Full Text Available
Note: Clicking the button above will open the full text document at the original institutional repository in a new window.
Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019
Thesis (MA)--Stellenbosch University, 2024.
Saved in:
| Main Author: | |
|---|---|
| Other Authors: | |
| Format: | Thesis |
| Language: | English |
| Published: |
Stellenbosch : Stellenbosch University
2025
|
| Subjects: | |
| Tags: |
No Tags, Be the first to tag this record!
|
| _version_ | 1867613856268812288 |
|---|---|
| access_status_str | Open Access |
| author | Galloway, Jonathan James |
| author2 | Roux, Daniel |
| author_browse | Galloway, Jonathan James Roux, Daniel |
| author_facet | Roux, Daniel Galloway, Jonathan James |
| author_sort | Galloway, Jonathan James |
| collection | Thesis |
| dc_rights_str_mv | Stellenbosch University |
| description | Thesis (MA)--Stellenbosch University, 2024. |
| format | Thesis |
| id | oai:scholar.sun.ac.za:10019.1/131661 |
| institution | Stellenbosch University (South Africa) |
| language | English |
| last_indexed | 2026-06-10T12:42:46.825Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository |
| publishDate | 2025 |
| publishDateRange | 2025 |
| publishDateSort | 2025 |
| publisher | Stellenbosch : Stellenbosch University
|
| publisherStr | Stellenbosch : Stellenbosch University
|
| record_format | dspace |
| source_str | SUNScholar — Stellenbosch University Repository |
| spelling | oai:scholar.sun.ac.za:10019.1/131661 Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 Galloway, Jonathan James Roux, Daniel Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of English. Music festivals -- South Africa Mass media and culture -- South Africa Music -- Social aspects -- South Africa Social change -- South Africa -- 1994- Popular music -- Influence Group identity -- South Africa UCTD Thesis (MA)--Stellenbosch University, 2024. ENGLISH ABSTRACT: This research paper takes as its primary object of study the Afrikaans popular music mega-concert Afrikaans is Groot, as well as its commercial market competitor, Krone. Both are annual events hosted to crowds of several thousand, predominantly white, Afrikaans-speakers. In this sense these mega-events have come to represent a substantial commercial- and capital-driven force: at once representing and also contributing to the growing boom of the modern post-apartheid Afrikaans music industry, and by extension, the modern Afrikaans language-culture industry itself. It is evident that the transition from the apartheid regime to the democratic South Africa has left vast swaths of old-Afrikanerdom in “uncharted territory” (Davies 31). Nonetheless, certain constituents within the broader modern Afrikaans culture industry have found great commercial success in producing and supplying Afrikaans language-culture commodities to a white Afrikaans demographic who are experiencing an “acute dislocation since the demise of the old apartheid system” (M. Steyn 70). The modern Afrikaans popular music industry is one of these industries – and in many ways its success can be traced alongside the development of the Afrikaans is Groot and Krone mega-concerts. Academic writing concerning modern Afrikaans culture have predominantly come to focus on an ideology-heavy interpretation that depicts modern Afrikaans culture as fundamentally nostalgic-driven. Although it is undeniable that a certain form of commodified white Afrikaner nostalgia still does retain considerable market-appeal within the predominantly white consumer base, it is also apparent that marketing Afrikaans as itself festive and pleasurable to engage with, has also in turn become a considerably lucrative market strategy within the broader post-apartheid South African cultural landscape. Thus, throughout this research project I argue that neither Afrikaans is Groot nor Krone offer any real substantial axiomatic lines for a supposedly ‘new’ modern Afrikaans identification, and further, that these productions instead focus on presenting a ‘festive’ space in which Afrikaans, and by extension the identification with Afrikaans culture, is depicted as a pleasurable encounter. AFRIKAANSE OPSOMMING: