Looking for Muruga – The Picture of Socio-Cultural Milieu of South Africa Indian Society
Abstract
The present paper looks at the South African Indian play Looking for Muruga by Kriben Pillay. The play is unique in theme and dramatical techniques as well. The paper is about the identity of character Muruga at individual as well as collective level. How Muruga’s individual story becomes the story of collective mass. It also presents Muruga’s all strategies like songs, jokes, dance to prove him Muruga-the barman. Further, it depicts the racial tensions prevailing in South African Indian Society between two prominent races-the Blacks and Indians after apartheid. The paper also focuses upon the balanced perspective used by the dramatist to present the tensed relations between these races. With the personal history of few characters play leads the reader to the collective social history of the time. Especially, how 1949 Durban riots have changed equation of two races, the Blacks and Indians. The added dimension of the play is the remedy or solution suggested by the playwright that is the collaboration with dance, in broader sense with Arts. Only the art based healthy atmosphere can make the tensed relation cordial.
Keywords: South African Indian Theatre – Kriben Pillay – Apartheid – 1949 Durban riots – Muruga – Bar – Blacks – Therakoothu – Rainbow Nation – Nelson Mandela – Dance
Looking for Muruga is one of the most remarkable plays written by eminent South African Indian writer Kribendiren Pillay known as Kriben Pillay. He is a senior lecturer at the University of Kwazulu-Natal. He has tried his pen at various genres of literature like theatre, poetry, essays, short-stories, academic essays and children’s books. His contribution as playwright in field of South African Indian Theatre is noteworthy. Kriben Pillay has written quite a good number of plays i.e Park Side Story (1981), Mr. O’s story (1988), Looking for Muruga (1988), Side by side Mesisizane (1989), F.M. Stereotype (1982), Coming Home (1993), Mr. Bansi is Dead, The Two-Fold Tamil Rule and The Town (1997), among them only one play Looking for Muruga is found in print. He is also involved in directions of most of his plays. Kriben Pillay is still active in theater and training and always eager to contribute something meaningful to the society. Looking for Muruga is one of such plays, which has earned many critical acclaims and performed at various theatres.
Looking for Muruga is one of the successful plays by South African Indian playwright. The reasons behind the success of play are unique themes and technique of the play. The play has integrated dance, drama, jokes, masks, songs etc. in it. The play resembles very much with the Tamil dance form ‘Therakoothu’. Without disturbing the aesthetics of drama Kriben Pillay has very well portrayed the issues of apartheid, inter-racial relations as well as conflicts of Indians with other races, in the early 1990s. The play has references to social, historical and political scenario of the time.
Looking for Muruga is a two-act play. It has three characters, Muruga, a South African Indian barman, Dante, an African student pursuing Indian dance course, and Sherwin, a University Graduated Marxist writer and wants to write a play about Muruga. The Play refers mainly to three time-phases, first before 1948, known as pre-apartheid, second 1948-1994, during the apartheid and third 1994 onwards, known as post apartheid. Apartheid is a word which nearly means ‘apartness’. As it is described in the online article “South African History Online”, “Apartheid was the ideology supported by the National Party (NP) government and was introduced in South Africa in 1948. Apartheid called for the separate development of the different racial groups in South Africa. On paper it appeared to call for equal development and freedom of cultural expression, but the way it was implemented made this impossible. Apartheid made laws forced the different racial groups to live separately and develop separately, and grossly unequally too. It tried to stop all inter-marriage and social integration between racial groups”.
The play itself is a series of many theatre techniques which also creates play within a play. It is really difficult to describe linear storyline of the play with few words and so that it raises absurd feeling at many instances of the play. One can sum up the story line of the play saying, it looks as the search of Sherwin, the Marxist writer, for Muruga, a barman. Sherwin wants to find out the Muruga whom he used to visit during his college days. At first Sherwin denies to recognize Muruga as the same he used to visit but gradually by various incidents and theatre techniques Muruga succeeds to convince Sherwin. Third character Dante, a black South African, also adds new dimension to the play. As, his relation with Muruga and his interest in Indian drama reveals altogether new emerging society in South Africa. Three of the characters have their different perspective and ideology to represent contemporary South Africa and specially the relation between Indians and Blacks.
