Watkin Tudor Jones se ver-werkliking van Ninja (2009) as 'n simulakrum

Abstract

Hierdie verhandeling ondersoek die wyses en proses waardeur die konseptuele kunstenaar Watkin Tudor Jones die kletsrymerpersona Ninja as ’n simulakrum verwerklik. Dit word gedoen aan die hand van ’n interpretasie van Jones se spel met karakters en personas as deel van konseptuele kletsrymgroepe soos The Original Evergreen, Max Normal, The Constructus Corporation, MaxNormal.TV, asook Jones se konseptualisering van die ver-werkliking van Ninja as protagonis van die kletsrymgroep en internetsensasie Die Antwoord. Jones se betrokkenheid by dié groepe word as voortdurende performances beskou, wat met elemente van nuwemediakuns, hip-hop- en elektroniese dansmusiek vervleg word ten einde konseptuele kuns te skep. Die navorsing van die verhandeling trek verbande tussen Jones se konseptuele kunsskepping en die poststrukturalistiese Franse filosoof Jean Baudrillard se konseptualisering van die simulakrum. Die simulakrum behels die stelselmatige vervanging en vernietiging van die oorspronklike werklikheid deur ’n gesimuleerde werklikheid wat as ’n “nuwe oorspronklike” ervaar word. Die simulakrum bestaan voort binne, wat Baudrillard, noem ʼn hiperwerklikheid. Hierdie verhandeling gebruik Baudrillard se konseptualisering van die simulakrum en hiperwerklikheid as ’n metode om Jones se verwesenliking van Ninja as ’n simulakrum sistematies uiteen te sit en te interpreteer. Jones se spel met karakters en personas en eindelike konseptualisering en skep van Ninja as deel van Die Antwoord, versluier sy eie oorspronklike identiteit. Sedert die totstandkoming van Die Antwoord het Jones sy oorspronklike identiteit as “Watkin Tudor Jones” laat vaar en vervolgens in sy alledaagse werklike bestaan die uitlewing van Ninja aangeneem. Hierdeur word Ninja ’n “nuwe oorspronklike” wat Jones as die oorspronklike vervang en vernietig. Vervolgens word Ninja as ’n simulakrum ver-werklik wat deur voortdurende simulasies onderhou word en “voortleef” binne ’n hiperwerklikheid. This dissertation investigates the ways and processes through which the conceptual artist Watkin Tudor Jones embodies the rap persona Ninja as a simulacrum. The investigation is framed by an interpretation of Jones’s play with characters and personas as part of various conceptual rap groups, such as The Original Evergreen, Max Normal, The Constructus Corporation, MaxNormal.TV as well as Jones’s conceptualisation and embodiment of Ninja as protagonist of the rap group and internet sensation Die Antwoord. Jones’s participation in these groups can be viewed as continuous performances, intertwined with elements of new media art, hip hop and electronic dance music in order to create conceptual art. In this study Jones’s conceptual art is interpreted in the light of French poststructuralist Jean Baudrillard’s conceptualisation of the simulacrum. The simulacrum involves the systematic replacement and obliteration of an original reality through a simulated reality which is experienced as a “new original”. The simulacrum ultimately exists in what Baudrillard calls a hyperreality. This dissertation applies the simulacrum and hyperreality as a means to systematically expound and interpret Jones’ embodiment of Ninja as a simulacrum. Jones’s play with characters and personas and his conceptualisation of Ninja as part of Die Antwoord, ultimately veils his original identity. Since the conceptualisation of Die Antwoord, Jones has abandoned his original identity as “Watkin Tudor Jones” and subsequently adopted the realisation of Ninja in his everyday existence. Through this, Ninja becomes a “new original” that replaces and destroys Jones as the original. Consequently, Ninja is realised as a simulacrum that is maintained by continuous simulations resulting in Ninja creating a hyperreality, wherein he can continue to “exist”