eBook
Available on Compatible NOOK devices, the free NOOK App and in My Digital Library.
Related collections and offers
Overview
Product Details
| ISBN-13: | 9780226150338 |
|---|---|
| Publisher: | University of Chicago Press |
| Publication date: | 02/06/2009 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 398 |
| File size: | 4 MB |
Read an Excerpt
Mehinaku
The Drama of Daily Life in a Brazilian Indian Village
By Thomas Gregor
The University of Chicago Press
Copyright © 1977 The University of ChicagoAll rights reserved.
ISBN: 978-0-226-30746-6
CHAPTER 1
The Dramaturgical Metaphor
The role concept in social science is based on the perception that life is like theater. Going back at least as far as the Greeks, the idea was given memorable form by Shakespeare:
All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances And one man in his time plays many parts.
"Shakespeare's metaphor," writes sociologist Ralf Dahrendorf, "has become the central principle of the science of society" (1968:30). Certainly the culture of every society provides the script that defines the rights and obligations of "all the men and women," while the "many parts" of each actor permit him to adapt his conduct to the rest of the cast, thereby giving him a position in the larger drama. The impact of this position on modern social anthropology may be seen by glancing at the table of contents of a typical ethnography. The standard chapters on kinship, marriage, and the division of labor are usually descriptions of the roles of blood relatives, husbands and wives, the old and young, and men and women: the role concept is the organizational framework for presenting anthropological data.
The definitions of social roles that influence anthropologists (notably those of Linton 1936, Nadel 1957, and Banton 1965) are normative. A role is a part of culture that prescribes rules for getting along with others, a set of obligations and privileges or rights and duties acknowledged by the members of a community. The task of the ethnographer is to describe the terms of the contracts and the extent to which they are honored. This contractual, "who owes what to whom" approach to relationships, however, is only the beginning of good ethnographic description. The American social scientist Erving Goffman has systematically expanded the traditional role concept, following the work of G. H. Mead (1934), Kenneth Burke (1945), and the "symbolic interactionist" school of social psychology. In The Presentation of Self in Everyday Life (1959), Goffman sees roles not simply as rights and obligations that bind actors, but as prescriptions for actual performances; they are the script and stage directions as well as the contract for social life.
Like their theatrical counterparts, the real-life performers act out their parts in a spatial setting whose physical characteristics mold the course of the action. Preparing their performance backstage with the help of teammates and presenting it to an audience whose response further affects their conduct, they do not simply repeat their lines, but dramatize or overcommunicate them so that the audience will be sure to know who they are in the drama. Moreover, the rhythm of exits and entrances, the costumes and props, and the demeanor of the actors are all as much a part of the drama as are the lines of the script.
To illustrate how the dramaturgically oriented observer looks beyond the traditional perspective to include considerations of setting and staging, let us glance briefly at an encounter between a doctor and his patient. Consider, for example, that a patient has only a very partial view of a medical office. Backstage areas in which the physician informally interacts with his colleagues and subordinates must be kept off bounds to patients so that the doctor will not display an image antithetical to the one he projects up front.
To be perceived as a good doctor, a physician must provide more than competent treatment. He must stage the part, over-communicating his status by means of a reassuring bedside manner, an impressive array of diplomas and gadgets, and the presence of immaculately clad attendants. Make-up, costuming, scenery, and the timely appearance of bit players all contribute to the necessary stagecraft.
A dramaturgical perspective also looks at the implications of the script for the performance of the roles. How rigidly are those roles defined? Do they leave room for improvisation when lines are ambiguous or contradictory? A physician is both a disinterested professional and bill-collecting entrepreneur. Are there spatial and dramatic devices that can reconcile such contradictory roles?
The strength of the dramaturgical metaphor is that it can open avenues for research not contemplated by the traditional approaches of social anthropology. There is a danger, however, in the temptation to forget that life-as-theater is an analogy, not an homology. So apt is the terminology of theater for describing the human condition that the analyst can easily be taken in by it, especially if his subjects are from a culture whose dramatic conventions are different from his own. Stating the limits of the metaphor will tell us where the analogy breaks down and give us an idea of what we can reasonably hope to accomplish by applying it to a society like the Mehinaku. Let us begin by examining how relationships are defined, both in real life and on the stage.
Unless viewed through the organizing lens of culture, reality is chaotic and random. A thousand roses are different from each other in a thousand ways, yet we share a cognitive slot that enables us to classify them all as "roses." In a parallel fashion, our culture provides us with a way of organizing social experience. A group of people sitting around a table may be a deliberating jury, a seminar in progress, or a meeting of the President's cabinet. Which it happens to be depends not only on the facts of the matter, but also on the point of view of the participants. It might be difficult for them to transform their meeting from one kind into another, although we have all taken part in seminars that gradually became social gatherings, and we have read transcripts of presidential meetings that degenerated into criminal conspiracies. The definition of the social situation thus depends on the consensus, usually unspoken, of those who participate in it.