The opening scene of the play itself represents very clearly the historical as well socio-political scenario of the time. Muruga says,
Ever since Mandela got released you fellas got a lot of buck…. (450)
Though the political reference in this dialogue is just for referring the actual time of the play vis. 1991 when Nelson Mandela got released. Their conversational tone is not serious but it’s a routine talk between two friends knowing each other who just can state such kind of political notions without any political implications. Further the conversation between them goes on as Muruga says,
What people? The pekkie comrades who think every char-ou is just a white man in a dark skin or the char-ous who think pekkies are not human beings? (450)
In which “pekkie” refers to the Black while “char-ous” refers to the Indian, the dialogue between the two characters Muruga and Dante depicts the racial hierarchy prevailing in society. The triangle of the Whites, the Indians and the Blacks has been mingled in a very complex way. Indians have started thinking their superiority against Blacks. Blacks feel uncomfortable for the supremacy of Indians against Black. The Indians started feeling superiority due to their political, economical and social influence in the society. Even the work distribution between them was different as the Blacks were only supposed to make the drudgery and Indians were brought for skilled labours. One of the South African plays Working Class Hero by Kessie Govender also deals with some issue of work discrimination. Anyhow, with the course of time Indians got lead in terms of economy by their hard work and it has created a big divergence between two communities. The relation between these two races was not very cordial.
Though it is noteworthy that along with this issue the playwright has also introduced one new racial dynamic which has been portrayed in this conversation by Dante,
All of them. They wouldn’t understand. All they will hear are “pekkies” and “char-ous” and think you are a racist. My varsity friends will find you and me difficult to understand. (450)
The above dialogue is having different side of the coin. This clearly shows that racial discrimination did exist between these two races. However, all did not participate in the ugly game of racial exploitation. There were people within two races, just like Muruga and Dante, who behaved cordially, warmly and respectfully with each other. A person like Dante in the play is ready to perform the dance of Lord Muruga, this is very suggestive. A black African character wearing costume of Indian God itself is the acceptance of each other’s identity. The cultural diversity is always indebted to such people. This is the same ‘Salad Bowl’ or Multiracial existence what Nelson Mandela desired from free South Africa, where all races have equal rights and opportunities, but can also maintain their own individuality.
Dante, the Black university dance student is going to perform is a “Big six-foot jol” (451) – Six-foot dance- Which is also known as Therukoothu. The reference of this dance clearly shows the roots of South African Indian society somewhere attached with Indian dance and culture. The reason behind it could be that, the dance form Therukoothu – a part of Indian famous dance Kathakali has arrived with Indians in South Africa and created its prominent place in their routine life. As it is mentioned in the dissertation of Sathasivan Annamalai named Therukoothu: A Traditional South Indian Dance Drama Form as Manifest in Natal since 1860: “The freeing of the Indians from their indentured contracts in 1911 heralded the beginning of the socio-economic, cultural and the socio-political development of the community. It is around this time that theatrical and general cultural activity began to take root. This activity was linked inextricably to the religious rituals and festivals popular around this time.” Therukoothu is a dance form depicting some religious incidents of the well known Indian epics and community used to gathers to witness the dance in temple festivals. In a way the performance becomes the cultural and social gathering point to share many emotions, issues and concerns for each other. In the play also there is reference of this dance drama as Muruga says, “I must still do my practice. Big six-foot jol coming up at Motala’s farm.” (451). So, it was the part of contemporary South African Indian lives.
The name Muruga in the title of the play as well character’s name also catches the attention of anybody reading the play, as Muruga is the name of Lord Kartikeya – the son of Lord Shiva and Parvati and Brother of Lord Ganesha - who is worshipped in entire South Asia as the God of War and ever youthfulness. There are various connotations of using this name. Muruga is the symbol of power and wisdom and in the play the contemporary society uses name of Muruga for every bar man. So, one can say the role of barmen in South African Indian society is quite significant. The play is set in bar. Bars are generally considered as the places where the community gathers and talks about their routines and whereabouts. In this context the barman is a person who knows the veins of the society, they might be paid less but they can give the account of community in subtle sense. A barman is a multitalented artist with alertness who can sing, dance, crack the jokes or even sometimes can firmly represent himself on certain issues. In many plays by South African Indian writers, bar and barman have been depicted as convincing characters like, Lahnee’s Pleasure by Ronnie Govender. Due to their versatility like Lord Muruga the barmen are called Murugas in the South African Indian society.
