarvan beïnvloed. Afleidings word gemaak oor die implikasies wat Afrikaanse rock inhou ten opsigte van die Afrikanerjeug se identiteit in die nuwe millennium. Ter demonstrasie van hierdie interdissiplinêre en kon- tekstuele ondersoek, word ’n gevallestudie onderneem van die Afrikaanse punkrock- groep Fokofpolisiekar. Nie net word gekyk na die ontstaan en invloed van die groep nie, maar 'n beduidende deel van die tesis word bestee aan hul lirieke, wat vanuit ’n literêre oogpunt beskou en ondersoek word. In die proses kom sekere vrae met betrekking tot die posisie van lirieke in die Afrikaanse literêre sisteem onder die loep. Die analise en interpretasie van Fokofpolisiekar se lirieke het dus ten doel om die literêre status van hierdie groep se lirieke te ondersoek. Daar sal bewys word dat die sosiopolitieke konteks waarbinne dié groep se lirieke geskep word, bydra tot die aard en tematiek daarvan. Die worsteling met kwessies van verlossing en identiteit in die lirieke word in verband gebring met die sosiopolitieke konteks van die Afrikanerjeug na afloop van die magsverlies van die Afrikaner in 1994 en die postmoderne milieu waarin hulle hulself bevind teen die draai van die millennium. Laasgenoemde tydvak word gekenmerk deur die toenemende fragmentering van identiteit. Die gevolg- trekking word gemaak dat Afrikaanse populêre musiek ’n ruimte skep waarbinne nuwe idees omtrent ‘waarhede’ met betrekking tot identiteit geformuleer kan word. Met ander woorde, die punkrockmusiek van Fokofpolisiekar skep die geleentheid vir die reartikulasie van Afrikaneridentiteit. Deur die skep en ontvangs van Fokofpolisiekar se lirieke met behulp van die polisisteem- en ander teorieë te ondersoek, word bewys dat lirieke wel ’n plek in die Afrikaanse literêre sisteem het, maar dat dit nie gelykstaande is aan poësie nie. Daar word geargumenteer dat lirieke sigself is en slegs met hierdie feit in gedagte, tot volle reg kan kom in ’n literêre studie, aangesien die skep en ontvangs van lirieke verskil van dié van ander literatuurvorme. iv SUMMARY The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study. v BEDANKINGS • My studieleier, professor Ronel Foster van die Departement Afrikaans en Nederlands, en my medestudieleier, professor Albert Grundlingh van die Departement Geskiedenis, vir hulle noukeurige deurlees, geduld en raad. • My wonderlike gesin vir hulle begrip, ondersteuning en onvoorwaardelike liefde. • Etienne van Heerden en die span by LitNet vir hulle ondersteuning en begrip. • ’n Spesiale dankie aan Hunter Kennedy vir sy behulpsaamheid en bereid- willigheid om te gesels oor lirieke. • Almal met wie ek insiggewende gesprekke gevoer het oor lirieke: Danie Marais, Valiant Swart, Toast Coetzer, Tertius Kapp, Willem Anker, Marlene van Niekerk, Erns Grundling, Elbie Adendorff, Johan Swarts, Andries Bezui- denhout, Bouwer Bosch, Francois Breytenbach Blom, Amanda Strydom, Gerald Clark, Johan Stemmet, Chris Chameleon, David Kramer, Anna Davel, Theo Crous, Abel Kraamsaal, Lara Frances, Louis van Rensburg, Sean Else, Lize Beekman, Frederick den Hartog, Bertie Coetzee, Beer Adriaanse, Hanru Niemand, André Swiegers, Richard van der Westhuizen, Jax Panik en al my vriende. • Dr Stephanus Muller van die Departement Musiek vir sy belangstelling en raad. • Maretha Albertyn, Suzanne Bezuidenhout, Nandie du Plooy en Elfriede Muller vir hulle vriendskap en ondersteuning. • Liny Kruger van Rhythm Records vir al die CD’s, persuitreikings en goeie tye. • MK en Third World Media, die vervaardigers van Johnny en die Maaiers . • De Plate Kompanjie vir die toere, CD’s en gees. • My beursdonateurs (die menings in hierdie tesis is nie noodwendig dié van hierdie genoemde donateurs nie): die Universiteit van Stellenbosch, die Departement Afrikaans en Nederlands, die JBM Hertzog-beursfonds, die Bradlow-beursfonds en die Hymne Weiss-beursfonds. • Die lede van Fokofpolisiekar vir laatnaggesprekke, lirieke en musiek. • Goddank vir klank. vi INHOUDSOPGAWE VERKLARING ....................................................................................................... ii OPSOMMING ........................................................................................................ iii SUMMARY ............................................................................................................ iv BEDANKINGS ........................................................................................................ v HOOFSTUK 1: Oriëntering ................................................................................... 1 1.1 Inleiding en impuls vir studie ........................................................................ 1 1.2 Sentrale vraagstelling .................................................................................... 6 1.3 Hoofstukindeling ............................................................................................ 7 1.4 Omskrywing van terme ................................................................................. 9 1.4.1 Die klassifikasie van musiek as pop, rock, punkrock en metal.................... 9 1.4.2 Die gebruik van die term “Afrikaner”...................................................... 16 1.5 Werkswyse ....................................................................................................17 1.5.1 Die gebruik van ’n interdissiplinêre benadering....................................... 17 1.5.2 Kultuurstudies en die inslag daarvan in hierdie tesis................................ 19 1.5.3 Kultuurstudies in/en Suid-Afrika .............................................................. 27 1.5.4 Kultuurstudies en die gebruik van mediatekste ......................................... 29 1.5.5 Die interpretasie van lirieke..................................................................... 32 1.6 Doelstellings ..................................................................................................35 HOOFSTUK 2: Lirieke as literatuur ....................................................................39 2.1 Inleiding ........................................................................................................39
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