Interrogating Constructions of South African Indian Women’s Identity

Interrogating Constructions of South African Indian Women’s Identity

‘A PhD can be an isolating process; unless you are singularly going through it, it’s difficult to understand.’

These are the words of Dr Devaksha Moodley describing her doctoral studies as she graduates with a PhD in Drama and Performance Studies.

Moodley achieved both her undergraduate and honours degrees at UKZN’s Drama and Performance Studies Department where she felt nurtured by the lecturers and staff. ‘I have deep respect and gratitude as they supported and developed my skills as an artist and researcher.’

The title of Moodley’s research is “Mother, Daughter, Sister, Wife? Interrogating Constructions of South African Indian Women’s Identity – A Study of South African Indian Women Playwrights and Our Plays”.

Her thesis interrogates the gendered constructions of Indian South African women (ISAW), South African Indian women (SAIW) and/or South African women of Indian descent’s (SAWOID) identity through a study of such playwrights and their plays including her own play called Devi.

She contends that ISAW, SAIW and/or SAWOID lives are critically affected by the roles they are expected to perform in their families, namely those of daughter, sister, wife and mother. These women have been confined to the private domain, as Krijay Govender asserted in her research over 20 years ago, in South African Indian (SAI) communities and families for the purposes of patriarchal and cultural preservation. Moodley affirms in her thesis that while there has certainly been change and progress in the public and private lives of ISAW, SAIW and/or SAWOID, the patriarchal stronghold of the private familial and cultural space remains.

Moodley asserts that theatre, particularly playwriting provides a public space that can be an emancipating form of creative and artistic expression for ISAW, SAIW and/or SAWOID to challenge their seemingly “naturalised” roles that are perpetuated through cultural and religious practices.

Theatre is an act of resistance countering dominant representations through playwriting where the central themes of marital status, marriage, motherhood, family, culture, and religion are explored through ISAW, SAIW and/or SAWOID characters who are constructing their identities in communities and families that have fixed notions about who they “should be” and how they should behave. Playwriting and theatre making therefore represent liberating, empowering forms of expression for ISAW, SAIW and/or SAWOID. 

Her research explores the theatrical work of ISAW, SAIW and/or SAWOID through interviews and a textual analysis of their selected plays. As a SAIW playwright herself, she critically examines the specificity of the SAI (diasporic) community and how they continue to maintain traditional patriarchal values post-colonialism and post-apartheid.

The often marginalised yet vital voices of ISAW, SAIW and/or SAWOID playwrights challenge the predominant patriarchally embedded practices of SAI communities and families offering a dynamic “re-representation of brown female identity”.

Relieved to have completed her PhD after a long and tough journey, she points out however that more than the degree, she is most happy and proud that her thesis and research on ISAW, SAIW and/or SAWOID identities and plays is complete and exists in the world.

Devi (2019), which she staged at UKZN’s Howard College Square Space Theatre in September 2019, was one of the highlights of her degree; allowing her to share her work with an audience who were receptive and engaging.

She was supervised by Dr Tamar Meskin and Dr Miranda Young-Jahangeer who both supported her throughout her PhD journey with invaluable, sage advice and guidance for which she is grateful. She added, ‘Dr Meskin has been my mentor for over 15 years. Her passion and immense knowledge continue to inspire me.’

Her supervisors offered the following congratulations, ‘We are so proud of Devaksha!

Her PhD was innovative and creative and her focus on women who identify as Indian South African women, South African Indian women and/or South African women of Indian descent using theatre as a lens helped to address a gaping hole in South African cultural studies research. We wish her every success in the future. She is a wonderful theatre maker and a fantastic academic.’

Also rooting for her were close friends and family, especially her parents. ‘They have always supported my dramatic arts passions and goals, providing me with every opportunity and resource I could ask for. This I know is a true blessing and privilege for which I am eternally grateful.’

Moodley is both thankful and grateful for the scholarship she received from the NIHSS-SAHUDA (National Institute for the Humanities and Social Sciences in collaboration with the South African Humanities Deans Association) which assisted her throughout her PhD studies.

She is currently supervising research work by UKZN honours’ Drama and Performance Studies students.

Although not certain about her future plans, Moodley is hopeful and excited for what comes next.

Words: Jennene Naidu

Photograph: Sethu Dlamini