The entry of new character Sherwin in the play raises curiosity among the readers/audiences. Sherwin states his purpose “I’m looking for Muruga” (452). The obvious question comes why is he looking for Muruga? Is he looking for the Muruga who is already present on the stage or some other Muruga? Sherwin narrates about the other Muruga saying, “saw him about ten years ago. He was thin, smallish man, about your height” (452). At the point Muruga starts convincing Sherwin by role playing and sharing incidents. He wants to establish that he is the same Muruga whom Sherwin is trying to find out. Muruga very suggestively says, “May be all waiters are Muruga” (453). Muruga is the name used for every barman due to their omnipresence quality. They are just like the catalyst that helps various people from various strata of society to speak about them. The conversation between Sherwin and Muruga informs that Sherwin wants to write about Muruga. Therefore, again the pivotal question appears Why Sherwin wants to write about “an ordinary waiter” (454). Muruga suggests to Sherwin that, “One Muruga is the same as another” (454). So that Sherwin even can choose to write about Muruga present on the stage. So that Sherwin can narrate the collective story of entire race by depicting individual Muruga’s story.
Muruga in a way any barman is expert in various performing arts, so in the play also Muruga sings a song to convince Sherwin. The song is a beautiful example of creativity. It is about Muruga’s role and functions. Various people coming at the bar might have different feelings for barman, Muruga but he entertains everyone with full of energy and enthusiasm. The song is also significant because it also refers to the popular plays written by South African Indian playwrights like, The Lahnee’s Pleasure, Stablexpense, Bombay Duck, The James Commission, At the Edge and The Sacrifice. The playwright Kribben Pillay very poetically uses the name of the plays to rhyme with each stanza. For an instance,
So now you come looking,
For the perfect play,
Am I the lahnee’s pleasure,
With stablexpence for pay?
Why should I care,
It’s not worth a….,
The word just left out,
Rhymes with Bombay duck. (455).
Act one of the play ends with the Sherwin’s acceptance of Muruga as the same he was searching for. Act two is about how identity of Muruga is created? How the story of Muruga can be the story of any common man of South African Indian Society? Muruga represents all those migrated people’s identities that play their vital role in creating mini India in South Africa. Sherwin very well says, “Your story can be the story of thousands like you. In your way you’re just as important as Ahmed Kathrada ….” (456) Ahmed Kathrada was one of the influential and vital political leaders of Indian origin who had played significant role in freedom of South Africa along with Nelson Mandela. The reason of writing play about Muruga is well depicted by Sherwin which in a way becomes the predicament of any ordinary person living in diasporic society. Sherwin is trying to search the society through Muruga. Sherwin elaborates:
Your story is the story of all the unnoticed people who make your own contributions to our society, but passed by as being nobodies. (463)
The play has backdrop of post apartheid and free South Africa, the playwright uses flashback technique to present the crucial past historical events. The play discusses the situation of South Africa after Nelson Mandela got released from Robben Island. At the point there seem various political and social changes in then contemporary society among various races. In their day-today life events a kind of covert hatred has started getting shaped. In South African Indian society, the complexities of class and race were prominently prevailing. The inherited caste system of Indian background somehow creates oscillation for this new South African Indians. They were not very happy with new multiracial identity where Indian caste superiority will be lost. Sherwin’s anger and dejection is well portrayed here:
But everything is going upside down, not only the karrias (the Black). Our own young girls are disgracing us. Never mind worrying about caste, they’re now busy chasing Tamils and Muslims and making fools of themselves. Which nice rich boy will want to marry a girl that’s been with a Madraji. A little better if he was Hindi, but a Madraji! (465)
The play has many references of one of the crucial and tragic events of South African history, 1949 Durban riots. The riots were basically taken place among blacks and Indians. These riots were a big question mark for those believing in the Blacks and Indian friendly relations in then contemporary society. It might be a kind of vent from the Blacks who found Indians who have started thinking them as superior to them. The exploitation of the Blacks by Indians is well depicted in Kessie Govender’s play Working Class Hero. Indians have also started taking revenge against the Blacks. And the entire chapter of Durban riots 1949 was marked as tragic stigma of bloodsheds, looting, burning, raping, killing etc. The playwright weaves the personal lose with history in very skillful manner. As in the play Muruga refers to his eldest brother, Sunny who was “killed in the ’49 riots” (466). The reasons for the riots were not very clear. As,