Human beings interpret or "define" each other's actions instead of merely reacting to each other's actions. Their "response" is not made directly to the actions of one another but instead is based on the meaning they attach to such actions. Thus, human interaction is mediated by the use of symbols, by interpretation, or by ascertaining the meaning of one another's action. This mediation is equivalent to inserting a process of interpretation between stimulus and response. (Blumer 1967:139).
By defining the situation we are able to occupy a multitude of realities, each socially built from a consensus that is ratified in speech and demeanor and reinforced by the characteristics of the setting. Taken together, these conventions communicate the definition of the situation and the roles of the actors.
If reality is a social rather than absolute construct, we may approach the contrast of theater and everyday life from the perspective of how both define the situation and establish a sense of reality or authenticity in the beholder.
The theater establishes a reality of its own, though this reality is based on conscious artifice. The play takes place in a room minus a wall and ceiling and is performed by characters who position themselves at odd angles and speak with unnatural clarity. What is remarkable about such dramatic conventions is that they work. Audiences seem to have an extraordinary capacity to "engross themselves in a transcription that departs radically and substantially from an imaginable original" (Goffman 1974:145).
An experiment by Harold Garfinkel suggests that in real life as well as in theater we strain to accept and participate in the definition of a social situation, no matter how outlandish that situation may seem. In the experiment, students described a serious personal problem to an unseen counselor and then asked a question that could be answered yes or no. Though the responses the counselors gave were chosen randomly and were often inane or contradictory, the students strove mightily to make sense from nonsense: "The answers given ... had a lot of meaning to me. I mean it was perhaps what I would have expected from someone who really understood the situation" (1967:85).
Garfinkel's experiment illustrates that, like an audience in a theater, we are willing to invest the most flimsily constructed social situations with authenticity and imagined meaning. In everyday life, as in theater, we are called upon to narrow or "bracket" our attention to the situation being presented and to ignore whatever does not further the supposed reality. Hence we are unperturbed by settings that are not grossly discrepant, willing to forget in the course of a medical examination, for example, that we abhor our physician's taste in furniture or politics. We are always under strong constraint to accept the consensual definition of the situation even when we are not happy about it. Like actors in the theater, we act not as we are or as we would wish to be, but as if we accepted the role assigned to us. None of this is to say, however, that there are not fundamental differences between life and the stage. One of those differences—the alienation from role of the theatrical performer, as contrasted with the engagement and sincerity of the ordinary individual—has been particularly vexing for the dramaturgically oriented observer, and we must now deal with it directly.
Only occasionally does a participant in ordinary interaction feel compelled to assume the perspective of the stage actor. Goffman's sociology introduces us to pool-hall hustlers who cannot show their true skill, furniture salesmen who bilk their customers with extravagant claims about shoddy merchandise, and girls who feel obliged to play dumb on dates to convince their boyfriends of their femininity. Sheldon Messinger and his colleagues (1962) report that a few persons, including the very famous, are seldom off stage. As Sammy Davis puts it, "As soon as I go out the front door of my house in the morning, I'm on, Daddy, I'm on."
Theatrical self-awareness may from time to time fall to the lot of the not so famous as well. The essence of the dramatic perspective, as Elizabeth Burns (1972:34) has pointed out, is composition: the conscious planning, staging, and arrangement of social events. Each time we relocate furniture, decorate our houses, buy clothes, or apply cosmetics we are moving stage properties or putting on costumes. Architects, clothes designers, and other engineers of appearances and impressions are, in this sense, fellow troupers of actors, directors, and playwrights.
Dramatic self-consciousness may also crop up in ordinary interaction. When we assume a new status (the first day at a new job), when our roles clash or are undefined, or when we engage in moments of self-reflection or fantasy, we take a perspective similar to the stage performer.
Nevertheless, we may reasonably conclude that a real-life actor is not chronically self-aware of the performance of his roles. People are not dramatis personae whose actions are make-believe and inconsequential, but participants in a real experiential world where the stakes are high and the play is for keeps. Erving Goffman, writing on the dangers of overextending the dramaturgical metaphor, warns that "Whether you organize a theater or an aircraft factory, you need to find places for cars to park and coats to be checked, and these had better be real places, which incidentally, had better carry real insurance against theft" (1974:1).
The language and concepts of the stage are useful, however, because the ordinary individual, like the actor, is in the business of impression management. No matter that he may only occasionally be aware of the stagecraft that goes into performance, it is nonetheless there. By encouraging his audience to focus their attention on some aspects of his performance, while diverting their attention from others, the individual, like the actor, seeks to establish a social situation that his audience will accept as authentic. Operating within a physical setting that shapes his conduct, he conveys his message by means of speech, dress, demeanor, props, and other messages that sustain the definition of the situation. His performance is normally spontaneous only because the roles he acts are habitual ones, ratified by many previous encounters and part and parcel of familiar settings. The very fact that his conduct is not deliberately staged, however, means that he makes a poor informant. The theatrical metaphor provides the observer with a set of concepts ideally suited for isolating those communicative acts that establish and define relationships. The success of dramaturgical analysis must not therefore be measured by whether ordinary persons consciously put on a performance. The approach is not a theory of psychology intended to expose the subjects' view of the world, but a device for appreciating those subtle and often neglected aspects of interaction that define the social situation and confirm the identity of those engaged within it.
