Diaspora and Identities in "Mississippi Masala" by Mira Nair

Introduction

Migrant communities often grapple with questions of identity: should they assimilate into the host culture or retain their own cultural practices? They mostly arrive at a compromise, a balance where they adopt a public face that blends with the majority culture while preserving distinctive religious and cultural traditions at home. Mississippi Masala, directed by Mira Nair, is a movie that explores interracial romance between African Americans and Indian Americans in the United States. The movie also deals with themes of Hybrid Diaspora and a feeling of restlessness while searching for one’s identity. This paper will attempt to understand the portrayal of the different identities in the movie.

Background and Initial Conflict

The movie begins with the expulsion of Asians from Africa, under the rule of Idi Amin. Jay, one of the main characters, considers Uganda to be his home, insisting to his childhood friend Okelo that he had always been Ugandan first and Indian second. Okelo's remark, “Africa is now for Africans, black Africans,” deeply hurts Jay, leading to a rupture in their relationship. This is the first instance of conflicting identities depicted in the film, with many more observable in Mina, Demetrius, and their respective communities.

Identity and Cultural Practices

Although Jay maintains that Uganda is home and that his identity as an Indian comes later, he raises his daughter in accordance with Indian societal norms. As shown through flashbacks, Mina has been raised according to Indian traditions, evident in her language and attire. She calls her uncles and aunties 'chacha' and 'mausi' and wears a traditional Indian dress for her birthday. Jay, like any Indian father, pressures Mina to pursue higher education, while her mother, Kinu, worries about her marriage.

Mina's Self-Identification

Mina identifies herself as an Indian. She tells Demetrius about the people who visit the motel where she lives and works, stating, “They look at us and they say, ‘Not another goddamned Indian!’ It makes me so mad.” Despite having a father who places his culture secondarily, Mina considers herself a true Indian, even though she has never visited India. She feels included in the morning prayers performed by her uncle in the Indian tradition and customs. Although born in Africa and having spent most of her life in Africa and Europe, she associates herself with a country she has never been to, calling herself a “mixed masala,” invariably contextualizing herself within Indian culture.

Demetrius's Cultural Conflict

Demetrius, on the other hand, is an African American who has never been to Africa. While he accepts his heritage, he is angered by the racism directed towards him and his community. He tells Mina, “Racism, or, as they say nowadays, tradition, is passed down like recipes. The trick is, you got to know what to eat, and what to leave on your plate.” This metaphor highlights his struggle to navigate cultural expectations and prejudices.

Portrayal of the Indian Community

Listlessness is powerfully portrayed in the film; a small Indian community ends up in a rather nondescript Mississippi town. Here, they appear rootless and somehow alienated from their context. They work and survive, yet seem adrift in the world. Having put down roots before, they are perhaps afraid to do so again. For some community members, India is a distant memory in their families’ past. Despite never having visited, they still identify as Indian. The community is depicted as a mix, as seen in Anil’s wedding, where women wear Indian attire while some men don traditional Indian wear and others don Western suits.

Jammu Bhai's Patriotic Devotion

Anil’s father, Jammu Bhai, a man devoted to his country, tries to instill a sense of patriotic devotion during the reception, suggesting, “Even though we are 10,000 miles away from India, we should not forget our roots, our culture, our tradition, and our Gods.” He encourages the gathering to join him in singing a traditional Hindu hymn, but the party’s compliance is interesting. Many are seen as drunk, bored, or uninterested, yet they comply out of a herd mentality. The entire wedding is conducted in a typical Indian fashion, with Indian music, garlands, and traditional customs, showcasing the vibrant colors and music of the Indian identity.

Romantic and Cultural Identity

The romantic identity in the movie is strongly shaped by the cultural identity of the characters. The two protagonists, Mina and Demetrius, have strong cultural ties that have helped shape their identities. However, as they fall in love, these identities come into conflict. Culture is integral to identity, as it comprises the “inherited memories” passed down from ancestors. Stuart Hall explains, “Cultural identity... is a sort of collective ‘one true self’... which people with a shared history and ancestry hold in common” (Hall, 1990).

Individual vs. Cultural Identity

In Mississippi Masala, both families display this shared cultural identity. At Demetrius’s family dinner, everyone gathers to celebrate their grandfather’s birthday, reminiscing about their shared past. Similarly, Mina’s family gatherings, like the wedding, celebrate their Indian customs. Despite living in America and attempting to fit in, they actively practice their religion, which locals often deem foreign. Hall also argues that individuals have identities beyond their cultural and social ones, defined by their words and actions. Demetrius stands out from his peers by working hard at his carpet cleaning business, while Mina breaks away from her family heritage by running away with Demetrius, creating an identity separate from her culture. They both look outward to define themselves, not allowing culture alone to dictate their identities.

Conclusion

Mira Nair, in an interview with BAFTA, says she related to Mina, seeing herself in her character. “I always had the idea of Mississippi Masala in mind... about being brown in between black and white” (Nair, 1991). Through her movie, Nair captures the conflicting identities not only of the protagonists but also of their societies as a whole.

References

Hall, S. (1990). Cultural identity and diaspora. In J. Rutherford (Ed.), Identity: Community, culture, difference (pp. 222-237). London: Lawrence & Wishart.

Nair, M. (1991). Mississippi Masala. Interview with BAFTA.