Hierdie navorsingstuk neem as sy primêre bron die studie van die Afrikaanse populêre musiek mega-konserte Afrikaans is Groot, sowel as sy kommersiële mark mededinger, Krone. Albei is jaarlikse geleenthede wat aangebied word vir skares van etlike duisende, oorwegend wit, Afrikaanssprekendes. In hierdie sin het hierdie mega-gebeurtenisse aansienlike kommersiëleen kapitaalgedrewe kragte geword: verteenwoordigend van, asook bydraende tot, die groeiende oplewing van die moderne post-apartheid Afrikaanse musiekbedryf, en by uitbreiding, die moderne Afrikaanse taal- kultuurbedryf self. Dit is duidelik dat die oorgang van die apartheidsregime na die demokratiese Suid-Afrika groot dele van die ou-Afrikanerdom in ‘n “ongekarteerde gebied” gelaat het (Davies 31). Nietemin het sekere elemente binne die breër moderne Afrikaanse kultuurbedryf groot kommersiële sukses behaal in die vervaardiging en verskaffing van Afrikaanse taalkultuurkommoditeite aan 'n oorweldigende wit Afrikaanse verbruikersbasis wat tans ‘n "akute ontwrigting ervaar sedert die ondergang van die ou apartheidstelsel" (M. Steyn 70). Die moderne Afrikaanse populêre musiekbedryf is een van hierdie bedrywe – en in baie opsigte kan sy sukses nagespeur word saam met die ontwikkeling van die Afrikaans is Groot en Krone megakonserte. Akademiese skryfwerk rakende die moderne Afrikaanse kultuur fokus geweldig op 'n ideologie-sware interpretasie wat die moderne Afrikaanse kultuur as fundamenteel nostalgiesgedrewe uitbeeld. Alhoewel dit onteenseglik is dat 'n sekere vorm van ‘n gekommodifiseerde wit Afrikaner-nostalgie steeds aansienlike markaantrekkingskrag binne die oorwegend wit verbruikersbasis behou, is dit ook duidelik dat die bemarking van Afrikaans as feestelik en aangenaam om mee om te gaan, ook op sy beurt 'n aansienlike winsgewende markstrategie geword het binne die breër post-apartheid Suid-Afrikaanse kultuurlandskap. Dus, deur hierdie navorsingsprojek redeneer ek dat nie Afrikaans is Groot of Krone enige werklike wesenlike aksiomatiese lyne bied vir 'n sogenaamde 'nuwe' moderne Afrikaanse identifikasie nie, en verder dat hierdie produksies eerder fokus op ‘n aanbieding van 'n 'feestelike' ruimte waarin Afrikaans, en by uitbreiding word die vereenselwiging met die Afrikaanse kultuur ook as 'n aangename ontmoeting uitgebeeld. Masters 2025-02-04T09:35:47Z 2025-02-04T09:35:47Z 2024-12 Thesis https://scholar.sun.ac.za/handle/10019.1/131661 en Stellenbosch University 160 pages : includes annexure application/pdf Stellenbosch : Stellenbosch University |
| spellingShingle | Music festivals -- South Africa Mass media and culture -- South Africa Music -- Social aspects -- South Africa Social change -- South Africa -- 1994- Popular music -- Influence Group identity -- South Africa UCTD Galloway, Jonathan James Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 |
| title | Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 |
| title_full | Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 |
| title_fullStr | Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 |
| title_full_unstemmed | Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 |
| title_short | Kultuur & plesier : [culture & pleasure:] a critical and discursive analysis of Afrikaans popular music mega-concerts “Afrikaans is Groot” and “Krone” within the broader context of emerging post-apartheid Afrikaans massmodernities from 2012 to 2019 |
| title_sort | kultuur plesier culture pleasure a critical and discursive analysis of afrikaans popular music mega concerts afrikaans is groot and krone within the broader context of emerging post apartheid afrikaans massmodernities from 2012 to 2019 |
| topic | Music festivals -- South Africa Mass media and culture -- South Africa Music -- Social aspects -- South Africa Social change -- South Africa -- 1994- Popular music -- Influence Group identity -- South Africa UCTD |
| url | https://scholar.sun.ac.za/handle/10019.1/131661 |
| work_keys_str_mv | AT gallowayjonathanjames kultuurplesierculturepleasureacriticalanddiscursiveanalysisofafrikaanspopularmusicmegaconcertsafrikaansisgrootandkronewithinthebroadercontextofemergingpostapartheidafrikaansmassmodernitiesfrom2012to2019 |