Last Friday and Saturday saw me in Saarbrücken. I was last there in 2004 (I think) at a conference organised by Prof. Martina Ghosh-Schellhorn, about the Indian diaspora. I spoke then about Toufann - and she'd asked me back to talk some more about this play, its relationship to The Tempest, and its political and cultural context in Mauritius.
It was quite an intense time - talking for nearly three hours on Friday afternoon, then screening a video interview I did with Dev Virahsawmy in the evening (with Q&A), and a long seminar on the Saturday. Still - it was a lot of fun and great to be surrounded by people who really want to know all about this work. There was an unexpected bonus in that I turned out to be a double-act with Farrukh Dhondy - a very interesting writer. Farrukh had been working with the MA students on possible creative, post-colonial responses to The Tempest - and he also talked very entertainingly about CLR James (who lived in his house for four years) and VS Naipaul. What they said about one another is not printable....
I get home to discover Farrukh has emailed me a play. Oddly, it's about the myth of Karna - a subject we had wondered about before. It's already been very well received in India....
Showing posts with label Saarbrucken. Show all posts
Showing posts with label Saarbrucken. Show all posts
Wednesday, July 20, 2011
Wednesday, July 13, 2011
Back to Toufann
I've been re-visiting Toufann - the Mauritian play we did as long ago as 1999 - because I've been asked to talk about it and lead a workshop in Saarbrücken on Friday. It's been strange but refreshing to go back all that time and look at the way we were working then - and at the politics we were engaged in. It's still about interculturalism and post-colonialism: but the ground has definitely shifted.
Very interesting to stumble across some work by Francoise Lionnet, the Mauritian scholar now working at UCLA, to whom Toufann is dedicated (along with Shakespeare). In her book Minor Transnationalism, she looks at the play, and indeed at our production. I find it a bit odd that she analyses the effects of that production, and the meaning generated by presenting the play in a London context, seeing as she wasn't actually there..... I also think it's a bit disingenuous of her to say that I'm wrong to regard the use of the Hindi word "toufann" to convey "storm" as harking back to an Indian past, on the grounds that Dev is from the Tamil community, not the Hindu, and that he's interested in present and future, not past. It wasn't Dev I was talking about - it was his central character Prospero, who quite clearly names his tempest "toufann", even though it's not a common Creole word (or wasn't in 1991 when the play was written), and who obviously IS interested in the past. The play critiques Prospero and his standpoint, and that's where Dev's radicalism comes out.
Where she does say something very interesting, however, is in relation to the Creole phrase "tou fann", which I had not heard being linked to the title before, but clearly is. "Tou" means "all", and "fann" means "wilts" or "decays". So the title might mean not only "tempest" but also "Things Fall Apart" - evoking Yeats and Achebe to engage in a post-colonial battle alongside Shakespeare. And (though this is not in Lionnet) the Labour Party of Iran, which is also known as "toufan".
Things fall apart. There is a storm.
Very interesting to stumble across some work by Francoise Lionnet, the Mauritian scholar now working at UCLA, to whom Toufann is dedicated (along with Shakespeare). In her book Minor Transnationalism, she looks at the play, and indeed at our production. I find it a bit odd that she analyses the effects of that production, and the meaning generated by presenting the play in a London context, seeing as she wasn't actually there..... I also think it's a bit disingenuous of her to say that I'm wrong to regard the use of the Hindi word "toufann" to convey "storm" as harking back to an Indian past, on the grounds that Dev is from the Tamil community, not the Hindu, and that he's interested in present and future, not past. It wasn't Dev I was talking about - it was his central character Prospero, who quite clearly names his tempest "toufann", even though it's not a common Creole word (or wasn't in 1991 when the play was written), and who obviously IS interested in the past. The play critiques Prospero and his standpoint, and that's where Dev's radicalism comes out.
Where she does say something very interesting, however, is in relation to the Creole phrase "tou fann", which I had not heard being linked to the title before, but clearly is. "Tou" means "all", and "fann" means "wilts" or "decays". So the title might mean not only "tempest" but also "Things Fall Apart" - evoking Yeats and Achebe to engage in a post-colonial battle alongside Shakespeare. And (though this is not in Lionnet) the Labour Party of Iran, which is also known as "toufan".
Things fall apart. There is a storm.
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