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Meer as 'n dekade na demokratiese verkiesing in 1994 is Suid-Afrikaanse samelewing steeds baie labiel, en ervaar veral baie wit Afrikaners 'n diepgaande identiteitskrisis. Hierdie krisis gaan gepaard met soeke na 'n nuwe identiteit. Ten einde hierdie vraagstuk vanuit 'n musikologiese perspektief te ontleed, word twee modelle in hierdie artikel teenoor mekaar geplaas. Aan een kant is daar Vladimir Karbusicky (1975) se strukturalistiese raamwerk wat spesifiek gerig is op analise van musikale tekste. Hierdie model dien om 'n aantal liedjies te bestudeer waarin tema van die boer 'n prominente rol speel as konfigurasie van spesifieke tipes van Afrikaner-identiteit. Die model bemiddel egter slegs bestudering van wat beskryf sou kon word as politisistiese norme - en om hierdie rede word Johann Visagie (1996) se ideologie-kritiese teorie, waarin ideologie as 'n negatiewe verskynsel benader word, aanvullend ter sprake gebring. Ideologies-kritiese analise van oorvloedige polemiese literatuur rondom la Rey toon dat liedjie beskou kan word as 'n ideologies eensydige uitbeelding van Afrikaner-identiteit. Die liedjie, asook bygaande musiekvideo, skets 'n baie spesifieke periode van Afrikanergeskiedenis deur te fokus op Anglo-Boereoorlog : Afrikaner se sogenaamde era van onskuld. Binne konteks van 'n tipe Neo-Afrikaner-Protesbeweging kan hierdie uitbeeldings verdraai word om as hipernormatiewe sienings van Afrikanerskap te dien. De la Rey, De la Rey, will you come and lead the Boers? More than a decade after the democratic elections in 1994, South African society is still very unstable, and especially many white Afrikaners are experiencing a profound identity crisis. This crisis goes hand in hand with the search for a new identity. In order to analyse this problem from a musicological perspective, two models are juxtaposed in this article. On the one hand is Vladimir Karbusicky's (1975) structuralist framework, which is specifically aimed at the analysis of musical texts. This model is used to study a number of songs in which the theme of the Boer plays a prominent role as configuration of specific types of Afrikaner identity. The model does, however, mediate only the study of what could be described as politicistic norms - and for this reason Johann Visagie's (1996) ideology-critical theory, in which ideology is approached as a negative phenomenon, is also touched on. An ideology-critical analysis of the abundant polemic literature around la Rey indicates that the song can be regarded as an ideologically one-sided representation of Afrikaner identity. The song, as well as the accompanying music video, sketches a very specific period of Afrikaner history by focusing on the Anglo-Boer War : the Afrikaner's so-called era of innocence. Within the context of a type of Neo-Afrikaner Protest Movement these representations can be twisted to serve as hypernormative views of Afrikaner character.
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