Bye Beneco throws ‘Ghetto Disko’ in the bush

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                                                                                                                      PHOTO: Christelle Duvenage/ OppiKoppi

(Note: Article first published in Wapad on 20 October 2017, p.6.)

 

“I love getting dirty and making like fat dirty beats. I love this electronic sound.” –  Lenny-Dee Doucha (vocalist and keyboardist)

 

You can’t put your finger on Bye Beneco’s collective sound. The euphoric auditory experience makes it difficult to know if it comes from underwater or outer space.

With the latest addition to their releases, the Ghetto Disko EP combines dreamy and groovy sounds. Lenny-Dee Doucha (vocalist and keyboardist) said she has recently developed a strong taste for disco music.

“I love getting dirty and making like fat dirty beats. I love this electronic sound.” Their sound however, continues to take new directions throughout their career. This isn’t their new sound, it’s their new sound for now, for the EP, Doucha said.

Comparing their first album to Ghetto Disko, Matthew Watson (guitarist) said it was a lot more experimental in the beginning of their career as they were still trying to find their sound. “With this album I would say it was a bit more dancy in it’s own way,” Watson said.

 

Doucha describes the music as “sensual”, “romantic” and “playful” and wrote about love passion and sex.

 

Doucha describes the music as “sensual”, “romantic” and “playful” and wrote about love passion and sex. “If you listen to the lyrics –  it’s fun and playful in a lighthearted way but it’s also pretty dark and pretty dirty,” Doucha said.

“You Need Me” and “See You Fully” are some of the band’s favourite songs from Ghetto Disko.

Their live performances are highly entertaining and it testifies of the above mentioned playfulness as they immerse themselves in the music – like Doucha always moving to the beat and making short-lasting screams during songs.

Ghetto Disko is proving to be enjoyed widely, with the band saying “the response has been really positive so far” and that “people are really loving it”.

This five-track album took about three weeks to record. They were pressured for time because they were about leave on an European tour. “We literally got the physical copies of our EP two hours before we got on the plane to go to Europe,” Doucha said.

Bergen Nielson (drummer) said they were very focused in studio and had to use their time wisely. “If things were kind of feeling weird or we didn’t know what to do in one of the parts, there was no time to kind of think about it.”

When asked how the European audience compares to the South African one, Dan Knight (bassist), who joined the band earlier this year, said the European audience is more receiving of new music and different styles.

“I think in South Africa a lot of people are set in the genres that they like and everything outside of it is either too experimental or too strange.”

 

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Intergalactic Lovers’ SA debut at Oppi

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(Note: This article was first published in Wapad on 20 October 2017, p.7.)

An exotic location, similar to a festival on an island in Holland, and in the wild.

Some thoughts bassist for Intergalactic Lovers, Raphaël De Mey, has about OppiKoppi.

The Belgian indie-rock band began their international tour on the final evening (7 October) of OppiKoppi on the Bruilof Stage.

The tour comes after their third full-length album, Exhale, was released in September. During this they are performing in “many, many, many” more countries like Germany, Croatia, Slovenia, Spain and Italy.

 

 “It’s the first time playing on a hill like this, with different stages of so much variation in the line-up.” – Raphaël De Mey (bassist)

 

They are part of the artist exchange program between the Belgian music festival, Pukkelpop, and OppiKoppi.

“It’s the first time playing on a hill like this, with different stages of so much variation in the line-up,” De Mey said.

It was the band’s debut in South Africa and they were “very excited to be here”. “Everybody, especially at the festival, is very kind and the hospitality is very nice,” Brendan Corbey (drummer) said.

 

After our interview at OppiKoppi23. From left: Dennis Van Poucke (manager), me, Lara Chedraoui (vocalist), Raphaël De Mey (bassist), Brendan Corbey (drummer) and Maarten Huygens (guitarist).

 

De Mey noted OppiKoppi noted the OppiKoppi-hype. “In South Africa it’s quite an exciting festival. I feel like everybody comes from far away to visit it.”

“But we come from a little bit farther,” De Mey said jokingly. It took them about two and a half days to arrive at OppiKoppi.

“It’s all about the stress people have, not only about the politics in the world but also in private life,” De Mey. Exhale is about “calming down” and “not stressing too much” about the latter.

