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59), of their existence in the life and the stage world in a similar, recognisable form, remains at the heart of their work. productions, not an intrinsic quality, the views of practitioners show that the idea of a trans-world identity of biographical characters (Ronen, 1994, p. Although in the functional approach chosen this has been interpreted as an effect created by. The creation and undermining of authenticity discussed in the previous two chapters demonstrates the continuing power of historical references to establish a close link between the world on stage and the life world, between theatrical characters and specific historical or contemporary figures. Suddenly there is a puff of smoke and the lights change to vivid yellow and red, and there they are in white tracksuit with pointy white hoods. It has been five minutes, then ten, and the tension is building. People are whispering things like ‘Come on’, Where are they?’ And still we wait. The anticipation in the crowd is palpable. Over the loud speakers there is a low rumbling chanting, a recording of Tibetan throat singers. His face is magnified onto a screen over ten metres high, and he stares at the audience, blinking slowly.
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An image appears on the screen, it is the face of Leon Botha, a Cape Town artist and one of the oldest survivors of Progeria.
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This is a menacing crowd, and they want blood. The Vuzu presenter has left the stage sobbing ‘This job is hard’, and her co-presenter looks eager to join her. The Goldfish set ends, and the crowd starts to chant. Die Antwoord have top billing, and I am here waiting anxiously for the chance to finally see this group perform live. There are four groups performing as part of the Sonic Summer festival: They are Locnville, Jax Panik, Goldfish and Die Antwoord. The scene: Backsberg Wine Estate in Stellenbosch, in the Western Cape. Through analyzing how identities fuse in the works of Ballen and Die Antwoord, the following article will display both the space of critique and the danger of co-option of cosmopolitan identities. Interactions between groups within capitalism might lead to innovative mixtures but only in ways that quietly reinforce differences which surface when competition over resources occurs in hierarchical social relationships. If an understanding of this xenophobic seed embedded in cross cultural soil is placed in the context of the larger history of capitalist market expansion, within the cyclical movement of cosmopolitanism and nationalism in South Africa, then discourses of monstrous transformations can be seen as obfuscating cosmopolitanism and xenophobia as alternatives opposing one another – as dialectically related phenomena. The cosmopolitan becomes something monstrous and frightening. In both, figures become living collages, their anatomy mixes with animals and inanimate objects, and they transform into stark colors of black and white. This essay further explores and problematizes this distinction through an analysis of the video art and music of the rap-rave group Die Antwoord and the photographer Roger Ballen, both of which provide images of Afrikaner Identity with differing ramifications for the formation of cosmopolitan identities. According to Ulrich Beck, the breakdown of nation-state power and the migration of people, culture and ideas through neoliberalism provides us with a unique historical moment that simultaneously holds the potential for unparalleled cosmopolitanism and rising xenophobia.