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| ====== Kaiko Celebration: A Symbolic Connection Between Ritualistic Dancing and Alliances ====== | ====== Schechner ====== |
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| | ====== Kaiko Celebration: A Symbolic Connection Between Dancing and Alliances ====== |
| The //kaiko// celebration is described by Schechner as a year-long festival of the Tsembaga, put on for both entertainment and strategic purposes. Key elements of the //kaiko// include dancing and trade. Local groups from neighboring areas meet to participate in this event, which is strategically planned, to solidify alliances through a debtor-creditor relationship. This relationship is created through an exchange of goods that never ends in a balance; the roles are simply reversed. For example, "when the //kaiko// is over, the guests owe the hosts meat, and the hosts owe the guests trade items" (313). The purpose behind this switch is to ensure future //kaikos// occur, along with a continued trade between groups. | The //kaiko// celebration is described by Schechner as a year-long festival of the Tsembaga, put on for both entertainment and strategic purposes. Key elements of the //kaiko// include dancing and trade. Local groups from neighboring areas meet to participate in this event, which is strategically planned, to solidify alliances through a debtor-creditor relationship. This relationship is created through an exchange of goods that never ends in a balance; the roles are simply reversed. For example, "when the //kaiko// is over, the guests owe the hosts meat, and the hosts owe the guests trade items" (313). The purpose behind this switch is to ensure future //kaikos// occur, along with a continued trade between groups. |
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| The dancing that is involved in this event serves as an entertaining performance, along with a way to create connections with other local groups. The performance itself includes combat techniques that have been adapted to fit into a dance. Symbolically, this represents an alliance for the Tsembaga: "To join a group in dancing is the symbolic expression of willingness to join them in fighting" (313) | The dancing that is involved in this event serves as an entertaining performance, along with a way to create connections with other local groups. The performance itself includes combat techniques that have been adapted to fit into a dance. Symbolically, this represents an alliance for the Tsembaga: "To join a group in dancing is the symbolic expression of willingness to join them in fighting" (313) Traditionally, this helps bring allies closer together. |
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| | An event similar to the //kaiko// celebration, held by the Kurumugl people, is known as //sing-sing//. While both of these events include dancing performances, //sing-sing// is known for bringing enemies together, instead of allies, raising the stakes of maintaining an unbalanced debtor-creditor relationship. From this tension, "the performances at Kurumugul are always in danger of tipping over into actual combat, even though the performances are very much like those of the //kanj kaiko//: dance combats adapted from combat, war chants . . ." (316) The costumes worn by the men are admired by others at this event in a resentful way, as they feel competitive with one another. One performer that invited Schechner into his hut, to watch him apply makeup, altered his demeanor to present a specific version of himself: "As he emerged from the hut his casual air dropped and he literally thrust his chest forward, gave a long whooping call, put on his headdress and displayed himself. He was costumed for a social not a dramatic role . . . to show himself in a special way: to display his strength, his power, his wealth, his authority" (317). This example of preparation and performance places efficacy and entertainment together, as the procedures leading up the performance and the performance itself are interwined, which Schechner considers elite in theatre when equal. |
| ====== Kaiko Event ====== | ====== Kaiko Event ====== |
| The //kaiko// celebration is a cyclical event that is entirely dependent on periods of alignment between clan relations and the pig population. As Schechner writes, “The whole cycle is tied to war/peace rhythm which, in turn, is tied to the fortunes of the pig population” (313-14). Because of this, the event itself only occurs every twelve to fifteen years. As seen in the figure below, as the pig population grows in accordance with peace relations, it culminates into the //kaiko// event before beginning again. According to Schechner, the event is followed by a short period of peace, but just as the //kaiko// event is temporary so too are these peace relations. The event from an ecological standpoint acts to provide a balance in both nature and reality as it reduces the overpopulation of pigs and improves/repairs the relationship between group participants. Therefore, the stronger the alliance is, the more rewarding the event is. | The //kaiko// celebration is a cyclical event that is entirely dependent on periods of alignment between clan relations and the pig population. As Schechner writes, “The whole cycle is tied to war/peace rhythm which, in turn, is tied to the fortunes of the pig population” (313-14). Because of this, the event itself only occurs every twelve to fifteen years. As seen in the figure below, as the pig population grows in accordance with peace relations, it culminates into the //kaiko// event before beginning again. According to Schechner, the event is followed by a short period of peace, but just as the //kaiko// event is temporary so too are these peace relations. The event from an ecological standpoint acts to provide a balance in both nature and reality as it reduces the overpopulation of pigs and improves/repairs the relationship between group participants. Therefore, the stronger the alliance is, the more rewarding the event is. |