Some say because the pekkies (the Blacks) went bloody mad, that’s why. Others say that the Indians caused it for themselves. (466)
Muruga refers to his childhood experience. They used to live in Cato Manor, an Indian township. He cites the story of a girl named Rani, a daughter of a White father and Tamil mother. Though she was very beautiful, it became a big question for her parents to find out a suitable groom due to her mixed identity. Finally, one day Rani’s marriage was fixed to a Christian boy, Michael. At this occasion everyone forgot all the gossips and hatred and decided to arrange big wedding party. This was the actual social picture of Cato Manor, how people were living and helping each other. This was the picture of 1948. Suddenly the table turned in 1949. Muruga depicts it:
A year later Rani was expecting a child, and living very happy with her in laws, when the riots just happened. Now there was one night called the Night of Terror (14 January 1949). Michael, Rani’s husband, knew some Coloured people in Bentley Street, off Old Dutch Road in town. He decided to take his parents and Rani there, but she refused saying she would go to her mother’s place. So, Michael took his parents and when he returned to his house Rani wasn’t there………. The next morning, she was found near the African shantytown. When Michael fetched the police, she was found in the road almost naked with bruise marks all over. She had been raped many times, and she was seven months pregnant. (468-469)
However, many such painful incidents of 1949 Durban riots have changed the equation between both the races. Indian fears that “they treat us just like they treated the Indians in Kenya.” (465). Inter racial tension existing in South Africa is well depicted in the play and again it is the area for further research that is it changed in 2020?
The play Looking for Muruga is not written in prejudiced manner. The playwright justifies the sides of both the races, the Blacks as well Indians. If the play portrays the story of Rani, it also gives an account of the Black character named Charlie. Charlie used to live with Muruga’s family in Cata Manor since he was eight-year-old. Charlie was very fond of food and his capacity of eating was surprising. He just was living with Muruga’s family though treated as a beast. Muruga tells his story in this manner:
One day I came into the yard. It was almost dark but I could see Charlie standing on the bath. Slowly I walked up to see what he was doing when I saw him kissing Beauty. What a shock I got. Somehow, we never thought of African kissing or doing things like that. We knew they made babies, but we never thought they felt love like we felt. That’s just the way things were. And even today many of our Indians think this way. To them Africans are animals that are used for work. People like Charlie that live like family, are treated only slightly different. They are monkeys in the circus. We can laugh and play, but then they must be put into their cages. (470)
The above description is about one of the cruelest realities of South African Indian society. The tensed relations between these two races creates big question mark of their co-existence? Is there any solution for this hatred? Can these equations get changed and Mandela’s dream of ‘Rainbow Nation’ will be fulfilled? Kribben Pillay himself gives answers to the above-mentioned questions. At the end of the play when Muruga interacts with Sherwin and gives the solution saying,
Dance so that we are not drowned by words. Dance so that our head is clear, so that we know what is happening: Don’t you know this kind of dance? (472)
Along with this solution Muruga who becomes mouthpiece of playwright very clearly sees art as the harmony among people. Any race can come out of the struggle or hatred or violence only with clear head where one has to remove all kind of pre-decided symbols and meanings related with many notions. Dance here is the symbol of accepting each other’s existence with whole heartedly. Sherwin who is university graduate and Marxist is not able to understand Muruga’s solution and leaves the bar. And the play ends with Muruga and Dante’s jointly made dance gesture.
In a way, the play Looking for Muruga is not only the play of depicting socio-cultural dimensions of the Blacks and Indians in South African realm but it also provides art as the ultimate solution for human harmony.
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