© Kamla-Raj 2013 J Sociology Soc Anth, 4(1-2): 159-166 (2013)

Music, Trance and Dance in the Thaipusam Kavady Festival:

Reflections of a Select Group of South Africans
Nirmala Gopal

Department of Criminology and Forensic Studies, University of KwaZulu-Natal, South Africa

E-mail: [email protected]
KEYWORDS Thaipusam. Kavady. Trance. Dance. Music. Lord Muruga

ABSTRACT Hinduism in South Africa finds expression in a series of fasts, festivals and rituals. The Kavady festival is one of
the most popular festivals observed annually by mostly Tamil-speaking Hindus in South Africa. This article examines how the
Thaipusam Kavady festival is understood and explained by a select group of devotees in Durban, KwaZulu-Natal, South
Africa. This includes the significance of the festival for them, and in particular their understanding of the music and trance
dance, about which there is a dearth of literature. Trance, dance, and music are seen as indispensable in helping raise devotees
to a higher spiritual place and in coping with the physical pain exerted on the body. Most interviewees found the experience of
Kavadi very rewarding and intend to continue participating in future years.

INTRODUCTION pusam Kavady, Chitraparvam Kavady, and

Pangani Uttaram, this article focuses on the
Festivals have been an important part of In- Thaipusam Kavady, which draws the largest
dian life in South Africa from the time that the following. Two interviewees, UG and DC, point-
indentured first arrived in Natal. Indians, in- ed out that since the New Year in the South In-
cluding Hindus, participated in large numbers dian calendar began on 14 April, devotees took
in the Muharram festival while the festival at part in order to take vows that would allow them
the Isipingo Temple, with its animal sacrifice, to end the Tamil year in good stead and also
firewalking, and trance-like behaviour, drew start life in the English calendar New Year in a
large crowds annually over Easter to celebrate positive light. Kavady is a means of fasting,
with the goddess Mariyamman. Among the prayers and penance by those who in the course
many major Hindu festivals celebrated by the of the year have been afflicted with disease or
South Africa’s Tamil-speaking Hindus, Kavady sickness (Diesel and Maxwell 1993).The name
is arguably the most popular (Mikula et al. Kavady derives from ‘kavu’, meaning shoulder,
1982; Kearney 1982; Harber et al. 1982). and ‘adi’, which refers to base or bottom.
Kavady is celebrated annually in honour of the Kavady thus becomes a ‘device’ that is carried
God Muruga who, it is believed, has the power on the shoulder (Padayachee, 2004). Others de-
to cure people of their illnesses and get rid of rive Kavadyfrom ‘kavu’, to carry on the shoul-
misfortune. Lord Muruga, son of the Lord Shiva, der, and ‘tadi’, which refers to a pole. The kavadi
is a multi-armed God deemed to have the quali- itself is a bamboo arch decorated with marigolds,
ties to destroy negativity and obstacles and is ferns, palm shoots, peacock feathers and coco-
symbolic of strength and endurance (Chetty nuts. On each end is a brass container (sombhus)
2007). Hindu festivals and seasons, it should be filled with milk with which the devotee has to
noted,are observed in South Africa according wash the statuette of the deity.The procession
to the calendars used in India even though South starts from a river bank and proceeds to a temple.
Africa is in the southern hemisphere and India Thousands who may not have taken a vow at-
in the north, which means that the seasons oc- tend to be blessed by participants. Roger Co-
cur at different times of the year. For instance, opoosamy, chairperson of the Braelyn Temple
the Thai Pongal and Maha Sivarati festivals are in East London explained that the kavadys
observed to mark the beginning of the sun’s symbolised “the carrying of one’s burdens, suf-
entry into the northern hemisphere, which are ferings, ill-health or misfortune away from the
regarded as auspicious occasions by Hindus, but temple and bringing it to rest at the feet of Lord
are observed in South Africa at the beginning Murugan” (Daily Despatch 24 January 2008).
of winter (Kumar 2000). Key aspects of the festival include a special
While Kavady is celebrated on three occa- dance involving male devotees whirling around
sions annually in South Africa, viz. the Thai- with the kavady and bodily torture through such
160 NIRMALA GOPAL