Vocalist, Lara Chedraoui said they are pleased with the response they are receiving for Exhale.

 

“I think the sound changed in the way that we all got older and we got more confident in what we do. So we experiment a bit more than we did in the beginning.” – Lara Chedraoui (vocalist)

 

Chedraoui said the biggest thing that has changed since their first release, Greetings & Salutations, is their confidence levels. She said the sound didn’t change a lot.

“I think the sound changed in the way that we all got older and we got more confident in what we do. So we experiment a bit more than we did in the beginning.”

The writing process is a group-effort, said Maarten Huygens (guitarist).

“Someone throws in an idea and everybody starts working on it and add new ideas on top of that idea. Sometimes we end up with a piece of music we all like and you don’t recognize the first idea anymore,” Huygens said.

Chedraoui dreams of playing “everywhere until (we’re) very, very old – to be sixty, seventy years old and still be playing with these guys.”

Another future goal of Intergalactic Lovers is to headline OppiKoppi.

 

Check out my favourite Intergalactic Lovers song!

 

 

‘Treading the fine line between calm and chaos’ with Medicine Boy

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(Note: This article was first published in Wapad on 14 September 2017, p.8.)

Lucy Kruger and André Leo will be festival hopping between OppiKoppi and Rocking The Daisies, as well as bands, this year.

The duo from Medicine Boy, who is also band members in Lucy & The Lost Boys, will have to leave Northam Thursday after their 20:00 set to play at Daisies Friday afternoon.

In 2016 both groups gigged in Northam. This year however, Medicine Boy is amped to play during the evening as they played “on a smaller stage just before sunset” the previous year.

The violinist Hezron Chetty will accompany them to Oppi again this year.

They have recently been in spending a lot of time in studio. “We have finished tracking about 85% of the new album. (We) still need to do a few extras here and there but the heart of it is in place.”

With this album they have crammed in a lot more work in a shorter period of time than with their previous full-length album, Kinda Like Electricity (KLE).

 “It got pretty intense towards the end (of recording KLE) so with this one we decided to book two weeks in the studio & get it all done. We did a lot more preparation & preproduction this time around so the flow in studio was great.”

They describe their musical journey as “organic” – “every album is a document of where we were at that point”. Although they do not constrain their albums with certain themes and sounds, they have excluded some songs from the new album when they felt have touched on it with KLE.

“There’s an almost naive quality to More Knives, with its simple drum loops & drones that we really love. KLE has an introverted quality about it. It is a very personal album & deals with a lot of things I (we) think people can relate to,” Medicine Boy elaborated on how their sound has changed and developed.

They have had two European tours and are currently working on relocating there “for a few years”. And how does the South African audience compare to the one overseas? “Over there the first band does not have to wait until 22:00 to play.”

Medicine Boy says they “wanted to have some fun with this whole genre thing” and “love treading that fine line between calm and chaos”, so they called their mysterious and haunting sound “dream noise”.

These jugglers of calm and chaos associate OppiKoppi with dust, borat costumes, Willy Mason’s set a few years back and impressive sound. “Don’t panic,” is their advice for first-time festival-goers of OppiKoppi.

Give them a listen!

 

 

 

Indie-spice, ‘vet jol’ on the James Phillips

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(Note: This article was first published in Wapad on 14 September 2017, p.7.)

It tastes like soft caramel toffee, it feels like worn-in leather and smells like good coffee first thing in the morning. This is how the lively trio, Jerard Quaintmere, Kirstin Walters and Jason Chadinha of Jerry and The Bandits describe their sound. They are currently working towards recording their first full-length album.

Last year they played at OppiKoppi 22: For the lovely young taken to THE UNSEA! on the Skellum Stage and at this year’s Oppi we’ll be dancing to their happy vibrations at the James Phillips Stage.

I hear you’ve coined the tagline “indie with a bit of spice”. If you were spices, who would be what and why? Jerry – oregano because he loves pizza; Kirstin – coriander because she’s unique, yet still very familiar; Jason – thyme because he’s always on time ;). And all together they make the perfect spice to almost anything!

