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Hibriditeit En Outentisiteit As Kulturele Merkers in Nico Carstens Se Musiek

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Hibriditeit En Outentisiteit As Kulturele Merkers in Nico Carstens Se Musiek LitNet Akademies Jaargang 15, Nommer 3, 2018, ISSN 1995-5928 Hibriditeit en outentisiteit as kulturele merkers in Nico Carstens se musiek Hannes Susanna Louw, Nicol Viljoen en Martina Viljoen Susanna Louw, Nicol Viljoen en Martina Viljoen, Odeion Skool vir Musiek, Universiteit van die Vrystaat Opsomming In populêre Afrikaanse populêre-musiek-joernalistiek is Nico Carstens (1926–2016) as die koning van boeremusiek bestempel. Hierdie benaming het hom nooit aangestaan nie. Aanvanklik het sy komposisies wel op ‘n aanwending van tradisionele boeremusiekidiome berus, en trekke daarvan verskyn steeds in sy latere werk. Dié middele het hy egter vroeg reeds deur ‘n verbeeldingryke versmelting van musikale invloede en style verryk. Die historiese plasing van Carstens se werk dra by tot die kontekstuele verwikkeldheid daarvan. Dit kom tot stand binne ‘n tydperk waarin Afrikanerkultuurpolitiek ―ligter‖ Afrikaanse musieksoorte as óf ―volksvriendelik‖ óf ―volksvreemd‖ sou tipeer en die verspreiding daarvan beheer of beïnvloed het (Van der Merwe 2017:15; Laubscher 2005:313). Ofskoon Carstens se treffers deurentyd kommersieel bemark was, en vir ‘n aansienlike tyd gunstig ingespeel het op Afrikanersentimente, wil ons redeneer dat hibriditeit reeds in sy vroeë komposisies vergestalt is, en dat dié aspek van sy werk nie slegs ‘n kommersiële strategie was nie, maar ‘n doelbewuste vermenging van identiteite en etnisiteite. Hierdeur het hy ‘n eie stem geskep. Na aanleiding van ‘n bespreking van enkele van sy bekendste komposisies wil ons gevolglik aanvoer dat outentieke musikale uitdrukking in Carstens se musiek gestalte gekry het – vanaf sy vroeë albums tot en met latere, ―ernstige‖ multikulturele werk. Dié argumentering word in verband gebring met huidige diskoerse rondom musikale identiteit wat begrippe soos deurdringbaarheid, poreusheid en hibriditeit ondersoek. Die vraag waarop daar gefokus word, belig die wyses waarop Carstens as komponis en trekklavierspeler daarin geslaag het om tradisionele boeremusiekidiome deur middel van ‘n versmelting van verskillende musikale invloede en style te verryk tot ‘n gestileerde, dog hoogs toeganklike en bemarkbare Suid-Afrikaanse populêre-musiek-identiteit. 456 LitNet Akademies Jaargang 15, Nommer 3, 2018, ISSN 1995-5928 Daar word bevind dat Carstens gedurende sy totale loopbaan nie alleen ―volksvriendelike‖ elemente in sy musiek vergestalt het nie, maar deurlopend ook ―buite-invloede‖. Verder het sy uitsprake duidelik gemaak dat hy die idee van ―die volkseie‖ breed verstaan het, en daarby ook die musiek van inheemse groepe ingesluit het. In hierdie opsig kan Carstens se hervestiging en herinterpretasie van boeremusiek as ‘n baie bepaalde plaaslike-musiek- identiteit binne tydgenootlike internasionaal-heersende style en genres verstaan word, en kan dit gesien word as ‘n outentieke musikale uitbreiding van ‘n identiteit wat voorheen met ‘n eng-gedefinieerde Afrikanerkonteks verbind is. Trefwoorde: ―Betowering‖; boeremusiekidiome; Nico Carstens; ―Hasie‖; hibriditeit; ―Istanbul‖; ligte Afrikaanse musiek; populêre Suid-Afrikaanse musiek; ―Skokiaan‖; trekklavier; volkseie; volksvriendelike; volksvreemde; ―Warm patat‖; Zambezi. Abstract Hybridity and authenticity as cultural markers in the music of Nico Carstens In the popular music press Nico Carstens was commonly described as the ―king of boeremusiek‖ – a title he never appreciated. Initially, his compositions were based on an application of traditional boeremusiek idioms – which still formed part of his later work. However, he extended these devices from early on in his career by way of an imaginative fusion of musical influences and styles. The historical positioning of Carstens‘s work contributes to its contextual intricacy. It originates from a period during which the dissemination of Afrikaans popular music was controlled or manipulated as part of a broader cultural-political strategy, classifying it as either ―friendly‖ to Afrikaner culture or ―foreign‖ to it (Van der Merwe 2017:15; Laubscher 2005:313). Although Carstens‘s hits were always commercially marketed, and for a considerable time catered to Afrikaner sentiments, we argue in this article that hybridity started taking form even in his early compositions, and that this aspect of his work was not a commercial strategy only; rather, it was a conscious mixing of identities and ethnicities through which Carstens created an own voice. Following a discussion of a selection of his best-known compositions we then make the case that authentic expression did occur in Carstens‘s music – starting with his early albums, and culminating in later, ―serious‖ multicultural work. In this regard our