acts as putting hooks in the body and hanging mingled with the subdued hub-hub of conver-
coconuts or pots of milk from the hooks,putting sation as the devotees, bearing on their shoul-
a skewer into the tongue, walking on sandals ders “kavadies”, marched in procession round
made of nails, and piercing hooks into the back the exterior of the Temple prior to concluding
with ropes attached to them and having some- their penance within.Altogether between 30 and
one pull the other end of the ropes. 40 Hindus went through this ritual yesterday
afternoon. They were drawn from all over the
KAVADY IN SOUTH AFRICA Borough. Each community arrived in proces-
sion on their own, accompanied by one or more
Kavady Festivals are observed at many sacred images drawn on low wagons or carts.
temples in South Africa but some have acquired Kavady continues to draw wide support in
special status, such as the Shri Vaithiantha the contemporary period. Journalist Kuben
Easvarar Alayam (Umgeni Road Temple) which Chetty, who carried kavady at the Marianhill
is the largest Hindu temple in the southern hemi- Shree Siva Soobramoniar Alayam Temple in
sphere (Thaver 2006). The Sri Siva Soobra- Marianhill in 2007, found that many devotees
maniar Temple at Brake Village which has at- who had moved out of the district to different
tained the status of a place of pilgrimage; and parts of the country returned to their communi-
the Melrose Shree Siva Subramaniar Temple in ties annually to carry kavady. They felt that com-
Johannesburg which was built in 1919 and is munal bonds would be lost without this annual
one of the oldest temples in Gauteng. It is firmly festival (Daily News 7 February 2007). Jour-
rooted in the soil of the banks of the Jukskei nalist Niren Tolsi was one of 2,000 devotees who
River, which exudes an aura of reverence and carried kavady at the Meadowlands High School
serenity. Newspaper reports allude to the cel- grounds in Chatsworth. He described the “tran-
ebration of Kavady more than a century ago. scendental metamorphosis of some believers as
The African Chronicle (13 February 1909), for part comedic grotesque, part mystic allure, and
example, reported on a Kavady festival at the part downright unfathomable” (Sunday Tribune,
Umgeni Temple. The comments of the trustee 11 February 2010). A 2008 newspaper article
K. M. Pillay were interesting. He considered it reported that ‘Braelyn came alive with colour
a ‘blessing’ that the British flag was flying all yesterday as East London’s Tamil community
over the world and thanked God that they celebrated the end of the Thai Poosam Kavady.
wereunder British rule He prayed that King Burning camphor lingered in the air and vari-
Edward VII would live for a long time and ous cleansing rituals, piercings, dances, and
prayed for the well-being of the Royal familythe chants were performed” (Daily Despatch, 24
House of Commons, the House of Lords and the January 2008).
Privy Council which always “saw to the good of This article is concerned specifically with the
India”. The Government of Natal had “always meanings of trance and dance in the contempo-
been verygood to Indians” and allowed them to rary period where Kavady remains a feature of
practice their festivals, he said. A reporter from many temples, even those that have become
the Natal Mercury (10 February 1935) reported “sanskritised’. The primary aim of this study is
on the Kavady festival at the Umbilo Temple: not to understand individual constructions of
The approaches to the Temple were gaily Kavady but instead probe the discursive views
decorated with multi-coloured bunting and veg- through which participants give meaning to the
etation, and vivid splashes of colour were lent significance, trance dance, and music of Kavady.
to the sceneby the bright-hued, flowing garments This study is based on face-to-face interviews
of the Indian women, who formed a large per- conducted with 10 respondents in KwaZulu-
centage of the concourse inside and outside the Natal who were selected through snowball sam-
Temple. In the vicinity of the Temple the strong pling across the greater Durban area. There were
fumes of burning camphor assailed the nostrils. five males aged between 30 and 87, and five
This was incense burning round an image at females aged between 25 and 40 who had par-
the foot of which the Faithful cast their thank ticipated in the festival (see Appendix One for a
offerings.The chanting of the priests, the pip- demographic profile of interviewees). Interviews
ing of Indian flutes, and the beating of the were conducted at a mutually arranged venue
nagarars (drums fashioned like tom-toms) and each interview lasted on average an hour.
MUSIC, TRANCE AND DANCE IN THE THAIPUSAM KAVADY FESTIVAL 161