| In his observation of the ecological performances of the //kaiko// celebration by the Tsembaga people of New Guinea, Schechner draws a link between symbolic events and actual events. In the figure below, Schechner describes that “//the performance [of the kaiko] both symbolizes and actualizes the change in status//,” meaning that the ritual/performative exchange of meat and dances between Group A and Group B, “symbolizes the changed relationship” between reality and symbol (320). | In his observation of the ecological performances of the //kaiko// celebration by the Tsembaga people of New Guinea, Schechner draws a link between symbolic events and actual events. In the figure below, Schechner describes that “//the performance [of the kaiko] both symbolizes and actualizes the change in status//,” meaning that the ritual/performative exchange of meat and dances between Group A and Group B, “symbolizes the changed relationship” between reality and symbol (320). |
| {{ :omnipoetics:screenshot_2025-03-22_163919.png?500 |Schechner "Transformance" Chart from Symposium of a Whole}} | {{ :omnipoetics:screenshot_2025-03-22_163919.png?500 |Schechner "Transformance" Chart from Symposium of a Whole}} |
| This change can be observed in the next figure as Schechner shows how actualities are converted into aesthetics, which are both symbolic and temporary of the //kaiko// event and its subsequent alliances. As Schechner describes, the “mode of achieving ‘real results’—paying debts, incurring new obligations—was performing; the dancing does not celebrate achieving results, it does not precede or follow the exchange, it is the means of making transformations; the performance is effective” (321). Thus, these performative rituals are done in a way that metaphorically replaces real events/actions with symbols/actions. So as Schechner provides in the model below, war parties become dancing groups, combat become dancing, and so on. This therefore situates entertainment in relation to efficacy. | This change can be observed in the next figure as Schechner shows how actualities are converted into aesthetics, which are both symbolic and temporary of the //kaiko// event and its subsequent alliances. As Schechner describes, the “mode of achieving ‘real results’—paying debts, incurring new obligations—was performing; the dancing does not celebrate achieving results, it does not precede or follow the exchange, it is the means of making transformations; the performance is effective” (321). Thus, these performative rituals are done in a way that metaphorically replaces real events/actions with symbolic aesthetics/actions. So as Schechner provides in the model below, war parties become dancing groups, combat become dancing, and so on. This therefore situates entertainment in relation to efficacy. |
| {{ :omnipoetics:screenshot_2025-03-22_164203.png?450 |Schechner "Doings" Chart from Symposium of a Whole}} | {{ :omnipoetics:screenshot_2025-03-22_164203.png?450 |Schechner "Doings" Chart from Symposium of a Whole}} |
| According to Schechner, this relationship between efficacy and entertainment forms a continuum, even though they technically exist as opposites. In the following figures, Schechner displays this opposition by placing ritualistic practices against theatre, acknowledging the binary differences between the two in relation to their functions rather than how they are strictly presented/performed in reality. In Schechner’s model, rituals are therefore about results whereas theatre emphasizes fun. In a performance centralized around efficacy, audience members are the participants, they live in the ritual, and creativity becomes collective. Opposing this, theatre, and entertainment at large, become about the individual and likewise their detachment from their audience. Schechner presents this model specifically to show efficacy and entertainment in their true and binary states. But as he previously claims, Schechner sees these two functions existing on a continuum, exposing how perspective can quickly alter how a ritual/performance is perceived. So, in the case of theatre, seeing what occurs backstage, or being a stagehand yourself, can greatly affect how one interacts and perceives the performance, shifting it towards something resembling efficacy. As Schechner claims, “The attention paid to the procedures of making theatre are, I think, attempts at ritualizing performance, or finding in the theatre itself authenticating acts” (322). | According to Schechner, this relationship between efficacy and entertainment forms a continuum, even though they technically exist as opposites. In the following figures, Schechner displays this opposition by placing ritualistic practices against theatre, acknowledging the binary differences between the two in relation to their functions rather than how they are strictly presented/performed in reality. In Schechner’s model, rituals are therefore about results whereas theatre emphasizes fun. In a performance centralized around efficacy, audience members are the participants, they live in the ritual, and creativity becomes collective. Opposing this, theatre, and entertainment at large, become about the individual and likewise their detachment from their audience. Schechner presents this model specifically to show efficacy and entertainment in their true and binary states. But as he previously claims, Schechner sees these two functions existing on a continuum, exposing how perspective can quickly alter how a ritual/performance is perceived. So, in the case of theatre, seeing what occurs backstage, or being a stagehand yourself, can greatly affect how one interacts and perceives the performance, shifting it towards something resembling efficacy. As Schechner claims, “The attention paid to the procedures of making theatre are, I think, attempts at ritualizing performance, or finding in the theatre itself authenticating acts” (322). |
| Schechner, Robert. "Kaiko Celebration: A Symbolic Connection Between Ritualistic Dancing and Alliances." //Symposium of the Whole: A Range of Discourse Towards an Enthopoetics//, edited by Jerome and Diane Rothenberg, University of California Press, 1983. | Schechner, Robert. "Kaiko Celebration: A Symbolic Connection Between Ritualistic Dancing and Alliances." //Symposium of the Whole: A Range of Discourse Towards an Enthopoetics//, edited by Jerome and Diane Rothenberg, University of California Press, 1983. |
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| | {{tag>English United_States Theory Performance_Theory Ritual Theater Symposium_Of_The_Whole}} |
