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Popular Music, Postmodernism and the Poetics of Place (London and New York: Verso). ‘Afrikaner identity and the music of Johannes Kerkorrel’, South African Journal of Psychology 35, pp. ‘Zef/poor white kitsch chique: Die Antwoord’s comedy ofdDegradation’, Safundi: The Journal of South African and American Studies 13, pp. Pop, Youth and Identity in a Postcolonial World (New York: Routledge). ‘Raving, not drowning: Authenticity, pleasure and politics in the electronic dance music scene’, in David Hesmondhalgh and Keith Negus (eds.), Popular Music Studies (London: Arnold Publishers), pp. Race and Representation in Post-Apartheid Music, Media and Film (Cape Town: HSRC Press). ‘Is die Antwoord blackface?’, Safundi: The Journal of South African and American Studies 13, pp. ‘The uncanny’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited and translated by James Strachey, vol. ‘The ego and the Id’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited and translated by James Strachey, vol. ‘“Represent:” Race, space, and place in rap music’, in Murray Forman, Mark Anthony Neal (eds.), That’s The Joint! The Hip-Hop Studies Reader (London and New York: Routledge), pp. Popular Music, Identity and Place (London and New York: Routledge).ĭie Antwoord (2013). The Location of Culture (London and New York: Routledge).Ĭonnell, John and Chris Gibson (2001). Cultures of Popular Music (New York: Open University Press).īhabha, Homi K. Asylum of the Birds (London: Thames and Hudson).īennett, Andy (2001).

Shadow Chamber (London: Phaidon).īallen, Roger (2014). Translated from the Russian by Caryl Emerson and Michael Holquist (Austin: University of Texas Press).īallen, Roger (2005). Hip Hop Cultures, Youth Identities and the Politics of Language (London and New York: Routledge), pp.

Samy Alim, Awad Ibrahim, Alastair Pennycook (eds.), Global Linguistic Flows.

‘Language and the three spheres of hip hop’, in H.

People that played in die antwoord videos