Johannes Kerkorrel

Johannes Kerkorrel (27 March 1960 – 12 November 2002), born Ralph John Rabie, was a South African singer-songwriter, journalist and playwright.^[1][2]

Early life and career

Born in Johannesburg, Rabie worked as a journalist for the Afrikaans weekly newspaper Rapport. In 1986, as apartheid reached its zenith under National Party-led government under State President P.W. Botha, Rabie started performing politically themed cabaret at arts festivals under his new stage name (kerkorrel meaning church organ in Afrikaans). In 1987, Rabie was fired by Rapport for using quotes from Botha's speeches in his music; he then became a full-time musician and performer under the name Johannes Kerkorrel en die Gereformeerde Blues Band (Johannes Kerkorrel and the Reformed Blues Band), a deliberate reference to the Reformed Church. The band also included the Afrikaans singer-songwriter Koos Kombuis. At the time their brand of new Afrikaans music was dubbed alternatiewe Afrikaans (alternative Afrikaans) and exposed divergent political views to a new generation of Afrikaners.^[1][2]

In 1989, they released the album Eet Kreef (Eat Crayfish) on the now-defunct Shifty Records label, which was a commercial success despite its tracks being banned from radio airplay by the South African Broadcasting Corporation, which was the government mouthpiece. The subsequent regional tour of college campuses and art festivals was called Voëlvry (literally free as a bird but here meaning outlawed), and Rabie's controversial reinvention of Afrikaans popular music became known as the Voëlvry movement.^[1][2]

In 1990, Rabie visited Amsterdam, and almost simultaneously the track Hillbrow from the Eet Kreef album became a hit in Belgium, and Rabie followed its success with a solo tour. In subsequent years he enjoyed substantial artistic success in Belgium and the Netherlands, and spent much of his time in Belgium. Here he also befriended Stef Bos, a Dutch cabaret artist, with whom he would share a number of concerts.^[1][2]

Death

Rabie hung himself on 12 November 2002 in Kleinmond, near Hermanus on the Western Cape coast. He was survived by his long-term gay partner, and by his ex-wife and son.^[3][4][5][6]

Awards

• 1995 SAMA – Best Pop Music Performance for Cyanide in the Beefcake^[1]
• 1997 SAMA – Best Male Vocalist and Best Adult Contemporary Album: Afrikaans for Ge-trans-for-meer^[7]
• 2001 Geraas – Best pop album and Best adaptation for Die Ander Kant^[8]
• 2013 SAMA – Lifetime Achievement Award^[9][10]

Discography

• Eet Kreef (1989)
• Bloudruk (1992)
• Cyanide in the Beefcake (1994)
• Ge-trans-for-meer (1996)
• Tien Jaar Later (1998)
• Sing Koos du Plessis (1999)
• Die Ander Kant (2000)
• Voëlvry Die Toer (2002)
• Kerkorrel – Best Of: Pêrels Voor Die Swyne (2003)
• Hoe Ek Voel (2012) – issued to commemorate the 10 year anniversary of Rabie's death^[11]

Tributes

After Rabie's death, several artists recorded tribute songs to his life and work. An incomplete list follows:

• Stef Bos – Pelgrimsrus
• Riku Lätti – Ysbeer
• Amanda Strydom – Ek Het Gedroom
• Karen Zoid – Foto Teen Die Muur
• Jak De Priester – Kerkorrel
• Kristoe Strauss – Sit Dit Self Af
• Jan Blohm – Johnny K

Covers

Rabie is a much covered artist. Among the cover versions that exist are:

• Stef Bos – Hillbrow
• Riku Lätti – Somer
• Amanda Strydom – Hoe Ek Voel
• Amanda Strydom – Halala Afrika

See also

References

Further reading

• Laubscher, Leswin (2005). "Afrikaner identity and the music of Johannes Kerkorrel". South African Journal of Psychology (Psychological Society of South Africa) 35 (2): 308–330. doi:10.1177/008124630503500209. Retrieved 21 April 2013. As old identity verities are dislodged, post-apartheid South Africa is witness to dramatic identitary flux. This study examines Afrikaner identity and particularly that of the generational cohort who witnessed the end of apartheid as young adults. Employing a hermeneutic semiology, the study provides a reading of Johannes Kerkorrel's music, arguing that, as cultural text, it enacts identitary discourse and tension. As such, several identitary moments and motifs are noted across a period of roughly 20 years, including that of identity as rebellion, location and individualising interiority. Finally, it is suggested that the law-of-the-father, as apartheid bequest, organises and animates identity struggles for this generation. 
• Viljoen, Martina (1 November 2005). "Johannes Kerkorrel en postapartheid-Afrikaneridentiteit" (in Afrikaans). Retrieved 21 April 2013. 
• Hopkins, Pat (2006). Voëlvry the movement that rocked South Africa. Cape Town: Zebra Press. ISBN 9781770071209. Retrieved 21 April 2013. 
• Uys, Hendrick Michael Grobler (2011). A psychobiographical study of Ralph John Rabie (MA). NMMU. Retrieved 21 April 2013. 
• "Johannes Kerkorrel" (in Afrikaans). roekeloos.co.za. Retrieved 21 April 2013. 
• "Music Artists: Johannes Kerkorrel". Entertainmentafrica Mobile. Retrieved 21 April 2013. 
• "Voëlvry". Shifty. Retrieved 22 April 2013. Ralph Rabie, who was at that time a journalist on an Afrikaans paper, went down to Cape Town to interview André when Vêr van die ou Kalahari was released. There was a meeting of minds which eventually led to both of them playing in the first incarnation of the Gereformeerde Blues Band. A short while later, André left to forge a solo career as Koos Kombuis, while Ralph, by then known as Johannes Kerkorrel, went on to record the seminal Eet Kreef album with the remaining members of the GBB. Both artists featured on the Voëlvry compilation, which came out around this time. 
• "Johannes Kerkorrel & GBB". Shifty. Retrieved 22 April 2013. Slashing their way out of the Nationalist Party ideology, the GBB charted the wide open spaces of a new Afrikaner rebellion. This time the insurrection was a musical one, with the GBB as rock & roll outlaws slinging guitars and stinging criticism against the laager mentality of volks kultuur and the apartheid way of life. Moving conventional rock into the realm of political theatre and satire as successfully as they did proved that if the GBB were to be seen as cultural upstarts, they were upstarts with a vision both innovative and lucid that could not be ignored.