All interviews were conducted in English. Since Kavady is associated with the taking of vows
participation in the study was dependent on (vrata) which plays an important part in all tra-
availability and willingness, the study is lim- ditional Hindu worship (Kuper 1960). Kavady
ited in terms of the views of the respondents. is usually carried when misfortune, for example,
This study is about the individual devotees in protracted illness or disability, strikes an indi-
the first instance, but is an exploration of their vidual. One of the key themes to emerge from
discursive positioning in relation to Kavady. the interviews was the significance of Thai-
Questions were facilitated by a semi-structured pusam for participants. There was a very clear
interview schedule which focused on issues re- understanding that Kavady was celebrated in
garding their understanding of Thaipusam, and honour of Lord Muruga and that the carrying
the significance of the trance dance and music of a ‘burden’, the kavady structure, in his
played during the festival. Interviews took a honour, was meant to seek penitence. Accord-
conversational form with individuals sharing ing to (BK), Kavady was “dedicated to Lord
information with great enthusiasm. Utilising a Muruga who is a deity that most individuals say
working model of thematic analysis, data were if I overcome this problem I will carry a kavady
analysed through a step-by-step procedure which for you. From a boy of eight years I have been
began by searching through the transcripts of praying to Lord Muruga”. KA claimed that it
the interviews for repeated patterns of meaning was “a national festival in the Hindu calendar
(Braun and Clarke 2006). In the second part of worshipping the deity “Lord Muruga”. People
the analysis, codes were produced to highlight carry kavady for their repentance, for forgive-
emerging patterns. Each interview was coded, ness and more so if they have had any physical
and these codes were matched across the 10 in- or health ailments”. SS and KN also stated that
terviews. A thematic map was then produced the significance of Kavady was “to express
where themes were further refined in relation thanks to Lord Muruga and to show and seek
to the data from all respondents. It is critical to the Lord’s blessings and help in overcoming a
note that while the limited research on Kavady
problem. When a devotee carries the burden in
in South Africa has focussed on the nature, ex-
tent and description of the festival, this study the form of a kavady the devotee is blessed by
concentrates on the dominant themes generated Lord Muruga. This auspicious prayer brings
from the interviews, which are centred on the peace and good luck to the devotee.”
significance of trance dance and music. As to the spiritual and material benefits
gained from participating in the festival, accord-
Kavady Offerings ing to BK, “a person only carries a kavady when
something good comes out of it. It’s a thanks-
Thaipusam falls every year on the full moon giving. For example: if a person is having a
day in the tenth month in the Tamil calendar, problem or out of work and if things come right
“Thai” (January- February), when the moon is then he goes and carries the kavady.” Accord-
in transit through the brightest star “Pusam” in ing to PP, the kavady “symbolises the burden of
the zodiac sign cancer, and the planet Guru is the carrier like the two hills carried by Idumban.
said to be the presiding deity. This festival is This burden is lessened when carried of what-
one of the biggest on the South Indian calendar ever reason the vow has been taken. This is an
in South Africa (Kumar 2000).The name auspicious time of fast for me as I am totally
Thaipusam derives from the name of the month devoted to Lord Muruga.” KN asserted that
Thai and Pusam, the star that is at its highest kavady was “a celebration to commemorate the
point during the festival. This festival of faith occasion when Parvati gave Lord Muruga the
and forgiveness is celebrated in India as well in ‘vel’ (spear) to destroy the evil demon Soora-
places where Tamils constitute a minority, such padam. At the same time the occasion is used to
as Malaysia, Singapore, Indonesia, Sri Lanka, ask Lord Muruga to guide, assist and avert one’s
Fiji, New Zealand, and South Africa. Thaipusam calamity and therefore the dedication to Lord
is celebrated by all Hindu castes, from high caste Muruga mainly celebrated by the Tamil com-
Brahmins to low caste Dalits, while participants munity throughout the world.” KN added that
of all age groups and social status participate in devotees can carry Kavady for others who may
this pilgrimage, which lasts for three days not be able to carry the Kavady themselves be-
(Rajathurai 2007). cause they are ill.
162 NIRMALA GOPAL

