Du Preez, Amanda2012-02-222012-02-222011Du Preez, A 2011, 'Antwoord gooi zef liminality : of monsters, carnivals and affects', Image & Text : a Journal for Design : Space, ritual, absence : the liminal in South African visual art, no. 17, pp. 102-118.1020-1497http://hdl.handle.net/2263/18224Traditionally considered to be the breeding ground of the monstrous, the limen is the non-place where hybrids congeal and mutate into extraordinary amalgamations. The latest cultural phenomenon of zef as embodied in the rap rave band Die Antwoord reveals precisely such a monstrous hybridity. Zef – a term describing white (predominantly Afrikaans) trash – automatically situates Die Antwoord as liminal outsiders and interlopers. In many ways, Die Antwoord resembles a circus troupe of freaks: front man Ninja is golem-like with his tattooed torso, Yo-landi Vi$$er resembles an acidic nymph and DJ High Tek plods along in the flanks. My analysis builds and expands on recognised correspondences between the monstrous, the liminal and the carnival. I show how liminal aspects (both monstrous and carnivalesque) are cleverly co-opted by Die Antwoord into a monstrous carnivalesque extravaganza, whereby the liminal is converted into a suspended moment of consumption. The extent to which liminality is suspended and advanced as a consumable entity by Die Antwoord forms the primary focus of this investigation, after which the possibility of understanding the liminal in terms of affects is briefly explored. I argue that even that which is supposedly outside consumerist instrumentality, namely the limen, with its life-altering and transformative possibilities, can, to some degree, be aligned and made subservient to consumerist ideals.enDepartment of Visual Arts, University of PretoriaDie AntwoordRap rave bandZefNinjaYo-landi Vi$$erLiminalityCounterculture -- South AfricaRave culture -- South AfricaCultural fusion and the arts -- South AfricaRap (Music) -- South AfricaHip-hop -- South AfricaArticle