In practice the dramaturgical approach turns our gaze in new directions, focusing our attention on the expressive aspects of social relationships as well as on their economic or political significance. It leads us to describe subtleties of demeanor and dress normally neglected in standard anthropological accounts. It requires that we give special attention to community design, not just as a bow to general ethnography but as a setting for social relationships. It demands that we be sensitive to the shape and boundaries of communication networks, looking not only at the content of messages but also at the rules of privacy and discretion that control their movement. The dramaturgical approach provides us with a new perspective in social anthropology, an approach that has only just begun to be applied to the ethnography of tribal societies.
CHAPTER 2The Tribes of the Upper Xingu and the Mehinaku Indians
Tell the Americans about us. Tell them we are not wild Indians who club people. Tell them we are beautiful. ShumõI, to the anthropologist
The Mehinaku Indians of Central Brazil are one of a number of very similar tribes that live along the upper reaches of the Xingu River, a major tributary of the Amazon. Waterfalls there block navigation and until recently have kept out all but the most intrepid explorers and hunters. Even today the nearest permanent Brazilian town, Xavantina, is nearly 175 miles to the southeast. Because of this isolation, a small enclave of tropical forest Indian culture has managed to persist almost completely intact.
The distribution of this culture is limited by definite barriers. About twelve degrees south three rivers meet to form the Xingu. Together with their numerous tributaries they drain a well-watered, low-lying basin of some twenty-five thousand square miles. Living only in the northern corner of this vast territory, the Xingu Indians exploit several ecological zones. The first is a narrow line of trees along the rivers, trees whose roots are adapted to the periodic flooding. Further inland from the rivers are flood plains, a few feet to a few miles in width. Past the flood plains are miles of forest along whose margin, still never far from the rivers, the Xingu Indians have established their villages and cut their manioc gardens. Beyond the forest are other flood plains, other lines of flood-resistant trees, and yet other rivers, as figure 2 illustrates.
The appearance of the Xingu basin changes radically through the year. In August, at the height of the dry season, the rivers are very low and the banks in many places are fifteen feet high. The flood plain is baked flinty dry, so that walking barefoot is painful for someone used to wearing shoes. The wet season begins with the late September rains and by the end of December the rivers have overflowed their banks. From the air, the Xingu basin appears half swamp, half forest. As the flood plains become inundated, it is difficult to locate the main channels of the rivers. Walking from village to village is extremely unpleasant as the forest is crisscrossed by streams and brooks. Yet one can still travel by canoe over the flooded plain and sometimes right through the forest.
The Xingu seasonal round is fixed to the cycle of rain and drought. When the rains end in May, the gardens are cut and left to dry. During the remaining months of drought, fishing is extremely productive, since the fish are distributed very densely in the shallow rivers and streams. In August and September large numbers of fish are trapped by the receding waters and easily caught by the Indians who drug them with a vegetal poison (timbó, Paullinia pinnata).
In September, just before the dry season ends, the gardens are set afire. In October, the rains having begun, the gardens are planted with manioc and maize. These are the months of plenty in the Xingu. Fish are abundant and wild fruits ripen, particularly the pequi (Caryocar butyrosum) and mangaba (Harcornia speciosa); all help to enrich the usually monotonous diet.
(Continues...)
Excerpted from Mehinaku by Thomas Gregor. Copyright © 1977 The University of Chicago. Excerpted by permission of The University of Chicago Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
List of FiguresList of Tables
Acknowledgments
Introduction
1. The Dramaturgical Metaphor
2. The Tribes of the Upper Xingu and the Mehinaku Indians
The Setting for the Drama
3. Space, Settings, Designs
4. The Design for the Community and the Flow of Information
5. Institutions and Information
6. The Institutions and Strategies of Concealment
7. What Goes On Behind the Scenes: Games Children Play
8. Theft and How to Get Away with It
9. Extramarital Sex and Concealment
The Staging of Social Relationships
10. Being Well Dressed: Preparing for Interaction
11. Greetings and Goodbyes
12. Portraits of Self
13. Withdrawal and Disengagement
14. The Cycle of Seclusion
The Script for Social Life
15. The Mehinaku Concept of Social Roles
16. Mehinaku Kinship
17. Writing Your Own Ticket: Manipulating Kinship
18. Being a Mehinaku: Tribal Identity in the Xingu System
19. Spirits, Rituals, and Social Innovation
20. Dilemmas of Performance: Shamanism
21. Mehinaku Social Drama
Bibliography
Index