Asceticism is an important part of the festi- practices only, that is, body piercing without
val. Devotees undergo strict discipline, sacri- bearing palkudam or kavady. This offering cre-
fice and self-mortification to show the Lord that ates a sense of uneasiness among spectators due
they are remorseful and repentful, and humbly to its bizarre appearance and dangerous feats,
seek pardon for their wrongs (Thaver 2005). The such as devotees hanging limes or oranges on
purpose of this preparation is to fortify the senses the hooks pierced on their torsos, pulling a mini
and suppress passions in order to achieve total Muruga chariot with ropes tied to hooks pierced
control of mind over matter. Devotees pray, at the back of their torso, or whipping them-
chant mantras, and sing devotional songs to selves repeatedly upon possession (trance)
prepare their body as a worthy vessel to embody (Simons et al. 1988). On the day of worship for
the spirit of the deity. Various purifying rituals Lord Muruga, devotees, regardless of class,
are undertaken in the days leading up to the fes- caste, or gender, publicly offer prayers and
tival. KA, for example, claims that devotees thanksgiving by fulfilling vows for favours they
observed “ a ten day fast where we abstain from may have been granted. Anand Etty, for ex-
eating meat and abstain from all other pleasures ample, told reporter Niren Tolsi that he had
in life like the intake of alcohol, eating meat, taken a vow to pull a chariot for six years so
sexual pleasures and on the 10th day are in ab- that Muruga would ease the asthma suffered by
solute devotion to the Lord Muruga”. There is his mother and girlfriend, which had got “bet-
no prescribed period of fasting. According to ter” (Mail and Guardian 5 February 2010).
interviewees it could vary from one or two days
to several weeks. During this period, some devo- Trance
tees adhere to a strict vegetarian diet while oth-
ers may eat just one meal per day. Most inter- Tradition, religion and nationalismhave con-
viewees had a separate set of utensils which were siderable impact on dance and movement prac-
only used during Kavady. Another crucial as- tices and ethnic identity among Hindu commu-
pect was, as one interviewee put it, “to control nities in former British colonies. Practices such
the tongue – no cursing and swearing”. Sexual as the classical style of Bharatanatyam and
relations are also proscribed. On the day of the trance dance with body piercing are increasingly
festival, interviewees felt, it is this state of pu- popular at festivals (David 2008). The culmi-
rity and devotion that empowers them so that nation of the act of penance during Thaipusam
they feel no pain when their skin is pierced. DC, involves the Kavady-carrier in a ritual dance
for example, said that if “you do not keep a pure before the image of the deity, Subramanya, who
fast, then, when you are being pierced you will is asked to descend upon a devotee who enters
bleed”. into a trance (Ganesh 2010). A study of trance
Offerings by devotees on Thaipusam day in- in Singapore found that most of the trances were
clude the breaking of coconuts, both during the reportedly precipitated by fear, anger and/or
chariot procession and on temple grounds, to frustration. Seventy percent of the study partici-
signify humility and the crushing of one’s ego pants reported prodromal symptoms. Common
to attain divine wisdom (jnana). There are two manifestations include unusual vocalisations
types of palkudaml (milk pot) bearers, some with and movements, shaking, apparent immunity
body piercings, usually on the forehead, tongue, from pain, and an unfocused or fixed gaze
and cheek, and others without a piercing. There (Beng-Yeong 2000). During trance dancing,
are also two types of Kavady bearing, one with there are a variety of bodily motions and ges-
and the other without body piercing. Kavady’s tures among Kavadydancers. There is no uni-
with body piercing are predominantly taken by formity, except for the execution of swirling
men, though in some cases women bear Kavady movements with kavady’s, since each person
with their cheeks and tongues pierced with performs according to his or her own self-ex-
skewers. Children and women carry simple pression (Kapchan 2007).
kavady’s on one side of their shoulders. Men The quality and variety of movements are
may pierce their bare torsos with hooks and a highly dependent on possession, rhythm, the
skewer fixed to their individual kavady’swhich type, and the weight of the Kavady. While some
are positioned to sit on both their shoulders. devotees execute abstract movements, others
Another kind of offering involves mortification embody the characters possessed by the deity
MUSIC, TRANCE AND DANCE IN THE THAIPUSAM KAVADY FESTIVAL 163