You’ve been in studio recording your new song “Hearts Run Wild”. Elaborate on the song –  the inspiration/story behind it, what your favourite line is and describe its sound. Oh yes! Super excited about this one! The song has two meanings to it: our “hearts run wild” because they have a tendency to do their own thing and the second meaning is that the way we run our hearts is reckless. People will always try and bring you down and those people are metaphors for the ‘wolves’ in the song. The song starts with a warning that the ‘wolves’ are coming, but no one is listening because they’re all following their hearts that have a mind of their own. Chaos erupts. “Lie about how the stars don’t fall” – you can make up stories and lies but at the end of the day it was your heart’s choice and you will accept its fate.

What are the things you want people to think of when they hear the name “Jerry and the Bandits” (What associations do you want them to have with the band)? We want people to think of feel-good music, music that makes them feel something real and meaningful. Our latest EP, Fiction In Folktale, has a photo of our three pairs of shoes on it, we want people to walk with us in our shoes and to create their own meaning through our songs.

What is the biggest lesson about the music industry you have learned in your time as a band? To be patient and to never ever EVER give up (even in the beginning stages when you’re   literally playing to just four people in the audience, all four being your family members who drove with you to the show), the hard work eventually starts paying off and all the crappy times become so worth it.

What is the most memorable OppiKoppi you have attended and why? Definitely last year, we had the most amazing crowd that made us play even harder. We had a big campsite with some of our best friends and Kirstin decorated it with lanterns, banners and fairy lights. Jerry went around Oppi with a bottle of cheap Tequila and handed out sips to anyone he walked past. There was a guy snoring so loudly in the campsite next to us that it felt like he was in our tent. The dust cough and dust tan post-Oppi definitely makes it even more memorable. Aaah good times!

 

Catch them at the place of “great music”, “dust”, “drunk people” and a “vet jol”, four things they associate with OppiKoppi, next to you in the crowd while the likes of Bongeziwe Mabandla, Nomadic Orchestra, Medicine Boy and Josh Kempen perform.

See their live performance on BalconyTV Johannesburg here.

 

The Muffinz: Well-intentioned soul music

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(Note: This article was first published in Wapad on 14 September 2017, p.7.)

The Award-winning and frequently SAMA (South African Music Awards)-nominated group, The Muffinz will be soothing nomads at OppiKoppi for the third year with their soulful voices.

They are proudest of their Silver Standard Bank Ovation Award and the ImpACT Award for Music and Singing, both received in 2012.

“Both these are ‘art’ and not ‘commercial’ awards, which means both peers and fans approve and see the greater vision.” However, their star shines brighter than the awards, said the Muffinz who are currently working on content for their third studio album.

According to the Muffinz, mostly high energy material should be expected at their OppiKoppi show this year.  They have also been rehearsing some of Ray Phiri’s material, the jazz veteran who passed away in July this year due to lung cancer.

For them, their greatest achievement is “the ability to be able to bring back a culture of acoustic music amongst our peers, music outside of jazz or gospel – conscious enough, ‘dancy’ enough, well-intentioned  .”

The Muffinz have performed at several international venues like Norway, Mozambique, Swaziland and Algeria – the next leap for them is to triumph in the European festival market.

“As having worked with European partners in Norway and Italy, we have seen possible markets there, in strange and beautiful places filled with lovers of music.”

Together the (now) four of them, Simphiwe Kulla (lead electric guitar, vocals), Mthabisi Sibanda (acoustic guitar, vocals), Gregory Mabusela (drums, vocals), Sifiso Buthelezi (lead electric and vocals) are the mix to a well-risen muffin.

Their first OppiKoppi in 2012, Sweet Thing, was “a beautiful experience”, saying it was aptly titled – “a nostalgia as associated with the initial moment of ecstacy when doing something for the first time.

For them, the best part about this music festival is to discover new favourite artists in other genres but they are especially looking forward to seeing Snakeships, Beatenberg, Albert Frost and The Brother Moves on.

Don’t know them? Enlighten yourself.

 

 

 

 

“Mense weet nie hoe hulle praat” – prof. Daan Wissing

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(Nota: Hierdie onderhoudsprofiel is in September vir klasdoeleindes geskryf.)

Prof. Daan gesels oor die onverwagsheid en sistematiek van spraakklanke, tegnologie en “aftrede”.

