Afrikaans music has gone through a bit of a whirlwind transition in the past few years. From the classic folk and annoying sokkie treffers, we now hear Afrikaans rock.
Out of the farmland and into the city, the language has taken on more meaning than just being a representation of a culture. It’s now a representation of a generation.
A little thing called Fokofpolisiekar is its benchmark.
This little group from the Cape have cemented themselves as part of the foundation of South African post-apartheid rock and made this transition from Afrikaans country to rock possible.
They’re loud, obtrusive, not that refined, and very politically incorrect, and they have made their mark on the South African rock music scene as royalty.
What started out initially as a joke to shock the conservative Afrikaans community with its name and also the notion of an Afrikaans punk band, has turned into a somewhat cult following, representing post-apartheid Afrikaans ideology.
It’s the Afrikaans piece of our nation saying; ‘We’re Afrikaans, we’re South African and we’re here to stay”. It’s also a big ‘screw you’ to old Afrikaans ideology, as well as belief that Afrikaaners – and the white man in general – does not belong in South Africa.
Through their controversy, almost battle cry lyrics and obscene manners, Fokof has established the Afrikaans language as a language of musical expression. They have set the bar for Afrikaans bands all over the country and quite high at that. It is because of Fokof’s brave venture into the world of punk rock that has paved the way for the rest of the country to make good Afrikaans music.
Though they may not be radio friendly – and I doubt the band would ever want to be – from this breakthrough comes the Afrikaans bands we hear on radio today.
As musically beautiful as Fokof may be, their focus lies mainly in defiance and attitude.
Their descendants like Van Coke Kartel and Die Heuwels Fantasties are left to make music for the sake of music, and what beautiful music it is.
Van Coke outplayed every international act at the RAMfest and Oppikoppi festivals this year – Sum41 sounded quite lame in comparison. And Die Heuwels Fantasties brought such beauty to the stage at Kings of Leon this weekend.
Younger bands such as Foto Na Dans, Straatligkinders and Winterstasie have sprung up, each of them saying the legend of Fokof has influenced them. And they are making some awesome tunes.
I’m not taking anything away from Fokof’s talent – it’s apparent and stunning – but it’s because of them that the rest are left free to focus on the music itself.
Even I, an Indian South African woman from Durban, can appreciate the music and meanings - an indication of how music transcends all hurdles, even linguistic and cultural ones. I love the fact that the language that was once representative of the oppressor, is now a call to revolt.
From their controversial, “Kan iemand dalk 'n god bel/En vir hom sê ons het hom nie meer nodig nie,” (Could somebody phone a god/And tell him we don't need him anymore), to lead singer Francois Van Coke saying to the crowd at Splashy Fen Music Festival, "This is my country, but Zuma ain’t my president”, Fokofpolisiekar have broken all barriers in South African music to make Afrikaans rock a force to be reckoned with.
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