Table of Contents

An Analysis of Tomorrow's People By Raisedon Baya: Scene 6

Plot overview 

The scene introduces Bomba, a ruling party official meeting with Father to discuss Nimrod and Yakhani's relationship. Bomba is concerned about this relationship because Yakhani is a member of the opposition party, which he views as a threat. Father expresses his disapproval, stating that he has already "asked him to stop immediately." Their brief interaction ends with both men chanting ruling party slogans, showcasing their loyalty to their political party. However, the atmosphere shifts dramatically when Ndiweni bursts into Father's house unannounced, "brandishing his knobkerrie," and angrily objects to Nimrod and Yakhani's relationship. The tension escalates, but the scene abruptly ends when Miss Jubane interrupts, ordering the students to stop improvising the drama and return to performing  Shakespeare's Julius Caesar. 

Setting

The scene juxtaposes Ndweni's modest house and Father's luxurious home.  Father's house, reflecting his status as a ruling party chairperson, poised to "be an MP or appointed governor," exhibits signs of wealth and opulence, while Ndiweni's home highlights his humble status. This contrast underscores the social inequality and injustice perpetuated under the governance of the ruling party, resulting from the abuse of power, particularly in instances where key positions as being a governor are filled by appointed individuals without the consent of the populace. The wealth disparity between the two households indicate the larger sphere of political and social disparity within post-independence Zimbabwe. 

Themes

Education suppression

Miss Jubane's arrival symbolises the oppressive education system which stiffles creativity and innovation. Her interruption of the students' performance reflects the rigidity of the system where teachers dictate what students should learn, leaving no room for student input or critical engagement.  

Patriarchy

Patriarchal tendencies are evident in the scene as male characters dominate the discussion about the relationships. Men like Bomba and Father, act as gatekeepers of political ideologies and societal order, reflecting how political power and dominance are tightly connected to control over family and societal structures. They manipulate societal norms to maintain their authority and repress opposition.

Political Polarisation

Political polarisation is another central theme explored in this scene. The disdain shown toward Yakhani and Nimrod's relationship highlights a society unwilling to embrace unity between different political and ethnic groups. Bomba refers to the opposition as "enemies," and Ndiweni uses a derogatory term to refer to Nimrod, calling him "inxaha," an improperly castrated male animal. The dehumanising language underscores the tribalism and bigotry that continue to divide society. Bomba also worries that Yakhan's connection to Nimrod will compromise party security, implying that she might act as a spy.

Fear of pregnancy

The motif fear of pregnancy continues in the play as Bomba raises a question about whether Nimrod "is going to keep his thing zipped up in his trousers." This innuendo refers to sexual intercourse and its potential outcome, pregnancy and childbirth. Retrogressive characters like Father and Bomba fear the emergence of a new generation of people that embraces social cohesion and harmony despite ethnic and cultural differences. 

Rebellion 

Rebellion is symbolised by the forbidden relationship between Nimrod and Yakhani. Though they don't appear directly in the scene, their defiance represents hope for a future where the Ndebele and Shona people can unite, defying the oppressive structures of the present. 

Characters

The name "Bomba" is derived from the word, bomb, symbolising destruction and violence. This matches with his aggressive nature reflected by his use of words like "fire" and 'burn." Bomba's belligerent nature stems from his fear that Nimrod and Yakhani's relationship will undermine party stability, hinting at both political and ethnic prejudices. 

Father

Father is portrayed as a violent figure who shares Bomba's political and ethnic prejudices. He even goes so far as to threaten to shoot Yakhani if she continues her relationship with Nimrod, demonstrating his willingness to use violence to maintain social order and party loyalty.

Ndiweni

Ndiweni embodies the stereotype and tribalism that dominates the society. He refers to Nimrod as a "dog" and "inxaha," revealing his inability to see people as individuals, instead categorising them based on their ethnic origins or political affiliations. His anger and threats of violence highlights his deep-seated intolerance and hostility.

Teacher

Teacher, Miss Jubane, represents the repressive nature of the education system. She abruptly stops the students' improvised performance, fearing that it might get her "fired or arrested." Her fear stems from living in an authoritarian society that censors creativity and dissent. Although she is a teacher, a position that gives her the opportunity to foster learning, she compromises her values to preserve her livelihood. Her hasty judgement and refusal to watch the entire play before making a decision highlights her lack of academic rigour and critical thinking.

Dalubuhle

Dalubuhle is portrayed as a bold and defiant character. He directly contradicts Miss Jubane, insisting that they "can't stop now" acting their play. His repetition of the word "unfair" reflects the frustrations of students under the oppressive education system where students are trapped and sniffled. 

Miles

In this scene, Miles continues to play his rebellious role by declaring, "we are not going back to Shakespeare." This line symbolises his refusal to conform to outdated traditions and his determination to fight for progress towards true cultural identity. 

Techniques

Use of Ndebele and Shona

Ndiweni and Father switch to Ndebele and Shona respectively in their heated exchange. Father, caught off guard by Ndiweni's sudden entrance, asks, "Ko zwaita sei?"( what has happened) This shifts in language emphasise their intense emotions of anger and highlights their strong connection to their cultural identity. Ndiweni swears by his late father (ngiyafunga ngobaba olele ezintabeni oh!") that he will "put an axe into" Nimrod's head the moment he sees him with his daughter. This strong language points to his intense anger and his fierce protectiveness rooted in ethnic and political stereotypes. By allowing the actors to switch to their native languages, Baya illustrates his quest for a harmonious society where both the Ndebele and the Shona can engage meaningfully, despite their differences.

Props

The bottle of whiskey and glasses used by Bomba and Father symbolise party loyalty and the extravagant lifestyle of ruling party members. However, this symbolism is ironic, as it also represents the harmful ideologies they embrace, such as authoritarianism, political intolerance and societal control. The alcohol is emblematic of the "drunkenness" of those blinded by ethnic and political stereotypes, which further divide the community. 

Symbolism 

Romantic relationship

The romantic relationship of Yakhani and Bomba symbolises the potential for unity and harmony between the Ndebele and Shona people. However, retrogressive characters like Father and Ndiweni see it as a threat. They perceive it as a danger to their political agenda. For them, a polarised society is a solid foundation upon which they anchor the pillars of the ruling political party.

Tone

The tone shifts dramatically thought the scene. It opens with a friendly, but, accusatory tone as Bomba and Father enjoy drinks discussing Nimrod's relationship with Yakhani. Bomba holds Father responsible for raising his son "in party ways" and experts him to correct Nimrod's political mistake. However, the tone becomes tense and confrontational when Ndiweni storms into the house, wielding his knobkerrie, reflecting the volatility and deep-rooted hostility that underpins the scene.