The Die Antwoord Analysis

In the light of the above, the aim of the paper is to provide a more insight of the Zef culture and how the various signs as well as the symbol and the culture are represented. The increase digital globalization is one of the concepts that has directly been associated with the many modern things in life as well as influencing anything that it appears to be in contact with. Since globalizations are the complex form of mobility of goods, capital, people, image over and above the all discourse all around the universe it usually emphasizes the communication technology and the media whereby it has played a vital role in technological innovation (Jenkins et al, 2009, pg. Due to the increased digital globalization, it has become evident that identity besides the music culture has not only become more diverse but also mobilized as well.

For instance, Hip Hop is one of the genres that has spread all around the world and it was originally founded by the African-Americans some claiming that it belonged to the Afro-Americans who were the minority. Consequently, the way the visual and etymological aspects support each other is stressed. Therefore, the examination is engrossed on how present linguistic and visual semiotics are united to epitomize the Zef culture. As the theory proposes, there is a likelihood to be a grouping of English as well as the Afrikaans. The dialects that are employed in the lyrics of the melody can be revised, so as to understand whether there is a combination that is utilized interconnectedly or distinctly (Pieraccini and Roberto, 2012, pg. On the other hand, in the visual semiotics, the video of the track will be examined so as to look for stuffs that are linked to post-apartheid besides the Zef elegance.

However, Die Antwoord appears does not live up to the intended for, ‘experientially changed’ white distinctiveness, they put some mechanism in place so as to consider South African as white identity. It was also not very vibrant what their situation is amongst other individualities, though they could make it clear as their position as compared to the other white. Their Zef self comes with decent in a variety of layouts such as mullets and substandard tattoos, exemplifying “the hip ethos of Zef, a working lecture Afrikaner philosophy” (Krueger 162). Their Zef form of whiteness that does not discovery itself at the ‘patently sterile’ middle of whiteness, as Ndebele pronounces it, as being allegedly unbiassed as well as ‘normal’. As an alternative, Die Antwoord place themselves at the boundaries of whiteness and even when they try to leave ‘the caravan park’ it would show in UGLY BOY, whereby they would recognize with superstar misfits.

5 However, due to the precise proposal of this residential, the prisoners would not be gifted to perceive each other. Furthermore, in the mid of this ‘arena’ there would be a lookout tower from which the pickets could guise at all the lockups whenever they adored. As a result, the prisoners would endlessly be creepy by a sensation that they are being observed. Although the guards could not conceivably look at all the prison cell at once, the likelihood that a protector is observing at one precise cell is continuously there. Lastly, the depiction of Zef culture through movie as well as the music that is actually spread transversely in the world is a clear example of how globalization has an impact on traditional diversity articulated in movie and the music.