The Rhythmo-melodic Geste as agent of Spiritual Communion and/or Affirmation of Identity

362 Pages·2013·7.67 MB·English

The Rhythmo-melodic Geste as agent of Spiritual Communion
and/or Affirmation of Identity: An Investigation into the
Performance of selected Tamil and Zulu Marriage Rituals and
Ceremonies in South Africa.
by
Rajendran Thangavelu Govender
Submitted in fulfillment of the requirements for the degree of Master of Arts in the
Faculty of Humanities: School of Languages and Literature
University of Durban-Westville.
Supervisor: Prof. P Zungu
Co-supervisor: Dr. J Conolly
Durban
February 2002
DECLARATION
I, Rajendran Thangavelu Govender
REG. NO.: 200101566
Hereby declare that the thesis entitled:
The rhythmo-melodic geste as agent of spiritual commumon and/or affirmation of
identity: An investigation into the performance of selected Tamil and Zulu marriage
rituals and ceremonies in South Africa.
is the result of my own investigation and research and that it has not been submitted in
part or in full for any other degree or to any other University.
Signature Date
ii
ABSTRACT
This study examines the similarities and differences between the historical background
and the current performance of Tamil and traditional Zulu marriages.
After presenting an account of the historical development of Tamil and Zulu marriage
ceremonies, a chronological account of the performance of each of these marriage
ceremomes IS presented. This account includes a detailed description of the rituals
performed during the pre-marriage ceremonies, the actual marriage ceremonies and the
post-marriage ceremonies. The incidence and significance of The Anthropology of Geste
and Rhythm in each of these ceremonies are demonstrated. Selected Tamil and Zulu
Marriage songs are then analysed and interpreted rhythmo-stylistically to demonstrate the
incidence of the mnemonic laws of Bilateralism, Rhythmism and Formulism, which
account for the transmission of traditions over generations, and which demonstrate the
anthropological and psycho-biological nature of memory, understanding and expression
as evident in the performance of Tamil and Zulu marriages in KwaZulu-Natal.
Abbreviated title: An analysis of Tamil and Zulu marriage ceremonies and rituals.
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ACKNOWLEDGEMENTS
I wish to register my indebtedness and sincere appreciation to the following:
1. Professor Phyllis Zungu and Dr Joan Conolly for the advice, support and patient
supervision of this research project. Their knowledge, extensive understanding of
the subject, interest and friendly disposition made this presentation possible.
2. My loving wife Nirmala, and dear children, Nameshni and Keiyuren for their
sacrifice, patience and understanding, and giving me the freedom to complete this
project.
3. My sister Veno Naidoo from Gauteng, who has assumed the role of my late
mother, and provided me with the caring, support and encouragement, despite the
distance that separates us.
4. Ravi Govender, Davashan Govender and Nasreen Salig from the Durban Cultural
and Documentation Centre, for their professional and technical assistance.
5. Professor Sienaert for his valuable ideas and insights into Oral studies, which
contributed towards the focus of this research.
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6. All the participants of this project, but more especially Professor Khumal0
(University of Zululand), Dr. Thenji Magwaza (University of Natal -Durban),
Nonthlantla Khuzwayo, The late Mr. T Vadivelu, Karthigasen Chetty,
Ratnasabapathy Venketraman, Perumal Raman, Asogan Moodley, Nanda
Moodley, Thirupurasundrie Govender, Muthu Pillay, and other individuals and
organizations that provided the data for this research.
7. Mrs Lutchmee Pillay, Kavita Raman, Lameshni Govender, and Maggie Govender
for transcribing, the endless resource material.
8. Kubashni Bandhia, Sadha Govender and Dinesh Pillay for their computer
expertise and technical assistance.
9. The many friends and relatives, especially Viloshni, Kumaran, Kamini and Vinod
who lent me videotapes and photographs, an important source for this research
project.
10. The executive and members of the Joussean Society of South Africa, for their
support and academic contribution, especially during the Rhythmo-stylistic
workshops.
11. The National Research Foundation (NRF), for the financial assistance that made
this research possible. Opinions expressed and conclusions arrived at, are those of
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the author and are not necessarily to be attributed to the National Research
Foundation.
12. And most important of all, God Almighty, who provided me with the spiritual,
intellectual and physical support to complete this project.
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DEDICATION
This work is dedicated to the memory of my late parents, Thangavelu and Patchiamma
Govender, who brought me up in an Oral family milieu, that have informed my choice of
marriage partner, my chosen career and the focus and direction of this research.
May their souls rest in peace.
