Litnet

Abstract

During the 1970s and 1980s in apartheid South Africa, mainstream Afrikaans music consisted of sentimental and romantic songs aimed at entertainment and often directly based on European songs. Despite efforts by the Musiek en liriek-beweging [Music and lyrics movement] to create “songs with a deeper lyrical meaning” (luisterliedjies), the general scene of Afrikaans pop music remained one of “easy listening and non-confrontational songs” (lekkerliedjies) (Van der Merwe 2015:25). A group of alternative rock musicians called Voëlvry (an Afrikaans word with the double meaning of ‘free as a bird’ and ‘outlawed’) challenged not only the authoritarian government, but also mainstream Afrikaans pop music, through their rebellious and subversive songs. However, mainstream Afrikaans music still completely ignored political issues. One of the most popular songs of this era was “Dis ’n land” [This is a land/country], on Carike Keuzenkamp’s album Ek sing [I sing] (1987). In 2011 this song was independently reworked by Snotkop and Van Coke Kartel. These versions reflected the new South African reality – but in totally different ways.

The main aim of this article is to investigate the intertextual interaction between the three songs, with attention to the social role and – in particular – the socio-political involvement reflected in them. The question in the article’s title indicates the focus: Are the songs and their videos only aimed at entertainment and recreation, or do they, like Voëlvry, also embody ideological and political resistance and protest? If so, to what extent?

Because pop and rock songs are regarded as an intermedial cultural practice “which enacts and thus embodies the interplay and integration of oral, literate and audiovisual modes of linguistic communication” (Moser 2007:283) it is necessary to study them from different academic perspectives. These not only include cultural studies, but also musicology, history, social anthropology, media studies and – as in our case – literary and comparative studies. We use theories, concepts and terms like text analysis and interpretation, committed literature (littérature engagée), intertextuality, and parody, in combination with those from other academic disciplines.

We open our discussion with an overview of academic opinions regarding the genre classifications of pop and rock lyrics vis-à-vis poetry (as set out by Odendaal 2008, 2013 and 2002, Klopper 2009 and 2017, Buelens 2011, and others). Although pop and rock music are multimodal cultural forms, we regard lyrics as a form of poetry – poetry performed on a real or virtual stage or podium. Thus popular music can be seen as an example of performative art. Next, we discuss the potential socio-cultural role and socio-political engagement of pop and rock music (using, for example, Weideman 1981, Klopper 2009, Senekal and Van den Berg 2010, and Brink 2020/2013). This is followed by a brief discussion of parody, using Hutcheon’s definition that parody is “repetition with difference. A critical distance is implied between the backgrounded text being parodied and the new incorporating work, a distance usually signaled by irony” (Hutcheon 1985:32). These theoretical insights form the basis of our discussion of the three songs and their accompanying visual material, outlined below.

The original “Dis ’n land” song is an exuberant celebration of South Africa, and was written by well-known musician and television personality Johan Stemmet. It has a catchy chorus, which is translated as follows in one of the unofficial videos: “It’s a land of colours and sound / It’s a land of abundance and gratitude / It’s a land that everyone strives for / It’s a land without horizon and / It’s a land that knows [it] can / And a homeplace laid down for me.” The Afrikaans / South African authenticity of the song (regarding both its theme and words) is, however, negated by the fact that it was based on a German Schlager, as were many popular Afrikaans songs (see Van der Merwe 2015:214–8, 257). Schlager music is a style of popular European music with simple and sentimental lyrics, usually about love or exotic places. In the case of “Dis ’n land” the Schlager in question was “Lass mich nicht allein” (1986), sung by Nicole, with Ralph Siegel as composer and Bernd Meinunger as lyricist.

For critical readers, and with hindsight, the lyrics are a misrepresentation of socio-cultural and sosio-political realities during apartheid. For example, the line “Hierdie land bied almal ’n lewe / sy deel” [This country offers everyone a life / his share] is an ironic and paradoxical statement. The ‘official’ video also portrays colourful pastoral scenes with people from different ethnicities seemingly satisfied with their living conditions and jobs – although these images are in stark contrast with one another. Interestingly enough, the fact that South Africa was involved in the so-called border war – in which young white men were conscripted – is reflected in military images in the video, supposedly meant to boost public morale. In retrospect, however, it might be interpreted as (unintended) political criticism by the videographers.

