Citizenship without representation? Blackface, misogyny and parody in Die Antwoord, Lupé Fiasco and Angel Haze

Abstract

This article explores Die Antwoord's blackface politics to question whether the concept of citizenship has any value in a context where marginal artists’ attempts to represent themselves on their own terms are overshadowed by the global reach of corporate entertainment media monopolies, and by the legacy of racism and sexism in the music industry. It analyses the work of Die Antwoord, Lupé Fiasco and Angel Haze to contend that global capital undermines the nation-state's ability to secure its citizens’ economic or cultural interests. Using Michael Hardt and Antonio Negri's concept of Empire, the author argues that corporate globalisation undermines the sovereignty of the nation-state, effectively compromising democratic ideals. The global appeal of Die Antwoord tells us a great deal about the extent to which diverse cultural expressions are marginalised, as well as the extent to which colonial conceptions of race, gender and class endear in public discourse – specifically in light of the continuing appeal of blackface in the mainstream entertainment industry.

Keywords:

• Angel Haze
• blackface
• Die Antwoord
• Lupé Fiasco
• minstrelsy
• misogyny
• parody

Additional information

Notes on contributors

Adam Haupt

Adam Haupt is associate professor in the Centre for Film & Media Studies, University of Cape Town. [email protected]