{"id":609,"date":"2017-11-28T07:04:01","date_gmt":"2017-11-28T07:04:01","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/?p=609"},"modified":"2017-12-05T17:21:38","modified_gmt":"2017-12-05T17:21:38","slug":"banking-on-taboo-content-warning-blackface","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/assignments\/music-video-review\/banking-on-taboo-content-warning-blackface\/","title":{"rendered":"Banking on Taboo"},"content":{"rendered":"

Content Warning: Blackface, explicit language and images<\/strong><\/p>\n

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Die Antwoord is a South African rap-rave group that has garnered fame for their provocative, aggressive style and unique vocal sound. In 2012, their music video \u201cFatty Boom Boom\u201d inspired controversy because of their use of blackface bodypaint and shocking content. The reception of the video, and of the group in general, has been bitterly divided.<\/span><\/p>\n

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This article<\/a> by Aisha Harris directly condemns Die Antwoord’s use of blackface in their music video and raises other concerns about their video. Since blackface minstrelsy is a cultural vestige of slavery in both America and South Africa, this video’s flippant use of blackface imagery is totally unjustified. On the other hand, Harris also mentions that minstrelsy has become a cultural symbol of progress for black people in South Africa after Apartheid. Annually there is a giant festival called “Tweede nuwe jaar” where a multitude of minstrel troupes celebrate together in a colorful display of costumes, body paint, and music.<\/p>\n

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An article on South African History Online says that:\u00a0“a<\/span>s one of the longest surviving traditions it has become very evident that the minstrel festival is an important aspect of South Africa\u2019s history and cultural heritage\u2026 It is therefore important to maintain the tradition, which has become so deeply entrenched within the popular culture of Cape Town.\u201d<\/span><\/p>\n

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This almost seems like a cogent argument as to why it’s normal that Yo-landi Vi$$er donned a full-body outfit of black paint, until we remember that a group of black South Africans wearing pink and purple, etc, from head to toe and celebrating overcoming slavery and Apartheid is a lot different than a white person dressing in blackface in a music video.<\/p>\n

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What you-tuber Mayfinder might not realize is that “African” is not homogeneous. In contrast, Adam Haupt argues that Die Antwoord is doing nothing short of culturally appropriating black South African culture. In this article<\/a> he says: “It is ironic that Jones, the crew’s founding member, is neither coloured nor white Afrikaans working class; rather, he is a well-resourced white, English-speaking South African.” To clarify, the Afrikaans language is associated with poor, uneducated people, while English is the more official and elite language in South Africa. So, we can conclude that their performing persona is not genuine and it is built off an existing culture that they will never be part of.<\/p>\n

Okay, now that you’re primed on the racially exploitive elements of the video, let’s take a look and see what you think! Are these artists just being sensationalist and intentionally treading on open wounds? or is there a compelling artistic vision or critique that makes these images powerful and meaningful?<\/p>\n