Southern Cross Tuesday, October 14, 2003 On Friday I saw a very good play by South African playwright Greg Coetzee (of 'White Men with Weapons' fame) called 'Happy Natives.' The play starred an old friend of mine - Ben Voss - and the excellent Sello Sebotsane, whom I'd previously seen in Brett Bailey's 'Big Dada' at the Grahamstown Festival. Given that this blog also covers cultural matters, I thought I'd attempt a review. 'Happy Natives' was apparently written in response to the narratives that typically emerge from, or are written about, South Africa - tales of adversity, of good versus evil, that culminate in happy, dancing indigenous people. Instead, Coetzee aims to show us the complexities of the real South Africa, being played out between ordinary people in the suburbs of Durban. Kenneth, an actor, has been in London for two years. If you're a white English-speaking South African, you'll recognise him, if you're not him yourself. He claims that London is 'lapping him up' because 'South Africans know how to work hard - no safety net for us.' Mysteriously, despite his alleged success, he's living with his parents. All his money, he explains, is 'wrapped up off-shore.' Kenneth also claims to be 'African' - whatever that means. In Kenneth's case, it involves a sprinkling of Zulu, an awkward political correctness and a vague yearning for Durban's waves. Back in Durban, Kenneth meets an old friend of his, Mto, from university (where Kenneth produced a dialectic between Marx and the bushmen - the world's 'only true socialists'). He invites Mto to participate in a production with him - a government project, intended to attract foreign investment to South Africa - and Mto agrees. The process of their collaboration gives rise to the central events of the play, which are juxtaposed against the narrative they produce - a tale of adversity, replete with wildlife and Nelson Mandela, that culminates in happy, dancing natives. The juxtaposition is deliberate; the world of Kenneth and Mto, it quickly becomes obvious, is far more morally complex than their representations of South Africa, which are intended to 'sell' the country to a foreign audience. | |
|