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LIST OF ILLUSTRATIONS
Figure Caption Page
Figure 1 Burning ofimpepho (incense) (Appendix D: 13/10/2001) 91
Figure 2 The groom and the abakhongi (negotiators)
(Appendix B: 16/1212001) 93
Figure 3 The traditional kist (Appendix B: 1611212001) 94
Figure 4 The bride's father pinning money on top of his daughter's head
(Appendix D: 13110/2001) 95
Figure 5 The bridal party departing from her home
(Appendix D: 13/1012001) 96
Figure 6 The bride supported by her friends
(Appendix B: 16/1212001) 99
Figure 7 The bride dressed in the traditional isidwaba (blackskin)
(Appendix B: 1611212001) 102
Figure 8 The groom wearing the headring (Appendix B: 16/1212001) 104
Figure 9 Bride wearing isicholo (top knot) (Appendix B: 16112/2001) 104
Figure 10 The bride and members of her family entering the 106
esicawini (stage area) (Appendix B: 16/12/2001)
Figure 11 The brooms are used to ward off evil (Appendix DF 13/10/2001) 107
Figure 12 Family members of the bride dressed in traditional wear
(Appendix B: 16/1212001) 108
Figure 13 The bride given an opportunity to dance freely
(Appendix B: 1611212001) 110
Figure 14 The iphoyisa (representative of the chief) takes control 111
of the marriage ceremony (Appendix D: 13/1012001)
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Figure 15 The groom engaged in a dance routine. 111
(Appendix B: 16/12/2001)
Figure 16 The bride performing the umpindo (lively song)
(Appendix B: 16112/2001) 112
Figure 17 The groom's party dancing (Appendix B: 16/1212001) 114
Figure 18 Drinking of traditional beer (Appendix B: 16/12/2001) 115
Figure 19 Umabo (gifts from the bride) (Appendix B: 16/12/2001) 124
Figure 20 Sanctified area to invoke Divine Blessings 155
(Appendix B: 19/10/2001)
Figure 21 Application of santhanam (sandalwood paste by the 157
respective fathers) (Appendix B: 25/02/2001)
Figure 22 Turning of the Alum by the elder completing the 158
engagement ceremony (Appendix B: 25/0212001)
Figure 23 Senior women performing a traditional folk song in 159
honour of the prospective bride (Appendix B: 24/0312000)
Figure 24 A pandal (canopy), where the nalungu is performed
(Appendix B: 24/0312000) 161
Figure 25 A kolam (geometrical design) (Appendix B: 24/03/2001) 162
Figure 26 Anointing the prospective bride with munja (turmeric paste)
(Appendix B: 19/10/2001) 163
Figure 27 After the nalungu (cleaning process) (Appendix B: 19110/2001) 164
Figure 28 The kalsam signifying the Divine Element
(Appendix B: 20/10/2001) 168
Figure 29 Representation of Lord Ganesha, the remover of obstacles
(Appendix B: 2011 012001) 171
Figure 30 Kuday villaku (lamp) placed on top of a wural (rice stamper)
(Appendix B: 2011012001) 174
Figure 31 Tying of the kanganam (turmeric stick)
(Appendix B: 17/0212001) 183
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Figure 32 Katcheri (musical recital) of semi-classical and devotional song
(Appendix B: 17/022001) 185
Figure 33 The bridal couple offering flowerslpetals to the kalsam
(Appendix B: 17/0212001) 189
Figure 34 Kanyadanam (giving away the bride)
(Appendix B: 19/1012001) 194
Figure 35 Mami kuray (gift to the bride's parents)
(Appendix B: 20/10/2001) 195
Figure 36 Preparation for the yagiam (sacrificial fire)
(Appendix B: 20/10/2001) 197
Figure 37 Bridal couple performs the yagiam (havan)
(Appendix B: 17/0212001) 198
Figure 38 The brahmin (priest) blessing the thali
(Appendix B: 20/10/2001) 203
Figure 39 The bridal couple taking the marriage vows
(Appendix B: 20/1012001) 207
Figure 40 The tying of the thali (Appendix B: 20/10/2001) 208
Figure 41 Musical accompaniment during the tying of the thali
(Appendix B: 17/02/2001) 211
Figure 42 Application of the pottu (red dot) (Appendix B: 17/02/2001) 214
Figure 43 Exchange of garlands (Appendix B: 17/02/2001) 216
Figure 44 The ammi (grinding stone) and the khuzavi (grinder)
(Appendix B: 2011012001) 217
Figure 45 The placement of the minji (toe ring)
(Appendix B: 17/0212001) 218
Figure 46 Exchange of Varisay (gifts) (Appendix B: 17/02/2001) 221
Figure 47 Removal of the arasanikaal (bamboo stick)
(Appendix B: 17/0212001) 222
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