Patriotiese Liedere As Ideologiese Diskoers: ’N Figuratiewe Semiotiese Ontleding
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LitNet Akademies Jaargang 14, Nommer 3, 2017, ISSN 1995-5928 Patriotiese liedere as ideologiese diskoers: ’n figuratiewe semiotiese ontleding Charla Schutte en Martina Viljoen Charla Schutte en Martina Viljoen, Odeion Skool vir Musiek, Universiteit van die Vrystaat Opsomming Die doel van hierdie artikel is om Johann Visagie se Figuratiewe Semiotiese Teorie te bespreek en dit vervolgens toe te pas op ’n ideologiekritiese ontleding van simboliese uitdrukkings in ’n aantal patriotiese liedere. Visagie se teorie het ten doel om die funksie van semiotiese temas binne argivale diskoers te bepaal, en om ideologiese magsverhoudinge onderliggend aan sodanige diskoers bloot te lê. Die vraag wat ondersoek word, is die mate waartoe simbool en betekenis in die gekose liedere ’n wanvoorstelling van ’n bepaalde werklikheid daarstel, of die mate waartoe dit ideologiese magsverhoudinge beklemtoon of verskuil. Dit blyk dat die liedere wat hier ondersoek word in terme van woordteks ’n hoë mate van ideologiese inhoud toon. Musikaal gesproke word dit gekenmerk deur eenvoudige melodieë en herhalende strukture. Affek word deur die aanwending van bepaalde idioomtipes bewerkstellig; hierby verkry die liedere veral ’n opruiende inslag deur middel van ritmiese aanwending. Melodiese hoogtepunte of ander vorme van musikale beklemtoning werk telkens oorredend deurdat dit met sterk ideologiese uitinge in die woorde saamval. Musikale inkleding dien egter ook in sommige gevalle om ideologiese inhoude te versluier of te verbloem. Inleidend word die Duitse nasionale volkslied (“Das Deutschlandlied”) as ikoniese voorbeeld van ’n ideologiese patriotiese lied bespreek. As toepassing van Visagie se teorie fokus ons latere ontleding op aspekte van ideologiese verdraaiing in die DDR nasionale volkslied (“Auferstanden aus Ruinen”) en “Die Stem van Suid-Afrika”. Daarbenewens word enkele patriotiese liedere uit die FAK-sangbundel, waarin nasie en landeienaarskap verheerlik word, ontleed. Die semiotiese woordteksontleding bring aan die lig dat die woorde van die DDR nasionale volkslied op die argetipiese metafoor-opeenvolging “staan-val-herrys” berus – wat eerder na die Christelike aura van Nazi-Duitsland as na ’n sosialistiese werkerstradisie verwys. Verdere 215 LitNet Akademies Jaargang 14, Nommer 3, 2017, ISSN 1995-5928 ontleding ontmasker ook die illusie van die demokratiese staat. Uiteindelik projekteer die woorde onopgeloste konflik. In “Die Stem van Suid-Afrika” en “Afrikaners, Landgenote” blyk ’n sterk Europese erfenis, en tree drie kragtige makromotiewe as hoogs ideologiese “drie-eenheid” binne ’n kwalik verbloemde godsdienstige konteks na vore, naamlik “Nasie”, “Kultuur” en “Land”. “Vlaglied” bevestig dat Suid-Afrika deur die Hoogste Hand aan die Afrikanernasie gegee is, en dat Hy die nasie as dienaars van die Almagtige van enige knegskap verlos (behalwe dié van Nasie en Land). ’n Emosionele dokumentering van die Afrikaner se geskiedenis in “Die Lied van Jong Suid-Afrika” toon besonder ingewikkelde magsverhoudinge: die Natuur (land) het nie slegs stilgestaan om die Afrikaner se magtige koms te erken nie, maar is deur dié nasie met bloed “gekoop” en “oorwin”. Die Natuur word die Afrikanernasie se besit – maar in hierdie “tuiste” neem Patriotiese Vryheid, as Hoogste Ideaal, uiteindelik God se plek as Koning (Heerser) in. Trefwoorde: “Afrikaners, Landgenote”; DDR nasionale volkslied; “Die Lied van Jong Suid- Afrika”; “Die Stem van Suid-Afrika”; Duitse nasionale volkslied; FAK-sangbundel; Figuratiewe Semiotiese Teorie; ideologiekritiek; nasionale volksliedere; patriotiese liedere; “Vlaglied”; Visagie, Johann Abstract Patriotic songs as ideological discourse: a figurative semiotic analysis The aim of this article is to discuss Johann Visagie’s Figurative Semiotic Theory and subsequently to apply it to an ideological-critical reading of symbolic expression in a number of patriotic songs. Visagie’s theory has as its aim to outline the function of semiotic themes within archival discourse, and to uncover ideological relations of power underlying such discourse. The question posed in this article is to what degree symbol and meaning within the selected songs effect a misrepresentation of a certain reality by either underlining or masking ideological relations of power. The analyses mainly demonstrate that the songs examined in terms of word text reveal a high degree of ideological content. Musically, they are characterised by simple melodic content and repetitive structures. The effect is brought about by the use of specific “idiom types”; in this regard, the discussion refers to the typology of Boyd (2001:655) who classifies national anthems according to five categories (which may overlap). As