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DISSERTATION O Attribution COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujdigispace.uj.ac.za (Accessed: Date). DRESS STYLE IDENTITIES IN TWO POST-APARTHEID AFRIKANER SUBCULTURAL MUSIC GROUPS By Jacky Lucking Submitted in fulfilment for the requirement of the degree MAGISTER TECHNOLOGIAE: FASHION In the Department of Fashion Design Faculty of Art, Design and Architecture UNIVERSITY OF JOHANNESBURG Supervisor: Dr S Narunsky-Laden Co-supervisor: Ms N Harvey 2015 DECLARATION I Jacky Lucking hereby declare that the dissertation submitted for the Magister Technologiae: Fashion to the University of Johannesburg, apart from the help recognised, is my own work and has not previously been submitted to another university or institution of higher education for a degree. …………………………………………………………… SIGNATURE …………………………………………………………… DATE ii ACKNOWLEDGEMENTS Taking the plunge to commit to a Master’s degree has been an extremely challenging experience for me. In the three years I have spent on this study, my life has taken many twists and turns, and I have learnt so much more than I ever thought I would. There are many people that have walked this journey with me, and I wish to acknowledge them here, with heartfelt gratitude. Foremost, I would like to thank my supervisor, Sonja Narunsky-Laden, for guiding this study and being able to provide valuable readings, background information and insight. I am so grateful and blessed to have had Sonja supervising me, whose wisdom and knowledge has meant that Sonja not only supervised my study, but has become a mentor and friend whom I deeply respect. I would like to extend this gratitude to my co-supervisor, Neshane Harvey. Neshane provided valuable and detailed feedback which was extremely helpful. Neshane always believed in my ability to see this study through to the end, and has been a shoulder to cry on when times were tough. Neshane has supported me in these three years so consistently, and for this I am forever grateful. I would like to thank Leora Farber for the thorough feedback after agreeing to be a critical reader. Leora’s feedback enabled me to see my research from a different perspective which I believe has led to a richer study. I would also like to thank Desiree Smal, the Head of the Fashion Department, who has continuously supported me throughout this time. Thank you to the Faculty of Art, Design and Architecture and the Fashion Department at the University of Johannesburg (UJ) for providing me with funding to present my research at the 6th Global Conference Fashion: Exploring Critical Issues held in the UK. The feedback from conference delegates was invaluable and resulted in a clearer argument of my analyses. Thank you also for the tuition and relief funding received from UJ, the Department of Higher Education and Training and the Postgraduate Centre at UJ, respectively, which allowed much needed extra time to complete the study. I am very appreciative of the Writing Centre at UJ, in particular to Danielle Swanepoel, as well as my colleague Keneilwe Munyai, for additional and prompt feedback, especially at the critical moments near the end. I iii would like to thank the participants that I interviewed for the study. Their honesty, friendliness and willingness to be interviewed and photographed is much appreciated. I hope that I have done them justice in my interpretations of their visual identities. My family have offered HUGE amounts of ‘behind-the scenes’ support during these three years. Thank you to my husband, Steve, for taking care of all the day-to-day running around while I went into my little world to write this dissertation. Also, thank you to Steve for joining me at the dusty and crazy Oppikoppi festival and coming along to all the performances of Fokofpolisiekar and Die Antwoord so that I could do my research. I would like to thank my mom, Jeanette, brother, Dean and sister, Elize for their continued support. They have been pillars of strength to me and have remained steadfast throughout. Thank you to my very special group of friends, who have patiently listened to me rambling on about my research, kept me motivated and provided a number of much needed good times! The distractions were most welcome! But especially, my heartfelt thanks go to my daughters, Sadie and Mia. My daughters are my reason for living and the reason that I am able to achieve anything. They have managed to help me to maintain balance within my life during these years of study. My daughters remind me to laugh and love and keep me motivated. I love you both more than you could ever know. Lastly, I would like to dedicate this study to my late father, Johan. My dad taught me to always follow my dreams and under no circumstances to settle for anything less. Thank you for this life-lesson that forms the core of my being. iv ABSTRACT In this study I set out to explore some of the ways in which the dress styles of post- apartheid Afrikaans alternative bands, namely Fokofpolisiekar (Fuck-off-police-car), and Die Antwoord (The Answer), contribute to a newly-transformed image of what it means to be a young Afrikaner in post-apartheid South Africa today. A working premise here is that the oppositional stance of the music played by the bands in question leads to an inclination of these young alternative Afrikaans-speaking musicians and selected members of their audience, to explore new forms of identification through their dress styles. Non-mainstream Afrikaans music bands have recently become highly successful in post-apartheid South Africa. In pursuing alternative ways of styling themselves through dress, they have taken to borrowing dress styles that reference past subcultures, and in the case of Die Antwoord, play a role in consolidating what has become known as zef culture. Alluding to past subcultures due to a relative absence of local, Afrikaner styling options, these non-mainstream Afrikaans bands appear to have ignited a type of zeitgeist among some Afrikaners, most perceptibly manifested in particular dress styles. In the dissertation I describe and analyse the dress styles of members of Fokofpolisiekar and Die Antwoord, as well as a select group of these bands’ audience members. The data is then further corroborated through visual methodologies. The interpretations and analyses enable an insight into the role that dress style plays in facilitating newly-transformed perceptions of what it means to be a young Afrikaner in post-apartheid South Africa today. v TABLE OF CONTENTS DECLARATION .......................................................................................................... ii ACKNOWLEDGEMENTS .......................................................................................... iii ABSTRACT ............................................................................................................... v TABLE OF CONTENTS ............................................................................................. vi LIST OF FIGURES..................................................................................................... xi LIST OF PLATES ..................................................................................................... xii LIST OF TABLES ..................................................................................................... xv LIST OF APPENDICES ........................................................................................... xvi CHAPTER ONE: OVERVIEW OF THE STUDY ........................................................ 1 1.1 Introduction ....................................................................................................... 1 1.2 Style, fashion and dress ................................................................................... 1 1.2.1 Subcultural style ......................................................................................... 3 1.3 Background to the study ................................................................................... 4 1.4 Research question ............................................................................................ 8 1.4.1 Aims and objectives ................................................................................... 8 1.5 Chapter outline ................................................................................................. 9 1.5.1 Chapter One: Introduction .......................................................................... 9 1.5.2 Chapter Two: The post-apartheid Afrikaner subculture background ........ 10 1.5.3 Chapter Three: Global subcultural studies ............................................... 10 1.5.4 Chapter Four: Research methodology ..................................................... 10 1.5.5 Chapter Five: Findings and analysis ........................................................ 11 1.5.6 Chapter Six: Conclusion ..........................................................................
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