and perform ‘role-play’. These ‘dramatic’ and tavil and urumi melam for drumming, with sing-
‘pure’ dance performances are regarded legible ing replacing the melodic role of wind instru-
within the context of the sacred time and sacred ments. Salangai is used as the drone by Kshat-
space created by the festival (Rajathurai 2007). riyas as the jalra is used by Brahmins. Vaishyas
Onlookers and participants view trance as a dis- place emphasis on rhythm without the melody
play of the power of the deity. Possession is un- of the Brahims and Kshatriyas. The main in-
predictable and can happen during puja (wor- struments used by the Vaishyas are the tavil and
ship), while singing bhajans (devotional songs) the urumi melman, with kombu and salangai
or on receiving darshan from the deity. This accompanying. Music of the Shudra is much like
allows the devotee to become united, albeit that of the Vaishya in that it is based on talams
briefly, with his or her favoured deity, the com- without ragams. Again, unlike the Brahmin and
mon goal of Hindu worships (Lewis 1989). The Kshatriya castes, which use nadaswarams and
ecstatic trance dancing of devotees at Taipusam the voice for melody as well as drums and other
signifies a belief that the powers of the deity percussion instruments, the Shudra use percus-
Murugan become embodied in the purified body sion instrumentsonly.These include the tavil and
of the devotee during the dance. These powers tappu, with salangai as the drone and sanggu
are believed to bring auspicious results for the occasionally accompanying the music. Dalit
vow made by the dancing devotee (Kuppusami music is much like that of the Vaishya and
1983). Shudra castes. It is based on rhythmic repeti-
tion without melodic instruments. The main
Caste and Music instrument is the tappu drum, and occasionally
the sangguaccompanies the music (Rajathurai
This study is particularly concernedwith 2007)
music and trance during the Kavady festival.
Music during Kavady differs from that played Trance Induction
at other Hindu festivals. There is more empha-
sis on drumming, the music is more energetic
Key elements for trance induction during
and invigorating, and the drumming rhythms
are based on the beat of the heart, as the devo- Kavadyritual are belief in the Hindu faith, pre-
tee is prepared to undertake demanding ritual paratory fasting, the smell of burning incense,
requirements. The type of music varies accord- together with the many sights (bright colours,
ing to caste. The ancient Sanskrit text, Rig Veda, rituals, and so on) and sounds going on around
divides Hindu society into four caste groups, them, in particular the chanting of “Vel! Vel!
Brahmins (priests), Kshatriyas (warriors), Vetri Vel!” (“Lance! Lance! Victorious lance!”),
Vaishyas(cultivators) and Shudras(peasants) and most importantly, the presence of music,
(Leach 1971). Hindus are said to have been cre- especially rhythmic drumming (Simons et al.
ated by a supreme being, Purusha (God), from 1988).
whose brain emerged Brahmins, from his fore- Rouget writes of the importance of music for
arms emerged Kshatriyas, from his abdomen trance induction: “as a general rule, possession
emerged the Vaishyas, and from his feet emerged fit or trance is accompanied by music, and mu-
the Shudras. A fifth group comprises of Dalits, sic is almost always regarded as being more or
achuta, or untouchables who are considered too less responsible for its onset”. The most impor-
polluted to rank as worthy beings (Berreman tant aspects of music for trance induction are
1979). Brahmin music has its origins in the the hypnotic facets of rhythm, repetition of
Gandharva Veda– the Veda of celestial musi- melody, and increased tempo and shortening of
cians and singers. According to Hindu belief, the beat pattern (Rouget 1985).Interviewees
the gods themselves played instruments. Shiva were unanimous that the music was devotional
played dhamaru (drums), Krishna played venu in nature and in tribute to Lord Muruga, was
(flute), and Saraswati, the goddess of learning, calming and inspirational. BK said that “the
played the veena (lute). Brahmins avoid wind songs and words are in praise of the Lord
instruments as they are considered unclean af- Muruga. It is soothing.” KA also maintained
ter they have been touched. that that music was “religious and the lyrics are
Kshatriyas are the only caste to use singing in praise of the Lord Muruga in the various
(sahityam) for the melodic line. They use the names that is attributed to him which has a dis-
164 NIRMALA GOPAL

