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4 from ritual to theater and back: the efficacy ... - AAAARG.ORG

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276<br />

ethology <strong>and</strong> <strong><strong>the</strong>ater</strong><br />

Torgindi went <strong>back</strong> <strong>to</strong> his compound [after <strong>the</strong> men exchanged angry<br />

words] <strong>and</strong> made up a song in which he said what a skunk Mtswen<br />

was. That night, when all was quiet, he drummed <strong>and</strong> sang <strong>the</strong> song<br />

as loud as he could, for <strong>the</strong> whole countryside <strong>to</strong> hear – including<br />

Mtswen, who lived a little over a quarter of a mile away.<br />

(Bohannan 1967: 263)<br />

Torgindi repeated <strong>the</strong> song <strong>the</strong> next night – <strong>and</strong> everyone in his<br />

compound <strong>and</strong> some <strong>from</strong> o<strong>the</strong>r compounds in his lineage joined in<br />

<strong>the</strong> chorus.<br />

The only thing for Mtswen <strong>to</strong> do was <strong>to</strong> make up a song of his own<br />

against Torgindi. But knowing he wasn’t much of a songmaker, he<br />

hired <strong>the</strong> best songmaker in Shangev Ya <strong>to</strong> stay at his place <strong>and</strong> compose<br />

scurrilous songs about Torgindi <strong>and</strong> all his kinsmen <strong>and</strong> wives.<br />

(Bohannan 1967: 263)<br />

Torgindi responded by hiring his own songmaker. Soon <strong>the</strong> men were<br />

sponsoring songs <strong>and</strong> dances each night – “<strong>the</strong>y each brewed beer <strong>and</strong><br />

made food in order <strong>to</strong> attract dancers <strong>to</strong> come <strong>and</strong> dance <strong>and</strong> sing <strong>the</strong><br />

songs directed at <strong>the</strong> o<strong>the</strong>r” (Bohannan 1967: 264). There were no<br />

fixed rules for composing <strong>the</strong> songs, except that incidents referred <strong>to</strong><br />

must be true. If an accusation is false <strong>the</strong> sl<strong>and</strong>ered person calls a jir,<br />

foul, <strong>and</strong> <strong>the</strong> accusation is withdrawn. But if <strong>the</strong> accusation could not<br />

possibly be true <strong>the</strong>n it can’t be <strong>the</strong> basis of a jir. For example, “one of<br />

<strong>the</strong> catchiest tunes . . . <strong>to</strong>ld how Torgindi changed himself in<strong>to</strong> a pig at<br />

night <strong>and</strong> made it unsafe for every sow in <strong>the</strong> countryside” (Bohannan<br />

1967: 264). Everyone agreed that Torgindi couldn’t transform<br />

himself, <strong>the</strong>refore he wasn’t entitled <strong>to</strong> call a jir. This rule encouraged<br />

combining painful truths with wild fantasies.<br />

The song duel between Torgindi <strong>and</strong> Mtswen went on nightly for<br />

more than three weeks before <strong>the</strong> village elders decided that <strong>to</strong> continue<br />

would lead <strong>to</strong> violence. The elders summoned both men <strong>and</strong><br />

<strong>the</strong>ir supporters <strong>to</strong> a central place where <strong>the</strong>y were <strong>to</strong>ld <strong>to</strong> sing <strong>and</strong><br />

drum: <strong>the</strong> elders would decide who was <strong>the</strong> vic<strong>to</strong>r. The elders went<br />

<strong>from</strong> one performing group <strong>to</strong> <strong>the</strong> o<strong>the</strong>r, listened <strong>to</strong> all <strong>the</strong> songs, <strong>and</strong><br />

<strong>the</strong>n retired <strong>to</strong> consider <strong>the</strong> case. After two hours <strong>the</strong>y ruled that

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