Prof. Daan Wissing, skuif rats agter sy rekenaar in met die talle oop lêers aan die onderkant van die skerm. Die beelde in die lêers lyk amper soos ’n hartklop – golwe en vibrasies wat effe aan dié in Fisiese Wetenskappe herinner.

Hy is ’n doener. Prof. Daan gesels nie lank voor sy geesdrif om te demonstreer hom takel nie. Die onverwagsheid en sistematiek van spraakklanke prikkel hom. “Dat ’n mens praat soos jy praat en nie weet jy praat só nie,” sê hy rustig met sy hande in mekaar gevou. “Kom ek kyk sommer of ek vir jou ’n voorbeeld kan gee.”

 

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Prof. Daan Wissing, deskundige in fonetiek en fonologie, sê dit is onthullend oor die menslike wese wat glad nie weet hoe hulle praat nie.

 

Daar is ongeveer tien sekondes stilte terwyl hy rondklik. Dan begin hy praat.  “Byvoorbeeld as ‘n mens nou gaan luister na die nuus van RSG (Radio Sonder Grense) – die mense sê hulle behoort Standaardafrikaans te praat as hulle die nuus lees. En dan doen hulle allerhande goed soos die gewone assimilasie – ‘minder’, sommer net ‘minner’ en nie ‘minder’ nie of ‘allerande’ en nie ‘allerhande’ nie.”

Prof. Daan is ’n senior navorser by die Sentrum vir Tekstegnologie (CTexT) van die Noordwes-Universiteit (NWU) wat volgens hul webtuiste menslike taaltegnologie navors en taaltegnologiese produkte vir Suid-Afrikaanse tale skep.  Hoewel hy reeds meer as 16 jaar gelede “afgetree” het, is hy op sy pos agter die lessenaar met die talle elektriese drade, rekenaarmuise, geheuestokkies en oorfone op. Soos Prof. Daan daar in sy kantoor sit, kamer 125 van die Frans du Toit-gebou (E9), het hy Februarie vanjaar 76 geword.

Hy glimlag terwyl hy verduidelik. Hy verwys na ’n minder bekende verskynsel wat hom tydens weervoorspellings opgeval het. “As hulle nou by Cradock kom, dan ‘Crarock’ hulle. Dit het ek nooit raakgeluister nie.” Toe hy op ’n databasis van nuusbulletins spesifiek soek vir gevalle waar ’n ‘-d-’ tussen twee vokale staan, het onder meer “Vrerendal” (Vredendal) en “misdarigers” (misdadigers) verskyn.

“Misdarig.” Hy kyk my stip in die oë en vra of ek daarvan bewus is. Ek is nie. “Niemand weet dit nie. Ek luister al meer as veertig jaar lank na Afrikaans met die oog op beskrywing van goed en ek het dit nog nooit agter gekom nie,” sê hy.

‘Hanne’ (hande), ‘tanne’ (tande), ‘perre’ (perde), ‘wille’ (wilde), ‘innie’ (in die) en ‘oppie’ (op die) kom meer algemeen voor.

Die sistematiek agter uitsprake interesseer hom, omdat “jy nie sommer enige ding kan verander nie.” “Net in bepaalde omstandighede, dikwels in bepaalde style van praat, gebeur daar goed met taal wat heeltemal sistematies is waarvan ons heeltemal onbewus is en dit interesseer my.”

Hy sê mense kan byvoorbeeld die ‘-r-’ in “Vereeniging” weglaat en “Ve-eeniging” sê, maar nie “ooi” in plaas van “rooi” sê nie.

Prof. Daan werk tans aan ’n vier jaar lange projek vir Taalportaal wat einde 2018 volledig behoort te wees. Op dié aanlynplatform vir Nederlandse, Afrikaanse en Friese taalkunde, skryf hy die afdelings oor Afrikaanse fonetiek en fonologie.

“Dit is ’n volledige, omvattende grammatika van die Afrikaanse fonetiek en fonologie en hy kom uiteindelik in hierdie formaat op die internet wat baie Wikipedia-agtig is, so jy kan alles interkatief gaan soek,” sê hy met sy linkerwys- en duimvinger wat sy gesig ondersteun en sy regterhand wat na die rekenaar wys.

