I was introduced to Ron by Audrey, my mother-in-law, at the aged care facility in Doncaster where she was living at the time. He was a psychologist who regularly visited the oldies to entertain them by performing with his violin. When Audrey discovered that Ron had grown up in South Africa like her son-in-law, she insisted on introducing us.
On meeting each other, Ron and I did the usual two-step that former South Africans in Australia do when they first meet. We skirted around in conversation until we had each established what kind of South African the other person was—cultural background, racist or anti-racist, economic or political migrant and suchlike. I learnt that Ron was Jewish and that, like me, he had no tolerance for racism. Once it had been clarified that we were both generally on the same page we compared experiences of growing up in South Africa during the Apartheid era with its legalised racism.
Ron told me that he had regularly played the violin in an orchestra in the early 1980s to earn some cash as a nineteen year old university student in Durban. On one occasion the orchestra had been engaged to perform in the town hall of a small town just outside Durban. The orchestra’s performance was paid for by the town Council and entry was free of charge to the public.
Ron had travelled to the venue by train. As the audience began arriving Ron noticed that the venue staff on duty were refusing entry to a family of coloured (mixed race) people that had come along to hear the orchestra performing. Ron walked to the entrance and asked a staff member why some people had been refused entry. He was told that the hall was a “Whites Only” venue and that the law forbade the races to mix at performance venues.
Ron was horrified. He immediately approached the conductor of the orchestra, a man of Afrikaner background in his fifties, and told him what he had witnessed. “This is outrageous” Ron declared. “We should cancel the performance.”
The conductor frowned and replied that it was the law of the land. “We are not here to dabble in politics, Ron. We are here merely to perform as an orchestra and that is what we are getting paid for.”
Ron took his violin out of its case to get ready for the performance, then hesitated and put it back. He went up to the conductor again. “Whether it is the law of the land or not, I really don’t think we should allow anyone coming to our performance to be humiliated like that. This is just disgusting and I feel very strongly that we should all just pack up and leave now.”
The conductor became visibly annoyed. “Listen to me, Ron,” he said, “just forget about the politics and get ready to do what you are getting paid for—to play the violin.” Ron returned to his seat, took his violin out again with shaking hands, but then put it back.
He went to confront the conductor once more and said, “I cannot in full conscience play in this hall after what has happened. Does it really take a Jew to tell a Christian how to behave like a Christian, sir?” Then he grabbed his violin case and angrily hurried off into the night.
The next few days Ron was racked by anxiety. He was convinced that he would be sacked from the orchestra because of his behaviour and with that his only source of income would be lost.
The next rehearsal was due a few days later. Ron was in two minds about attending, but he reluctantly decided to turn up and to have the matter over and done with. He anxiously wondered at what stage the issue would be raised and whether he would be held to account in front of the other members of the orchestra, or privately.
On arriving at the rehearsal neither the conductor nor any of the others made any reference to what had transpired. Once the rehearsal had finished Ron got up to leave, bracing himself for the conductor to call him aside. But the fellow simply picked up his things, said “Bye” with a slightly awkward smile in Ron’s direction and with a wave of his hand left the building.
Afterwards, the episode was never once mentioned by anyone, just as if it had never happened.