In 2011 Francois Henning, aka Snotkop, used the Stemmet/Keuzenkamp song as the basis for a reinterpretation on his album Ek laaik van jol [I like to party], with “Dis ’n land” as its title. The word snotkop is Afrikaans slang for an inexperienced and even cheeky young person. In his earlier career, Snotkop performed as a kwaito singer in the Sesotho language in black townships under the name Lekgoa [white person]. In 2006 Snotkop launched his career as an Afrikaans pop singer and rapper. His re-creation of the original song consists of three rapped verses, interspersed by the sung chorus of the original song. His version is a nostalgic and romanticised representation of, and reflects a longing for, a South African past which is based on ideologically naive assumptions. The singer earnestly begs his audience to listen to him: “[L]aat ek jou wys / hoekom noem ek hierdie crazy land nog steeds my huis” [Let me show you / why I still call this crazy country my home]. The lyrics and the video consist of an enumeration of images reflecting Snotkop’s carefree childhood days on a farm in the Free State. Initially the singer sits in an abandoned farmhouse – probably symbolic of the emigration by mainly white South Africans. On the wall behind him is a collage of pictures and photographs depicting various people from South African history, for example Paul Kruger, Hector Pieterson and Nelson Mandela, as well as “tannie [auntie] Carike” next to a photograph of young soldiers. In the final images of the video a group of white people join Snotkop, who is kneeling on the beach with his arms lifted high as in praise or prayer, while everybody sings the original chorus with great affection. This could reflect an idyllic and utopian view of the future of the new South Africa which white (Afrikaans) people should embrace. On the other hand, it could be regarded as a negation of other ethnicities, reiterating elements of political obliviousness in the original song.

In the same year, 2011, another “Dis ’n land” version was released, by Van Coke Kartel on their album, Wie’s bang [Who’s afraid]. Van Coke Kartel is a splinter group of Fokofpolisiekar [Fuck off police car] featuring Francois Badenhorst, aka Francois van Coke, as lead singer.

In contrast to Stemmet/Keuzenkamp’s and Snotkop’s celebration of the old and the new South Africa respectively, Van Coke Kartel’s rock re-creation is strongly ironic, satirical and parodic. Apart from the title of the original song, only one line from the chorus is repeated in the parody: “Dis ’n land van kleure en klank.” The patriotism and optimism of both the source text and the Snotkop version are replaced by words and images that depict a dystopia from which the “children of apartheid” (Erasmus 2017:179) cannot escape. The lyrics are the shortest of the three versions, but they are robust and provocative in their depiction of a new South Africa where murder, corruption, money laundering and evil prevail (see Erasmus 2017:188, end notes 19, 20 and 22 for a translation of the lyrics). The variation from “Dis ’n land” to “Dis ons land” [It’s our land] towards the end of the lyrics is an admission and acceptance of South Africa as a country which also includes them – despite their despair. The video depicts a satirical drag show with the four band members dressed in modest ‘auntie’ outfits. The seemingly jovial lead singer enumerates the evils of post-apartheid South Africa. The destruction of their musical instruments in the end implies not only destruction of their inherited (Afrikaner) cultural and political values and conventions, but also feelings of anger and hopelessness regarding their position as young white males in the new dispensation. It could also indicate self-doubt and failure regarding their music as a vehicle of resistance. The future is so bleak that trying to escape to make-believe worlds –like their two musical predecessors – is futile. All that remains is to arm and camouflage themselves with gas masks, being the unwilling soldiers of a seemingly lost cause – but somehow standing brave and tall.

Thus, regarding their socio-cultural contribution and socio-political engagement the three songs vary considerably. The source text – a ballad – is aimed at entertainment and serves as a contribution to Afrikaner/Afrikaans culture, without any criticism against the apartheid regime. The song and video still create a sense of belonging and togetherness for a broad spectrum of people. The intertextual reworkings of the song serve as an acknowledgement of its canonised status. Snotkop broadens the scope of the Afrikaans pop genre by using rap. His tribute replicates the romantic, nostalgic and idealistic sentiments of the source text. His enumeration of pastoral and positive items serves as justification for his decision to stay in South Africa (and by implication not to emigrate), while concealing possible social or political reasons. Although he regards this as a “crazy land”, his song expresses a continued allegiance to his home country. The wartime images in the video, juxtaposed with a picture of Keuzenkamp, might be regarded as unintended criticism. Of the three selected texts Van Coke Kartel’s parodic rock song is the strongest example of resistance and protest. It denies and criticises the naive political sentiments of its predecessors. The video could be seen as a powerful representation of chaos and destruction, which could be regarded as an attempt to undermine and destroy both previous and prevalent hegemonic orders.

In conclusion: The various intertextual re-creations differ from one another and the original song in their lyrics, music, recordings, cover images and video material. These differences and/or similarities extend the terrain for intertextual and interdisciplinary research on Afrikaans – as well as South African – popular music as multimodal cultural forms. Lyrics as a form of performance poetry is a dynamic cultural expression that evolves continuously. It can provide entertainment, or be a platform for resistance and protest.

Keywords: intertextuality; Carike Keuzenkamp; lyrics; parody; performativity; podium art/poetry; pop and rock music; re-creation(s); reinterpretation; resistance; Snotkop; socio-cultural role; socio-political engagement; Johan Stemmet; Van Coke Cartel; visual images

• This article’s featured image was created by Daniel Schludi, obtained from Unsplash and adjusted with text by LitNet.

Lees die volledige artikel in Afrikaans:

Vermaak of verset? ’n Ondersoek na die sosiokulturele rol en sosiopolitieke betrokkenheid wat weerspieël word in die oorspronklike liriekweergawe en die gepaardgaande beeldmateriaal van “Dis ’n land” (1987), asook in latere herskeppings daarvan