Analysis:
In Act II scene 6 of Bora da Mowa the focus shifts from domestic life to a bar cum discotheque like atmosphere. The same noisy atmosphere, the same drunken crowd, the same hookers as that in a whore house anywhere else in the world. Resembles a scene from one of the old ‘Western’ movies where the fighting erupts in the saloon in no time at all at the slightest of provocations.
Here too the characters (Friend#1 and Friend#2) of table three, which is between table one and table two, are under the influence of alcohol and are making derogatory remarks about Habu and Ziza. They refer to Habu as ‘Habu the pimp’. They also make a claim that Habu’s elevated status has finished after losing the election. In the end they try to deride and ridicule Habu by calling him snake-charmers’ son. Habu springs to life at this and tries to strangulate the person who made this remark. That is when the police comes into the bar to make arrests.
The question is what the writer is trying to convey to the reader by depicting a brothel-like scene. Such places are not found in poor African countries, the immorality of the characters notwithstanding. There has got to be an underlying message in it. The writer could not have imagined this scene just for the pleasure of the readers/viewers. The scene and setting was a symbol of some wider message.
A close study would show that the writer perhaps was trying to project and underscore the decadence prevailing in that society. This view is reinforced by looking at the character of Habu, who is occupying one of the tables with his girl friend Tabirni. Habu is picture of a villain personified. His apparent weaknesses of wine and women are on full display. Having lost in the elections, and his personal wealth in the process, he is trying to drown his sorrows in drinking and merry making and by having a good time.
In this part of the play the final scene is enacted where …… “the ‘drumming gets vigorous….. The fiddler plays the theme tune of Ziza’s bori spirit……. Madam Dunlop, the owner of the joint, Tabirini. Lami all join in the dancing…... Ziza makes an appearance dressed in the bori costume appropriate to her spirit…… The spirit takes possession of her…eventually she comes out of her trance……..”
Indeed the writer has linked the story to that period in time when the rituals of black magic, sorcery and witchcraft held sway and dominated the cultural and religious scene. Practically the whole of Africa during the dark ages was under the influence of black African religion. It seems odd though that this story has been linked to a reasonable modern urban environment.
Though it is true that many women try to outsmart and outwit their husbands and try to go one up this writer feels that this is not the underlying idea or theme as evidence by the story that unfolds in this play. Umma hardly falls in this category. Ziza though is all over her husband for reason of greed rather than for playful motives.
The scene in Act II, scene 6 of Bora da Mowa can be interpreted as turn in the story that points out the overall primitive, hallow religious and cultural foundations and convictions. A society that draws its inspiration from black magic and sorcery is not a progressive society. This act puts this construal on the story. |