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Johannes Kerkorrel en postapartheid- Afrikaneridentiteit
Literator | Vol 26, No 3 | a237 |
DOI: https://doi.org/10.4102/lit.v26i3.237
| © 2005 M. Viljoen
| This work is licensed under CC Attribution 4.0
Submitted: 31 July 2005 | Published: 31 July 2005
Submitted: 31 July 2005 | Published: 31 July 2005
About the author(s)
M. Viljoen, Departement Musiek, Universiteit van die Vrystaat, Bloemfontein, South AfricaFull Text:
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Johannes Kerkorrel and post-apartheid Afrikaner identity
The music of Johannes Kerkorrel (Ralph Rabie, 1960-2002) gave expression to the sentiments of a young white urban generation that rebelled against the autocratic rule of the apartheid government. Kerkorrel’s songs, many of which were banned during the apartheid era, created an alternative Afrikaner voice through biting social criticism and political satire.
His politicised narratives evoke collective memories and experiences that construct moral hierarchies by means of an exceptional intensity, simplicity and power. Kerkorrel’s life-story may be read as a continuous textual reconfiguration of identity throughout which an uninterrupted thread of self-remembrance is simultaneously woven. In a society in the process of constant transformation, a speculative theorising of Kerkorrel as a construct of local identity may serve as a starting point for understanding popular music representations of the postapartheid Afrikaner character.
The music of Johannes Kerkorrel (Ralph Rabie, 1960-2002) gave expression to the sentiments of a young white urban generation that rebelled against the autocratic rule of the apartheid government. Kerkorrel’s songs, many of which were banned during the apartheid era, created an alternative Afrikaner voice through biting social criticism and political satire.
His politicised narratives evoke collective memories and experiences that construct moral hierarchies by means of an exceptional intensity, simplicity and power. Kerkorrel’s life-story may be read as a continuous textual reconfiguration of identity throughout which an uninterrupted thread of self-remembrance is simultaneously woven. In a society in the process of constant transformation, a speculative theorising of Kerkorrel as a construct of local identity may serve as a starting point for understanding popular music representations of the postapartheid Afrikaner character.
Keywords
Johannes Kerkorrel; Neo-Reconstructionist Philosophy; Post-Apartheid Afrikaner Identity; Protest Songs; Textual Analysis
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