the most frequently used type, Boyd identifies national anthems that resemble hymns (such as, “God save the King/Queen”). Also popular are those that take on the character of a march (a well-known example is “La Marseillaise”). He then singles out “operatic” anthems (such as that of Italy). Anthems occurring less frequently are “indigenous” anthems (such as those of Japan and Sri Lanka), and festive instrumental fanfares without any verbal text (such as the anthem of the United Arab Emirates). In the case of the anthems analysed in this article, hymn and march types take precedence. It was observed that the rhythmic application effects an arousing musical atmosphere in most of the songs. Melodic climaxes or other forms of musical emphasis act persuasively in that these 216 LitNet Akademies Jaargang 14, Nommer 3, 2017, ISSN 1995-5928 coincide with strong ideological statements within the word texts. Musical setting could, however, also mask ideological meaning. In this regard, John Thompson’s (1990:7) concept of ideology, from which Visagie’s (1990; 1996) formulation ensues, proves to be of particular relevance. Thompson seeks to refocus the concept on a cluster of problems concentrating specifically on the interrelations of meaning and power. In this respect he argues that the concept of ideology could be applied to the ways in which meaning serves, in particular circumstances, “to establish and sustain relations of power which are systematically asymmetrical” – such relations he calls “relations of domination”. Thus, for Thompson, ideology, in the broader sense, is “meaning in the service of power” (Thompson 1990:7). The choice of patriotic songs discussed in this article is justified by way of the strong ideological ties that existed between Germany and apartheid South Africa, as well as overlapping politically inspired events in both East Germany and apartheid South Africa. It is argued that, in both cases, patriotic songs became vehicles of ideological thought – in both cases also projecting a warped view of reality. By way of an introductory discussion, the German national anthem (“Das Deutschlandlied”) is considered as an iconic example of a highly ideologised patriotic song. Here it was found that during the early 20th century the melody, originally written in 1796 by Haydn as a birthday song for Emperor Franz II (the so-called “Kaiserhymne”), and later used as the musical setting for a patriotic text written in 1841 by August von Fallersleben which was eventually used for the German national anthem, increasingly took on a nationalistic and militaristic character until, as Hanson (2013) observes, together with the “Horst-Wessel- Lied”, it promoted Nazi philosophy as a “fully propagandized [...] campaign of hatred and intolerance”. This discussion demonstrates that an “elevated”, “hymn-like” national anthem can function as a fully-fledged instrument of political power – precisely by the fact that its (original) dignified musical setting masks its (later) ideological message. An application of Visagie’s semiotic theory to an analysis of the GDR national anthem (“Auferstanden aus Ruinen”) emphasises that the words of this anthem are based on the archetypal metaphor “stand-fall-rise”, which is suggestive of the Christian aura of Nazi Germany rather than that of the socialist workers’ tradition. Further analysis uncovers the illusion of the democratic state. Moreover, in terms of referring to conflicting symbols and images, the words are found to project unresolved conflict – although symbolically the music projects the sun rising over an ideal, “new” country. The analyses of “The Call of South Africa” and “Afrikaners Landgenote” establish a deep- seated European connectedness, as well as strong ties with pre-Nazi and Nazi Germany. In these songs three powerful macro-motives come to the fore as a highly ideologised “trinity” within a barely disguised religious context, namely Nation, Culture and Land. Moreover, in both cases the musical settings are suggestive of quasi-religious “consecration”. The words of the “Flag Song” demonstrate the belief that South Africa was given to the Afrikaner nation by a divine hand, and that therefore this nation had been delivered of any servitude, except for those of Nation and Land. Musically, the song is found to be emotionally arousing. A documentation of Afrikaner history within “The Song of Young South Africa” confirms exceptionally intricate relations of power. Here, Nature (Land) did not only come to a standstill in order to acknowledge the mighty coming of the Afrikaner nation, but was also “bought” and “conquered” by this nation with blood (note the reference to the well-known 217 LitNet Akademies Jaargang 14, Nommer 3, 2017, ISSN 1995-5928 Nazi philosophy of “blood and soil”). Within this context, Nature is owned by the Afrikaner;