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• W63172812 abstract "Introduction This essay is about how Die Antwoord, a controversial yet increasingly popular White South African gangsta' rap-rave group, represents select Black American identity and appropriates gangsta rap. Using hip hop and literary theories as conceptual frameworks, this essay expands current scholarship by critically examining how Die Antwoord's hip hop routine constitutes a type of 'thug minstrelsy' that simultaneously erases and essentializes Black identity. argue that Die Antwoord's mimetic act reveals not a new or necessarily alternative White South African identity but the return of an age old one that uses innovative technologies, in this case gangsta' rap and the internet, to transmit longstanding codes of Black inferiority--codes that violently contradict post-racial and Rainbow Nation sensibilities in the United States and South Africa. The first section of this essay examines the origins of and responses to gangsta rap. The second section explores how Die Antwoord draws upon and advances the subgenre by critically analyzing the group's hit video Fok Julle Naaiers. The essay concludes with a statement about the broader implications of Die Antwoord's routine for African and African Diasporic hip hop. Whereas African-American gangsta' rappers, like N. W.A and Tupac, initially affected the gangsta' rap tradition in effort to disavow White racial and socio-economic hegemony in the United States, Die Antwoord has resurrected, revised, and repurposed the gangsta' genre of the nineties to reflect White values in post-apartheid South Africa. Die Antwoord's spectacular act has received a measure of critical attention. Some scholars dismiss the group either as modern blackface minstrels or as an apolitical parody band that substitutes shock effect for skill in order to sell records. Others emphasize the group's re-articulation of 'zef,' a uniquely South African counter-culture that caricatures the trashier elements of Afrikaner life. Scholars in this camp read Die Antwoord's performative gestures as sure signs of shifting trends in White identity politics. Taking as a point of departure front man Ninja's infamous self-introduction, I represent South African culture.... Blacks. Whites. Coloureds. English. Afrikaans. Xhosa. Zulu. Watookal ... I'm like all these different people, fucked into one person, yet another school of thought appreciates the group as liminal artists who bridge socio-cultural divides by performing across race, class, and language barriers. Despite varied interpretations of Die Antwoord's significance and legitimacy, critics across the spectrum of perspectives recognize and heavily rely upon the group's usage of coloured identity and zef culture in their critical examinations. They overlook how Die Antwoord strategically employs gangsta rap and Black identity. However, gangsta rap, not zef, is the primary cause of Die Antwoord's international success. For starters, 'zef is a local phenomenon that fails to attract widespread, crossover audiences. 'Zef' fans may flock to Hatfield Square or the Little Karoo, as Krueger observes, but they likely won't be found in Harlem or Hamburg, Los Angeles, Lanzhou, or Libreville (401). Unless, of course, they are on YouTube tuning-in to Die Antwoord's latest exploitation of the slow beat, deep base, synthesized sounds and universal appeal of gangsta rap. Furthermore, in a recent interview, Ninja shared, Rave music is high energy and gangsta rap is more hardcore and dangerous and sexy and there's the thoughtless nostalgia ... When we heard that we knew that's where we wanted to head (Hanra). In another interview, Ninja explains the origins of the group. He offers, We thought 'Die Antwoord' was a kak-cool name and we were always walking past taxis that were playing f*king loud gangsta rap or klapping this heavy rave music and we thought that was an ultimate that we can base our style on (Milton). In other words, Die Antwoord discovered in gangsta rap a means by which to market a different type of musical sound, one that maintains the central attributes of Afrikaner song aesthetics while manipulating the chief characteristics associated with a particular style of African-American creative expression. …" @default.
• W63172812 created "2016-06-24" @default.
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• W63172812 date "2013-09-01" @default.
• W63172812 modified "2023-09-24" @default.
• W63172812 title "From Compton to Cape Town: Black(faceless)ness and the Appropriation of Gangsta Rap in Die Antwoord's Fok Julle Naaiers" @default.
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