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Singer-songwriter Anton Goosen is affectionately known as the father of Afrikaans rock. He has been acclaimed for his profound lyrics, and “Harlekyn,” one of his first recorded hits, is an example of his controversial style. At first, one could easily think that this song, released in 1979 during the Apartheid era, is only about a travelling circus and a harlequin looking for wine. If anyone other than Goosen had been the author, it’s indeed possible that’s all the lyrics would have been about. But given the songwriter, it’s worth finding a deeper meaning.

The song begins with an eerie, carnival-style introduction, with Sonja Herholdt singing Goosen’s lyrics nostalgically, “Bring the harlequin more wine; red wine for his laughter, tears, and pain. He is showing us a new wind that is blowing from the Vaal to Saldanha Bay.” The harlequin is someone living in misery behind a façade of merriment, like many South Africans during the Apartheid era. He is the only one with foresight, however, announcing the upcoming “winds of change.” Then the tempo changes into a rock song, and the introduction is repeated. The lyrics go on to introduce the circus people as they erect a huge tent. Clowns stand about, brightly-colored cars come and go, and men walk on sticks. The circus is a representation of Apartheid and the clowns are politicians. The circus master enters the arena, nods his head, and places a black hat on his head. He is none other than Prime Minister P.W. Botha, a staunch advocate of racial segregation who took office in 1978 and later became the first State President in 1984. He is well-remembered for wearing a black hat.

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"The song begins with an eerie, carnival-style introduction, with Sonja Herholdt singing Goosen’s lyrics nostalgically, “Bring the harlequin more wine; red wine for his laughter, tears, and pain"

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The lyrics read, “Blaas eers op sy vluitjie, afrigter lig sy stok, sy gordyne gly oop, en die leeus kom uit hul hok" (The circus master blowing his whistle, the coach lifting his stick, the silk curtains being lifted up, and the lions being released from their cage). P.W. Botha, faced with a recession, a drought, terrorist activity, and opposition from the African National Congress, pushed for a policy of “adapt or die,” implemented in the “re-education” of Upington in 1979. This sheds some light on Goosen’s analogy (i.e. the lions being released from their cage).

The second stanza reads, “Hoog tou akrobate, die mense slaak 'n sug, dwarsoor met eenwiel fiets, dan keer hul weer terug.” The tight-rope acrobats depicted in this line suggest the balance necessary for change, while the people holding their breath as they watch the performers evoke the stress involved in watching politicians. The next and last line says, “En eenkant in die donker, weggesteek voel ek klein,” which translates into, “And one side in the darkness, hidden away I feel small.”

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"The lyrics go on to introduce the circus people as they erect a huge tent. Clowns stand about, brightly-colored cars come and go, and men walk on sticks. The circus is a representation of Apartheid and the clowns are politicians"

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Goosen has earned over 13 awards, including a Lifetime Achievement award and a Medal of Honor from the South African Music Awards. Interestingly, however, he has declined an award from the ATKV (Afrikaans Taal en Kultuur Vereniging, or Afrikaans Language and Culture Association) for his contributions to Afrikaans music. As for Herholdt, she has released 33 albums during her singing career. Between 1975 and 1980, she won eight Sarie awards for Best-Selling Female Artist in South Africa, and in 1991, the Afrikaans Chamber of Commerce awarded her for services to Afrikaans music. She will thus remain a legend in South African music.