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

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30<br />

actuals<br />

Cooked food “comes after” raw food. Cooking is something that is<br />

done <strong>to</strong> raw stuff <strong>to</strong> change it in<strong>to</strong> food <strong>and</strong>, perhaps, <strong>to</strong> purify it. All<br />

cooked food was once raw; all raw food is cookable. Some fruits <strong>and</strong><br />

vegetables are “food” raw or cooked, but most meats need <strong>to</strong> be<br />

cooked before <strong>the</strong>y are considered <strong>to</strong> be food. The process of cooking is<br />

irreversible. There is no way for raw food <strong>to</strong> “come after” cooked food.<br />

So it is with art <strong>and</strong> life. Art is cooked <strong>and</strong> life is raw. Making art is <strong>the</strong><br />

process of transforming raw experience in<strong>to</strong> palatable forms. This<br />

transformation is a mimetic, a representation. Such, at any rate, is <strong>the</strong><br />

heart of <strong>the</strong> mimetic <strong>the</strong>ory. In non-mimetic art <strong>the</strong> boundaries<br />

between “life” <strong>and</strong> “art” – raw <strong>and</strong> cooked – are blurry <strong>and</strong> permeable.<br />

The hot interest in anthropology over <strong>the</strong> past generation or so has<br />

not been all good. Artists <strong>and</strong> <strong>the</strong>orists alike have, in <strong>the</strong>ir yearnings,<br />

constructed neo-Rousseauian fantasies of “primitive” peoples. As<br />

Charles Leslie wrote:<br />

There is . . . a fashionable modern conception of “primitive man” as<br />

inhabiting a “mystical” world of “timeless,” “cosmological,” “metaphorical”<br />

<strong>and</strong> “magical” presences. Costumed in <strong>the</strong> “archetypal”<br />

masks of tribal art, <strong>and</strong> possessed of a special “primitive mentality,”<br />

this phantasmagoria is said <strong>to</strong> perform “<strong>ritual</strong> dramas” of “mythic<br />

reality.” This particular conception of primitive man enjoys greatest<br />

currency in artistic <strong>and</strong> literary circles [where] primitive cultures are <strong>to</strong><br />

modern thought what classical antiquity was <strong>to</strong> <strong>the</strong> Renaissance.<br />

(Leslie 1960: xi)<br />

Although anthropologists have mostly cured <strong>the</strong>mselves of such illusions,<br />

soft-headed artists continue <strong>to</strong> look afield, hoping <strong>to</strong> find in <strong>the</strong><br />

O<strong>the</strong>r a finer version of what <strong>the</strong>ir own self might be.<br />

But it is no better <strong>to</strong> think of <strong>the</strong> Tiwi as <strong>the</strong> guys next door. Leslie<br />

thinks <strong>the</strong> counter-current attributing an urban pragmatism <strong>to</strong> people<br />

like <strong>the</strong> Tiwi an apologia for a kind of rationality which many anthropologists<br />

feel is in jeopardy. What makes The Savage Mind so satisfying is<br />

Claude Lévi-Strauss’s ability <strong>to</strong> uphold <strong>the</strong> claim of what is special<br />

in “primitive” peoples while not denying what is common <strong>to</strong> all.<br />

Aris<strong>to</strong>tle’s particular br<strong>and</strong> of logic is not universal, but, Lévi-Strauss<br />

says, an appetite for classification is. Peoples think differently, but every

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