 

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Prof. Daan verduidelik hoe hy verskynsels sien en hoor om dit as voorbeelde van sy teorieë te bevestig.

 

Hy sê in Kontemporêre Afrikaanse Taalkunde (2014) fonetiek bestudeer “die produksie, oordrag en persepsie, van afsonderlike spraakklanke” en fonologie  “die werking van daardie klanke”.

“Dis nou hulle hierdie,” snuffel hy op Taalportaal se tuisblad.  Hy lag onverwags, daar is sy foto sommer. “Toevallig is daar iets van my op. Hulle (Taalportaal) vervang hulle (foto’s van die navorsers op die tuisblad) so elke paar minute en myne was nou juis toevallig daar op.”

Die voëls kwetter deurgaans en in die omliggende kantore klink dit gesellig. Iemand lag ’n paar keer in die agtergrond.  Party moet reeds op middagetebreek wees.

Hy sê baie van die werk vir Taalportaal is al gedoen, maar nog nie op die webwerf gelaai nie. “Ons moet dit in Engels skryf want die internasionale gemeenskap moet dit kan lees en verstaan,” hy sug liggies. “As ‘n mens dit in Afrikaans skryf, al gaan dit oor Afrikaans, gaan baie mense dit nie kan lees nie.”

Die tegnologiese spronge in sy veld sedert die beginjare is vir hom verbysterend. “In die outyd moes jy maar sit en voorbeeldjies uitdink, dan skryf jy dit op en die mense moet jou maar glo. Maar met hierdie ding (Taalportaal) kan jy nou die klank insit en dan kan hulle self gaan luister.”

Nou het hy byvoorbeeld ’n databasis van RSG-nuusbulletins waar hy die verskynsels en die sprekers van sy keuse kan intik om te sien hoe gereeld dit voorkom.

Hy gly weer vinnig met sy stoel rekenaar toe. “Ek is nou verleid om vir jou iets te wys. Sê nou maar die woord ‘nadat’… sou jy sê daai ‘-d-’ kan ’n ‘-r-‘ word? ‘Narat’?” Hy speel al Johann Russouw se nadats. Praat, ’n toepassing wat dit onder meer moontlik maak om die klankgolwe van ’n woord te sien en waar dit in iemand se mond vorm, maak dit makliker om ’n verskynsel te verduidelik.

My dear, my dear, daar was nog nie eers ‘n woord soos taaltegnologie toe ek my doktorsgraad gedoen het nie en dis 1971. Ek het eers hier in die laat tagtigs met hierdie goed begin,” sê hy toe ek vra of die doktorsgraad wat hy in Utrecht (Nederland) gedoen het in Taaltegnologie was. Dít het hy in Algemene Taal- en Literatuurwetenskap gedoen.

Hy reis begin Oktober saam met sy vrou, Marié, na Wene (Oostenryk) om saam met ’n oorsese medewerker ’n artikel af te rond. Prof. Marié is eintlik ook “afgetree” en is tans ’n navorsingsprofessor by die NWU se Gesondheidswetenskappe. Sy is ’n spreker by ’n  internasionale kongres in Innsbruck (Oostenryk).

Ná talle bekronings en internasionale reise vir sy navorsingswerk, twee Comerades-marathons en twee Ysterman-driekampe, wat is die volgende mylpaal? “Jong ek werk nie meer met sulke groot mylpale nie.” Om die onderskeie verskynsels van die fonologiese prosesse volledig te bespreek  en vorige werk met nog voorbeelde te verryk is van sy eerskomende doelwitte.

Een van sy studente-assistente kom in om haar werk wat tot sy databasis bydra op ’n geheuestokkie vir hom te gee. “Het dit maklik gegaan, kan ek dit maar vir jou teruggee as dit half gedoen is?” spot hy voor sy loop.

“Ek is afgetree, maar nog nie morsafgetree nie,” sê hy laggend. Vir die egpaar is dit daagliks ’n brandende vraag – wanneer om uiteindelik af te tree. “Jy vra ’n vraag wat ek en my vrou wat ’n professor in Sielkunde is…,” sê hy onsamehangend toe ek vra wanneer gaan hy weet hy moet stop. “Ek en my vrou is nog van die ou geslag akademici. Ek praat nie eers van vakansie nie. Die week in Innsbruck wat sy by die kongres is, het ek ‘n groot stuk werk wat ek wil afhandel.”

