Mogaga: Play, Power and Purgation

Abstract

In street parlance, or iscamto, mogaga refers to the face of confrontation. In Sekgatla, a dialect of Setswana, mogaga is a name for a potent plant used in rituals of “social purgation” (De Graft, 2002: 26-27). This study focuses on the element of go gagaola or the act of triggering mogaga through a fusion of poetic incantations,1 song, dance and “spirit embodiment” (Ajumeze, 2014: 78). Go gagaola, the act of activating mogaga, hinges on agit-prop-mechanics that enable the elimination of botheration or the purging of domination. Does ritual drama have the power to alter material conditions? This and other questions about play-making as a scaffold which holds up a combination of spiritual elevation and political rebellion drive this enquiry. How do we expel botheration using the power of play? As it appears, ritual drama and guerilla theatre have the same framework as acts of “spiritual realism” (Mahone, 2002: 270). Guerilla theatre, like ritual drama, is also a system of change. Plotting the adventures of Phokobje and Phiri, I have found great resources in spiritual traditions such as malopo/malombo of Bakgatla/Bapedi and VhaVenda as well abaNgoma of Ba-Nguni. Mapping the journeys of characters in Chilahaebolae led to unexpected forays into astronomy – bolepa dinaledi in Setswana. People’s Experimental Theatre, Malombo Jazz Makers, Dashiki, Mihlothi, Malopoets and others who accentuated the connection between ritual and rebellion. Through this enquiry I make an offering to the decolonial project and the community of scholars, artists, astronomers and iZangoma who have been silenced by the settler-colonial canon through epistemic violence, massacre, and incarceration. These musings about mogaga play-making recasts theatre as the locus of confrontation and a tool for purging botheration. Going beyond “the banal search for exoticism” (Fanon, 1967: 221), I trace the bloodline of resistance theatre