The Wrong Answer

The nonsense that foreign journalists, who don't understand Afrikaans or the language's creole cultural history, write about Die Antwood.

Yolandi Visser and Ninja (Waddy Jones). Promo Image.

The Guardian’s Music Blog has a post up about Die Antwoord, a mostly white rap (or rave-rap) band from Cape Town. The group is led by Waddy Jones, who as Max Normal (that was a long time ago) made some pretentious rap in the mid-1990s.  So not surprisingly there’s a lot of posing that comes with Die Antwoord (in English, The Answer). The group is now being paraded as the next best thing out of South Africa. (Not surprisingly hipster magazine Vice has an online feature on the group.)

Anyway Guardian blogger Scott Wright made a fool of himself twice in the piece. First he pretended to know the meaning of the Afrikaans slang word, “zef,” the name of the song featured in the video above. Wright claimed it is a musical style associated with Die Antwoord. That it also means “masturbate” and “vagina” in Afrikaans He could not been more wrong on both counts. It is not a musical style and if it was, Die Antwoord is only but one exponent of zef. Second, zef refers to working class attitudes among white working class and some coloureds and is mostly limited to the poorer suburbs of Cape Town (although people have noticed it in places like the capital Pretoria).  Think ghetto or trailer park. When people say someone is “common” (pronounced like “kommin”) or lower class, that’s what they mean by zef.

Then Wright claimed that Die Antwoord and another white rapper, Jack Parrow, invented Afrikaans rap. (Though Die Antwoord raps in Afrikaans also, the song featured on The Guardian Music Blog, “Enter the Ninja,” is entirely in English.)

Where has Wright been? Has he ever heard of Terror MC, Prophets of da City, Isaac Mutant, Brasse vannie Kaap, Mister Lee or even Kallitz and their work to shape Afrikaans rap for more than 20 years now?

If, like Scott Wright, you don’t know these bands, go google them.

Further Reading

Progress is exhausting

Pedro Pinho’s latest film follows a Portuguese engineer in Guinea-Bissau, exposing how empire survives through bureaucracy, intimacy, and the language of “development.”

The rubble of empire

Built by Italian Fascists in 1928, Mogadishu Cathedral was meant to symbolize “peaceful conquest.” Today its ruins force Somalis to confront the uneasy afterlife of colonial power and religious authority.

Atayese

Honored in Yorubaland as “one who repairs the world,” Jesse Jackson’s life bridged civil rights, pan-Africanism, empire, and contradiction—leaving behind a legacy as expansive as it was imperfect.

Bread or Messi?

Angola’s golden jubilee culminated in a multimillion-dollar match against Argentina. The price tag—and the secrecy around it—divided a nation already grappling with inequality.

Visiting Ngara

A redevelopment project in Nairobi’s Ngara district promises revival—but raises deeper questions about capital, memory, and who has the right to shape the city.

Gen Z’s electoral dilemma

Long dismissed as apathetic, Kenya’s youth forced a rupture in 2024. As the 2027 election approaches, their challenge is turning digital rebellion and street protest into political power.

A world reimagined in Black

By placing Kwame Nkrumah at the center of a global Black political network, Howard W. French reveals how the promise of pan-African emancipation was narrowed—and what its failure still costs Africa and the diaspora.

Securing Nigeria

Nigeria’s insecurity cannot be solved by foreign airstrikes or a failing state, but by rebuilding democratic, community-rooted systems of collective self-defense.