This thesis reports on a project which investigated how young native, Afrikaans-speaking Rhodes University students responded to the musical outfit Die Antwoord and to their music video “I Fink U Freeky”. The study attempted to establish how a selected group of Afrikaans-speaking students consisting of Whites, Coloureds and Blacks interpret the work of Die Antwoord as well as their own Afrikaans identity. The purpose of the study was to interrogate the relationship between artistic media, citizenship and belonging to a particular group. The thesis reports on the ways in which interviewees in the group discussions responded to notions of identity, whiteness, class, race, hybridity and creolization registered in the music video which was used to prompt the discussions. Finally the thesis reports on findings regarding the relationship between citizenship and the artistic media. The enormous change in the socio-political position of Afrikaans-speakers in the post -1994 dispensation provides the social context of the study. The project utilised qualitative research and a reception study of the music was undertaken by means of focus group discussions in order to arrive at thick descriptions in an attempt to understand the contextual behaviour of the participants. It was postulated that Die Antwoord provides a discursive site within which audiences could generate their own innovative meanings regarding being Afrikaans. While there was no clear indication that the identities of the participants was constructed by the media, the video prompted discussions regarding identity and provided evidence that media texts are capable of stimulating an interrogation of identities. It emerged that all participants, while abandoning some aspects of Afrikaans culture, strongly embraced and highly valued the language. Participants did not regard race as an important aspect of citizenship. Vociferous discussions regarding class demonstrated how media texts can influence citizenship. Discussions about hybridization and creolization demonstrated how the media can challenge received conceptions regarding citizenship. Responses provided evidence that the media could stimulate new forms of citizenship and contribute to the inclusion of previously excluded subjects. The research findings clearly demonstrate links between artistic media, citizenship and belonging to a group of Afrikaanses rather than Afrikaners. Post- 1994 young Afrikaans-speakers in this study provided clear evidence that they are exploring new and alternative ways of being Afrikaans.

The central argument of this thesis asserts that in the process of challenging dominant subject positions, such as whiteness, performance creates the possibilities for new or alternative arrangements of desire. It examines how the creative process of desire is forestalled (reified) by habitual representations of whiteness as a privileged position, and proposes that performance can be a valid form of resistance to static conceptions of race and subjectivity. The discussion takes into account how the privilege of whiteness finds representation through forms of neo-liberalism and neo-colonialism in the post apartheid context. The analysis focuses on the work of white South African artists whose work offers a critique from within the privileged “centre” of whiteness. The research is situated within the inter-disciplinary field of performance studies entailing a reading and application of critical texts to the analysis. Alongside this qualitative methodology surfaces a subjective dialogue with the information presented on whiteness. Part Two includes an analysis of Steven Cohen’s The Cradle of Humankind (2011), Brett Bailey’s Exhibit A (2011) and Michael MacGarry’s LHR-JNB (2010). Each section examines the way in which the respective works engage in a questioning of whiteness through performance. Part Three investigates South African rap-rave duo, Die Antwoord and how their appropriation of Zef interrogates desires for an essential authenticity. Part Four focuses on my own performance practice and the proposed value of engaging with a form of practice-led research. This is particularly relevant in relation to critical race studies that require a level of self-reflexivity from the researcher. It presents an analysis of the work entitled Villain (2012) as a disturbance of theatrical desire through a process of ‘becoming’. This notion of meaning and identity as ‘becoming’ is argued as a strategy to challenge prevailing modes of perception which can possibly restore the production of desire to the viewer. The thesis concludes with the notion that performance can offer a mode of immanent ethics which is significant in creating both vulnerable and critical forms of whiteness.