tinctive rhythm”. For SM, “the type of music is When I come to, all I know is that my body is
devotional, calming, soothing and it allows one suffering extreme fatigue and that I can’t ac-
to think deeply and meditate, it is instrumental count for two or three hours of my life. I have
and loud which is in vernacular in keeping with no memory of the time – which is scary” (Thaver
the occasion”, while SS mentioned that “the 2006). Kavady bearers are induced into trance
South Indian, Tamil devotional music that is by a priest, while bands of musicians play. Mu-
played has a fast and chanting like tunes”.All sicians must be maleand they must have passed
respondents felt that the choice and rhythm of through puberty. Women are not permitted to
the music was deliberately aimed to induce the play music at the festival due to the possibility
trance dance and deep concentration of devo- of them playing while they are menstruating,
tees. According to BK “when the music is be- which is regarded as offensive to the gods, and
ing played they (devotees) go into deep concen- could compromise devotees. Musicians, like
tration which leads to them getting into trance kavady bearers, prepare for Thaipusam by fast-
and they begin to dance”. KN said: “it’s the ing, and abstaining from sexual intercourse,
rhythmic beats and sounds of the drums which smoking, and drinking alcohol (Kuper 1960).
create them to go into the trance dance”. SS re- The interviewees’ conceptual understanding
ported that “the beat of the music and the na- of the trance dance was that it was a profound
ture of the fast pace of the beats induces a trance expression of devotion to God. SS emphasised
like state of mind in me”. For PP, “the beat of that “the majority of the people who get trance
the music takes me to a transcendental level of are genuine” and are not faking it, while SM
consciousness which is also a level of peace and maintained that the “trance dance shows the
bliss”. feelings of the God that the devotee is bringing
Overstimulation of the senses and the right out in him at the time of the singing”. PP felt
‘mind-set’ as to what will happen during the that the devotee getting the trance was “in com-
trance induction are also crucial. Devotees’ plete bliss and therefore dances”. PP also felt
senses are ‘assaulted’ by a number of things si- that it was “invigorating, captivating, and peace-
multaneously. This includes the overpowering ful.” SC described the devotee being in “an al-
smell of incense, the chanting of the crowd tered state of mind so they are unaware of what
(‘Vel!Vel!’), the statues of the gods, offerings, is being done to them”. UG claimed that, “Dif-
the ‘holy’ colours worn– red, orange and yel- ferent music induces different deities”. Respon-
low – and drumming and music. These factors dents see nothing ‘abnormal’ about the state of
combine to alter devotees’ consciousness and trance.
bring them into a state of trance, which dimin- Respondents spoke of their and others’ di-
ishes their response to external stimuli (Siva- rect reward through the blessings of the trance.
nanda 1986). For instance BK claimed: “I saw a lady take
The tavil (tavulor davul) is a double-headed, ashes and rub on her leg, and I saw her leg come
barrel-shaped membranophone which is hol- back to normal. It all depends on one’s faith
lowed out of a solid block of heavy jack wood and trust in God.” Others such as KM and DC
or black wood. The tappu, is an instrument made spoke of the closeness to God through the trance
of a circular wooden frame approximately state and the levels of spirituality, while SM said
thirty-five centimeters in diameter. The salangai that it was “the closest to God as they are gifted
is a series of many bells attached to a leather with a higher level of spirituality whereby people
strap, and is either worn on the ankles or held seek guidance when troubled. All trances are
in the hands, and is shaken or struck to produce different– some are on a higher level than oth-
sound. The sanggu, is a conch shell used as a ers whereby they can see things in the past and
horn. Conch shells come in different sizes which future even if they do not know you.” SS said
produce different pitches – a higher pitch for a that, while he personally did not practice this
smaller shell and a lower pitch for a larger ritual,”I do believe that the power of the trance
one. may put one in an alternate state of mind and
According to one devotee, Gounden: “all I being”. PP mentioned that from his “personal
know is that when I close my eyes (preceding experience this is a higher state of mind one
the trance), I say my personal mantra, praying reaches when realising ‘God’ or a positive force.
that I am at Lord Muruga’s feet or on his lap. This is reached through meditation and a strong
MUSIC, TRANCE AND DANCE IN THE THAIPUSAM KAVADY FESTIVAL 165