argument takes into consideration recent discourses on musical identity that explore concepts such as permeability, porosity and hybridity. The question on which we focus highlights the ways in which Carstens, both as a composer and as a piano accordion player, succeeded in enriching traditional boeremusiek idioms by way of the fusion of a variety of musical influences and styles in order to produce a stylised, yet highly accessible and marketable South African popular music identity. Our findings highlight the fact that throughout his entire musical career Carstens not only embodied elements that may be considered to be ―friendly‖ to Afrikaner culture, but also continuously included ―foreign‖ musical elements. Furthermore, his personal statements 457 LitNet Akademies Jaargang 15, Nommer 3, 2018, ISSN 1995-5928 made it clear that, for him, ―own‖ cultural goods incorporated not only cultural elements that may be considered as typically belonging to Afrikaner culture, but also those that represent the music of other indigenous peoples. In this regard, Carstens‘s re-establishment and reinterpretation of boeremusiek as a most individualistic local music identity may be seen as an authentic extension of an identity which formerly had been associated only with a narrowly defined Afrikaner context. Keywords: Afrikaans light music; Afrikaner culture; ―Betowering‖; boeremusiek idioms‘; Nico Carstens; ―Hasie‖; hybridity; ―Istanbul‖; piano accordion; ―Skokiaan‖; South African popular music; ―Warm patat‖; ―Zambezi‖. 1. Inleidend Binne plaaslike musikologiese studies word Suid-Afrika se multikulturele erfenis sedert die koms van ‘n demokratiese bestel gevier, en word inheemse musieksoorte wat tot dusver nie vanuit akademiese vertrekpunte ondersoek is nie, toenemend onder die loep geneem. Ook word die begrip inheems breër verstaan as slegs tradisionele vorme van Afrika-musiek. Op hierdie wyse word daar erkenning gegee aan ‘n verskeidenheid van musieksoorte wat verteenwoordigend is van ‘n wye reeks kulturele groeperinge. Dié verbreding van plaaslike musikologiese studies se fokus sluit aan by die kulturele musikologiese stukrag wat reeds die afgelope drie dekades binne die internasionale terrein beslag gekry het. Hierby is nie net ‘n erkenning van die navorsingswaardigheid van ‘n verskeidenheid van musieksoorte toenemend beklemtoon nie, maar ook die behoefte om elkeen op ‘n toepaslike wyse te verstaan. Soos die sosiomusikoloog Peter Martin (1995:ix) dit saamvat, word Westerse klassieke musiek in hierdie konteks nie meer as hiërargies oorheersende verskynsel verhef nie – ―a universal language [...] the epitome to which all cultures aspire‖ – maar word alle musieksoorte erken as voortspruitend uit geldige kulturele en sosiale kontekste (Martin 1995:2). Wat die bestudering van Westerse kunsmusieksoorte betref, was daar eweneens klemverskuiwings. In hierdie opsig beskryf Richard Taruskin (2010:xi–xii) die belang van ‘n meer heterogene blik op die klassieke kanon, agterdog teenoor meta- of meesternarratiewe, en voorbehoud oor die bevoordeling van sogenaamde elite genres. Sodoende is voormalig- heersende normatiewe benaderings binne die breër musikologiese terrein oorkoepelend hersien, en is musikologiese studies binne én buite die Westerse kunsmusiekkanon aanmerklik verbreed. Willemien Froneman se navorsing oor boeremusiek sluit produktief aan by bogemelde tendense, en is van noemenswaardige belang vir navorsing oor Nico Carstens.1 Haar (self)kritiese ontledings wil hegemoniese Afrikanerdiskoers rondom die tema van boeremusiek ontsetel en dit as ‘n onderhandelbare kultuurhistoriese verskynsel verstaan. Gevolglik beklemtoon sy (2012:33–4) die hibriede rasse-oorspronge en latere verbastering van tradisionele boeremusiek wat strek oor die bestek van vyf dekades, vanaf wat gedurende die apartheidsera as ―hotnotsmusiek‖ beskryf is2 tot by bepaalde voorstellings van Afrikanerdom: 458 LitNet Akademies Jaargang 15, Nommer 3, 2018, ISSN 1995-5928 Traditional boeremusiek suffers from its schizophrenic subservience to Afrikaner nationalism, on the one hand, and the memory of its hybrid beginnings, on the other. Being at the same time too white and not white enough, traditional boeremusiek provides a haven where Afrikaner innocence can be recovered, but always with a sense of revulsion. In sy onlangse studie van die verwikkelde verwantskap tussen Afrikaanse kultuurpolitiek en Afrikaanse populêre musiek vanaf die begin van die 20ste eeu tot en met 2017, bevestig Schalk van der Merwe (2017:62 e.v.) dat die vroeë geskiedenis van Afrikaner-organisasies soos die Federasie van Afrikaanse Kultuurverenigings (FAK) en die voormalige Afrikaanse Diens van die Suid-Afrikaanse Uitsaaikorporasie (SAUK), direk met die aanvanklike teenkanting en latere bevordering van boeremusiek in verband gestaan het. Terwyl dié musieksoort eers as minderwaardig gesien is vanweë
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