Afrikaanse vryheidsliedjies as konfigurasie van identiteit: 'n ideologie-kritiese perspektief

English: Article I - More than a decade after democratisation, identity politics are still extremely topical in South Africa and a renegotiation of this is still taking place. In this article the role of Afrikaans freedom songs and reconstructions of white identity are discussed, while it more specifically aims to establish a point of departure for an ideologically critical theorising of the topic. In this regard, Johann Visagie's (1996) interpretative tools, namely metaphor analysis and ideology criticism, is employed within the broader framework of the so-called Critical Theory. This framework serves as the point of departure for the critical evaluation with regard to the relevance of a model, as formulated by André P. Brink (1991) about this topic. An important point of departure for this study is five dominant post-apartheid narratives, as recorded by Melissa Steyn (2001). A selection of freemdom songs are used with specific constructions of "whiteness" as portayed in the mentioned narratives. It was found that Brink's model demonstrates specific limitations with respect to the topic. Article II: More than a decade after the democratic elections in 1994, the South African society is still very labile, and many white Afrikaners in particular are experiencing a deep-found identity crisis. This crisis is coupled with the search for a new identity. In order to analyse this question from a musicological perspective, two models are contrasted to each other in this article. On the one hand, one finds the structuralist framework of Vladimir Karbusicky (1975), which specifically deals with the analysis of musical texts. This model serves to study a number of songs in which the theme of the "boer" plays a prominent role as configuration of specific types of Afrikaner identity. However, the model only mediates the study of what could be described as "politistic" norms - and for this reason the ideologicalcritical theory of Johann Visage (1996), in which ideology is approached as a negative phenomenon, is discussed in support of the study. An ideological-critical analysis of the abundance of polemic literature surrounding "De la Rey" shows that the song can be regarded as an ideologically one-sided portrayal of Afrikaner identity. The song, as well as the enclosed music video, sketches a very specific period in the history of the Afrikaner by focusing on the Anglo-Boer War: the Afrikaner's so-called "era of innocence". Within the context of a type of Neo-Afrikaner Protest movement these portrayals can be distorted to serve as hyper-normative views of what being an Afrikaner means.