Hoewel hulle basies dag en nag, naweke en vakansies werk, werk,werk, is hulle baie lief vir die natuur en oefening is en stap dus daagliks langs die dam.

Intussen is daar ’n groot waarskynlik dat Prof. Daan jou kan voorkeer om sekere woorde uit te spreek.

Geslag, gender nie altyd pasmaats

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(Nota: Hierdie feature is in September 2017 vir klasdoeleindes geskryf.)

 

“(Gender) verwys na die sosiaal gekonstrueerde verwagtinge en rolle wat aan persone gekoppel word op grond van hul biologiese geslag.” – Dr. Jacques Rothmann, deskundige in gender-  en  LGBT-studies

 

Hy staar onrusbarend na die spieëlbeeld van ‘n skoongeskeerde man met platgekamde hare, geklee in ’n noupassende glanserige hemp. Ná ’n ruk transformeer dié beeld in ’n selfversekerde vrou met golwende, platinumblonde hare en dramatiese grimering.

Dié toneel uit die video “Queen” van die musiekgroep Perfume Genius, is maar een voorbeeld van hul talle werke met ’n skerp fokus op genderidentiteit.  Die hoofsanger Mike Hadreas se persona met die sagte blos op sy wange, lipstiffie en pienk frillerige baadjie, soos in van die musiekvideo’s, trap met sy hoëhakskoene op gendernorme.

 

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Mike Hadreas, in Perfume Genius se musiekvideo, “Slip away”.                                FOTO: Scoopnest

 

Soos Hadreas, is daar menige mense wie se geslag en gender nie pasmaats is nie. Hoewel  die samelewing se beskouing en bewustheid van gender tans onder metamorfose is, met veral sosiale media as versneller, word geslag, gender en seksualiteit steeds deur sommige as ’n potato-potáto-geval gesien.

Dr. Jacques Rothmann, deskundige in gender-  en  LGBT (Lesbian, Gay, Bisexual and Transgender)-studies en Sosiologiedosent aan die NWU-Puk, sê geslag omvat die biologiese onderskeid tussen individue op grond van hul geslagsorgane. Volgens Rothmann kan sosiale wetenskaplikes wel gender en geslag verbind indien hulle geslag ook as ’n sosiale konstruksie ag.

 

Hoewel  die samelewing se beskouing en bewustheid van gender tans onder metamorfose is, met veral sosiale media as versneller, word geslag, gender en seksualiteit steeds deur sommige as ’n potato-potáto-geval gesien.

 

“(Gender) verwys na die sosiaal gekonstrueerde verwagtinge en rolle wat aan persone gekoppel word op grond van hul biologiese geslag – dus mans moet ‘manlik’ en vroue ‘vroulik’ optree,” sê Rothmann.

Mense wat glo gender het net twee kategorieë (manlikheid en vroulikheid) en dat heteroseksualiteit die enigste roete is, maak Lisa Immelman warm onder die kraag. Sy leef haar vrouwees uit in enige vorm en voorbeeld en sý het die mag om dit te verduidelik (of nie). Dié derdejaarstudent in BA taal en literatuurstudie aan die NWU-Puk, het eers op universiteit besef sy hoef nie net een genderrol binne haar verhoudings met vroue aan te neem nie.

Immelman se broer identifiseer as non-binary/ genderqueer, wat volgens Rothman kategorieë is waar individue tradisionele genderrolle deur middel van onder meer gedrag en kleredrag direk uitdaag. “Hy dra een dag baie make-up en die ander dag niks en baie mense sal hom as ‘ma’m’ groet.”

 

“Did you just assume my gender?” – Lisa Immelman

 

“Did you just assume my gender?” is ’n gunsteling sêding in Immelman se vriendekring. Immelman meen hoewel “ons is nou in ‘n tyd waar dit okay is om anders te wees”, is daar ’n tekort aan verdraagsaamheid. “Deur vir iemand te sê hy of sy tree nie volgens jou persoonlike persepsie van gender op nie, is beledigend.”