connection with the Supreme Being.” Other re- On the other hand, Anand Etty told Tolsi that
spondents also made a connection between the he had not experienced a trance in the six years
trance state and the piercing with needles. SC, that he had been pulling the chariot: “I don’t
for example, stated that “this is an altered state feel any pain, because the journey is about the
of mind to allow them not to feel pain”. KA closeness between you and Lord Muruga. Part
claimed that because devotees were “being of the journey is about overcoming pain and
pierced many times on their bodies and on the obstacles for God.”
face that gives me a reason that in that point in
time they are in pain, yet there are no traces of CONCLUSION
blood. This is why I strongly believe that they
are on a higher level and in connection with the Festivals have been an integral part of Hindu
Lord Muruga.” According to UG, “when I was life in South Africa, with Kavady continuing to
a youngster in (Magazine) barracks where I grew draw large crowds. The popularity of Kavady,
up the trance was induced through the reading mainly among people of South Indian descent,
of a religious text. Kavadi was observed as it has contributed to the perpetuation of Hindu-
was in India. People were God fearing and re- ism in South Africa. As we have shown, devotes
spected the trance.” He observed that for most have multiple reasons for participating in
people, a skewer through the cheeks, for ex- Kavady, ranging from being thankful for some-
ample, felt like an ant bite while the hooks on thing good that has happened in their lives or
the back were like being pinched. It would have wanting assistance with a problem such as ill-
been different had they not been in trance. ness or unemployment. Devotees begin by par-
Kumar Iyer, a local priest in Durban, told ticipating in a ritual, which begins with the as-
reporter Niren Tolsi that trances were not a ne- ceticism of purification, followed by trance and
cessity for the Kavady rituals: “Of the 100 people dance, which are deemed essential to take them
pulling chariots, maybe about half experienced to a higher spiritual place and allow them to
a trance. Because you get into a trance does not inflict pain on their bodies which may not oth-
necessarily mean that you are closer to God.” erwise be possible. Kavady puts devotees under
Nathan Gounden, aged 38 in 2010, who has been enormous under stress and compels them to
carrying kavady from the age of five, told Tolsi draw on the power of God to relieve their diffi-
that when he “closed my eyes (preceding the culties. When devotees impose the penance on
trance) I say my personal mantra, praying that I themselves they have no one to turn to except
am at Lord Muruga’s feet or in his lap. When I God which results in them getting closer to God.
come to, all I know is that my body is suffering Interviewees also explained that Kavady took
extreme fatigue and that I can’t account for two their minds off the stresses of everyday life. For
or three hours of my life. I have no memory of these reasons, we can expect Kavady and other
the time – which is very scary. I really can’t such festivals to remain an important part of
explain it. I do believe in different planes or ‘modern’ Hindu life.
spheres and I suppose I am on an astral plane,
on a path to God during the trance.”Gounden ACKNOWLEDGEMENTS
first experienced a trance as a 15-year-old. Com-
ing from a religious family, he said that he had I acknowledge with gratitude the consider-
“always wanted to experience it as a youngster”. able research support provided by Bonita
Gounden added that, “It’s interesting that there Marimuthu and Soomaya Khan, my postgradu-
is no blood drawn during the piercings, but you ate research assistants.
know that even going for a simple glucose test,
a simple prick on your finger will draw blood”. REFERENCES
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APPENDIX
Appendix One: Demographic Profile of Interviewees
Name of interviewee Age Gender Linguistic group Area Profession
Balakisten Krishna (BK) 78 Male South Indian Chatsworth Priest
Krishna Arumugum (KA) 44 Male Tamil Durban Priest
Soobrie Chetty (SC) 69 Male Tamil Overport Retired
Pushpa Padayachee (PP) 40 Female South Indian Durban Academic
Sadhna Singh(SS) 28 Female Hindi Southgate, Phoenix Student
SarasMurugan (SM) 52 Female Tamil Glenmore Administrator
KandasmayNaicker (KN) 53 Male Tamil Phoenix Artisan
Dan Chetty (DC) 65 Male Tamil Phoenix Artisan
Uncle Gorge (UG) 65 Male South Indian- Hindi Phoenix Retired
KathegisanMoodliar (KM) 87 Male South Indian Overport Retired