Dr Verne Munsamy’s PhD thesis, Exemplifying South African “Indianness” through a Bolly-World Experience: Staging Bollywood Theatre in Durban, South Africa traces the evolution of South African Indian theatre and presents an auto-ethnographic exploration of producing and staging a Bollywood theatre piece, including a reflection on shaping local Indian identities into archetypal characters.
‘I grew up watching Bollywood movies with my Aiya (grandmother) and was always engrossed in the colours and the music, even though I didn’t understand the words. Whether treated to a dance concert, stand-up comedy or comedy skit, I relished in the theatre trips and knew that one day I would be contributing to this type of theatre – South African Indian theatre,’ reminisced Munsamy, a lecturer in Drama and Production Studies at the Durban University of Technology.
Commended by his supervisors Drs Miranda Young-Jahangeer and Andrew-John Bethke for contributing to a new and growing area focusing on South African Indian theatre, Munsamy’s love for Bollywood and daily occupation of writing, directing and staging theatre shows, spurred the need to tell these stories through his creative endeavours.
It took two years to find a venue, but eventually, Munsamy self-funded his five-times sold-out show Bombay Chasers, on which his thesis is based. The key findings showed that South African Indian theatre is evolving and includes Bollywood Theatre, a style adapted from Bollywood cinema that is popular amongst South African Indians as it reflects the local Indian culture.
He noted that Bollywood cinema serves as a platform to shape and express the cultural identities of the South African Indian community. ‘It resonates with the Indian diaspora all over the world because it exemplifies Indianness. Likewise, Bollywood Theatre exemplifies South African Indian culture through the language choices, the types of archetypes that resemble popular Indian characters and the culture, the dress, the expressive nature and family goals.’
The inspiration for the archetypal characters in his show came from outspoken and loud personalities like his own aunt and older brother, also kindled by childhood memories.
Munsamy believes that Indian culture is a significant part of South African culture, but is not given sufficient scope. By highlighting aspects such as religious practices, speech, education and career goals, he finds agency for his own marginalised voice.
‘Theatre plays a vital role in representing, creating and questioning culture. It is important for a minority, diasporic population like the South African Indian one to create a space where our values, culture and daily lives can be exemplified and challenged; as well as create a space where entertainment can exist. Popular theatre is made by the people, for the people.’
According to Munsamy, theatre also represents cultural practices. Emphasising the importance of making theatre that exemplifies his own cultural identity and is not “washed out” by the title of South African Indian theatre, he advocates for his cultural experiences to have their own stage.
His journey was filled with many sacrifices, but tenacity enabled him to complete the first draft of his thesis within three months of the implementation of the COVID-19 lockdown.
‘Thank you to my supervisors for their guidance, the NIHSS (National Institute for the Humanities and Social Sciences) for the scholarship funding that was used for the production, my best friends for the distractions, and to the beautiful, strong women in my life who nurtured and guided me to where I am today.’