Immelman glo nie seksuele voorkeur en gender hou verband nie, omdat “liefde, liefde is”. “Seksuele voorkeur word bepaal deur jou siel en nie jou gender nie.”

Gender en seksualiteit word soms foutiewelik uitruilbaar gebruik en is meestal op die cisgender-model gebaseer wat beteken individue identifiseer met die geslag waarmee hulle gebore is, sê Rothmann. Hy sê heteronormatiwiteit (die argument dat heteroseksualiteit die aanvaarbare norm is) skep die verwagting dat daar ’n verband is.

Hy verdeel seksualiteit in “gedrag” en “oriëntasie”, waar “gedrag” onder meer seksuele omgang, kleredrag en optrede insluit, terwyl “oriëntasie” fisiese, psigiese en emosionele aangetrokkenheid tot persone impliseer.

Shen Scott, ’n gegradueerde in BSc sielkunde en menslike fisiologie aan die Universiteit van Pretoria (UP), hou daarvan om te braai, bier te drink, die voorsiener in ’n verhouding te wees, en genderrole en stereotipes uit te daag. Vroueklere is vir hom aantreklik en pas goed, hy glo grimering lyk amazing aan almal en dat die gender-seksualiteitskakel uitgedaag moet word.

Scott sê gender is iemand se persoonlike begrip en uidrukking van identiteit en kan enige vorm aanneem wat hy/sy/hulle verkies. “(Gender is) ’n waardering en aanneming van manlike of vroulike energie en estetika of glad niks nie.”

Die transgendergemeenskap waar seksuele voorkeur dieselfde bly ten spyte van ’n geslagtelike verandering is vir Scott ’n bewys dat seksualiteit en gender nie met mekaar skakel nie.

Scott ag onkunde as die grootste belediging en dat individue eerder oor gender moet oplees en na gesprekke luister om ingeligte uitlatings te kan maak. “Dit is beledigend om vir ander mense te sê wat jy dink hul lewens is en hoe dit geleef moet word.”

Hy het al ervaar dat mense hom stereotipeer om kennis van karre en sport te hê oor hy ‘n man is, sê Scott. “Ek sien ook dat ek as meer professioneel, kundiger en ryker as my vroulike vriende geag word.”

 

“Ek sien ook dat ek as meer professioneel, kundiger en ryker as my vroulike vriende geag word.” – Shen Scott

 

Hoewel dit teen die Suid-Afrikaanse Grondwet indring om teen persone op grond van gender te diskrimineer, word tradisionele eienskappe van vroue soms in die werkplek gesoek, terwyl patriargie ook in gevalle voorkom, sê Rothmann.

’n Lid van die Student Advocating Leadership and Transformation (S.A.L.T.), wat ’n diploma in Sportkunde aan die NWU-Puk doen, sê as vrou in die sportbedryf weet sy sy moet harder as mans werk om haarself te bewys vir dieselfde hoeveelheid aandag, selfs al het sy meer kennis oor die onderwerp.

Mpumelelo Twala, tweedejaarstudent in BA ontwikkeling en bestuur aan die NWU-Puk, het ’n anatomiese blik op gender – hy beskryf dit as die onderskeid tussen manlik en vroulik. Twala meen gender gaan oor iemand se fisiese voorkoms, maar dat aanmerkings oor kleredrag en voorkoms wat verwagtinge uitdaag, kwetsend is. Weens die samelewing se heteronormatiwiteit voel hy daar is ’n definitiewe verband tussen gender en seksualiteit.

 

Etikette maak hom (Ruan Fourie) ongemaklik, hy probeer  net so nou en dan ’n decent mens wees.

 

Volgens Ruan Fourie hou individue se genderervaring met hul psigiese ervaring van hul identiteit verband en is nie noodwendig biologies nie, daarom dink hy ook nie dit waartoe jy aangetrokke is hou met gender verband nie.

Fourie, honneurstudent in Skryfkuns, trek meestal soos ’n man aan en tree soos een op, maar verkies om nie dit genoem te word nie. Etikette maak hom ongemaklik, hy probeer  net so nou en dan ’n decent mens wees.