Tradisi Buru Babi Masyarakat Minangkabau: Proses, Makna, dan Drama Sosial

Pig hunting in Minangkabau is a rite of passage which is carried out in a gradual ritual process. The rite of pig hunting is a sign that involves various social aspects of the community, including economy, religion, and culture. There are two questions to be answered in this research. Firstly, what is the meaning of the rite in the society and, secondly, how does the community's traditional pig hunting construct a social drama. To answer those questions, the author uses Victor Turner's ritual theory and Max Weber's theory of social drama. The results of this study indicate two main things. First, the pig hunting, which was originally an attempt to eliminate pests, later developed into a social drama. The rite of hunting as a social drama has four functions, namely (1) eliminating conflict; (2) limiting divisions and building community solidarity; (3) unites two opposing principles; and (4) provides new strength and motivation to live in everyday society. Second, as a social drama, the tradition forms a social construction. In this social process, there are four phases of social drama, (1) violation of social norms which invites the community to unite in eradicating pests; (2) wild pests pose a real threat, which can make the life of the farming community miserable (crisis) so that the community unites and holds various ceremonies to prepare for the implementation of hunting; (3) crisis recovery measures by carrying out a pig hunting ceremony; and (4) returns society with its entire social order to a normal situation.AbstrakBuru babi dalam masyarakat Minangkabau merupakan sebuah ritus yang dilaksanakan dalam sebuah proses ritual yang bertahap. Ritus buru babi menjadi sebuah penanda yang melibatkan berbagai aspek sosial masyarakat Minangkabau, termasuk ekonomi, religi, dan budaya. Ada dua pertanyaan yang hendak dijawab di dalam penelitian ini. Pertama, apa makna ritus buru babi dalam masyarakat Minangkabau dan bagaimana konstruksi sosial dari proses ritual tradisi buru babi sebagai sebuah drama sosial? Untuk menjawab kedua pertanyaan tersebut, penulis menggunakan teori ritual Victor Turner dan teori drama sosial Max Weber. Hasi penelitian ini menunjukkan dua hal pokok. Pertama, peristiwa buru babi yang awalnya hanya merupakan upaya para petani menghilangkan hama tanaman berkembang menjadi sebuah drama sosial. Ritus buru babi sebagai drama sosial ternyata memiliki empat fungsi, yaitu (1) menghilangkan konflik; (2) membatasi perpecahan dan membangun solidaritas masyarakat; (3) mempersatukan dua prinsip yang bertentangan; dan (4) memberikan kekuatan dan motivasi baru untuk hidup dalam masyarakat sehari-hari. Kedua, sebagai drama sosial, tradisi buru babi membentuk sebuah konstruksi sosial. Di dalam proses sosial itu terdapat empat fase drama sosial yang terdiri atas (1) pelanggaran norma sosial oleh hama yang mengundang masyarakat untuk bersatu melakukan pembasmian; (2) hama babi mendatangkan ancaman yang nyata yang dapat menyengsarakan kehidupan masyarakat petani (krisis) sehingga masyarakat bersatu dan mengadakan berbagai upacara persiapan pelaksanaan berburu; (3) tindakan pemulihan krisis dengan melaksanakan upacara berburu babi; dan (4) mengembalikan masyarakat dengan seluruh tatanan sosialnya ke situasi normal.

Bombs in Vilnius: Radicalization of Antisemitic Attitudes and Practices Before World War II

Bombs in Vilnius: Radicalization of Antisemitic Attitudes and Practices Before World War IIOn the eve of the Holocaust Poland saw enormous acts of antisemitic violence in every aspect of everyday life. This article proposes an analysis of antisemitic acts and actions that under Polish rule took place in Vilnius. In early 1937, the city witnessed a wave of antisemitic bomb attacks. Vilnius violence is set in the context of pogroms in other cities, but it remains an example and a specific model of unconditional radicalization of both nationalist attitudes and practices among Poles from different classes and social strata. The study focuses on the participation of students, prospective or actual members of the intelligentsia, in this “festival of violence”, and analyzes those events within the concepts of pogrom and Victor Turner’s social drama. Bomby w Wilnie. Radykalizacja postaw i praktyk antysemickich przed II wojną światowąW przededniu Zagłady przez Polskę przetacza się fala przemocy antysemickiej o charakterze pogromowym, która widoczna jest w niemalże każdym aspekcie życia codziennego. Niniejszy artykuł przedstawia analizę aktów i działań antysemickich, które zdarzyły się w Wilnie pod rządami polskimi. Na początku roku 1937 miasto zmierzyło się z serią zamachów bombowych. Chociaż omówiona przemoc osadzona jest w kontekście sytuacji w innych miastach, pozostaje jednak i przykładem, i swoistym wzorem bezwarunkowej radykalizacji nacjonalistycznych postaw i praktyk wśród nieżydowskich Polaków i Polek pochodzących z różnych klas i warstw społecznych. Autorka koncentruje się w badaniach głównie na udziale studentów – przyszłych członków inteligencji – w tym „festiwalu przemocy” i analizuje opisywane wydarzenia w ramach koncepcji pogromu oraz Turnerowskiego dramatu społecznego.

A TURNÊ CANCELADA DO DEAD KENNEDYS NO BRASIL: PUNK, NOSTALGIA E DRAMA SOCIAL

Este artigo busca analisar possíveis efeitos colaterais relativos a reuniões de artistas, sobretudo do gênero rock’n’roll, focando em crises que podem ou não se estabelecer diante da recepção do público. Nosso corpus principal é a banda Dead Kennedys e os desdobramentos que ocorreram do anúncio ao cancelamento de sua turnê celebratória de 40 anos que deveria ter ocorrido no Brasil em 2019. A partir das perspectivas da retromania de Reynolds (2011) - intrínseca à cultura pop e, portanto, extensiva ao rock - elaboramos a "treta" (Pereira de Sá, 2018) do grupo californiano à luz dos quatro estágios do drama social proposto por Turner (1982) como processo metodológico. Por fim, propomos que a correlação entre revisão, relação e reação traz à tona reflexões sobre passado e presente, instaurando um acontecimento de possível incongruência expressiva e discursiva na história da banda. PUNK IS DEAD (KENNEDYS)?: NOSTALGIA, POLÍTICA Y DRAMA SOCIAL EN UNA GIRA CANCELADA Resumen: Este artículo busca analizar los posibles efectos secundarios relacionados a las reuniones de artistas, especialmente del género rock'n'roll, enfocándose en crisis que pueden o no establecerse frente a la recepción pública. Nuestro corpus principal de investigación es la banda Dead Kennedys y los desarrollos que ocurrierón desde el anuncio hasta la cancelación de su gira de celebración de 40 años que debería haber ocurrido en Brasil en 2019. Desde la perspectiva de la retromanía de Reynolds (2011) – intrínseca a la cultura pop y, por lo tanto, extendidos al rock – elaboramos la "treta" (Pereira de Sá, 2018) del grupo californiano a la luz de las cuatro etapas del drama social propuesto por Turner (1982) como un proceso metodológico. Al final, proponemos que la correlación entre revisión, relación y reacción triga reflexiones sobre el pasado y el presente, estableciendo un evento de posible incongruencia expresiva y discursiva en la historia de la banda.Palabras clave: Dead Kennedys. Nostalgia. Drama Social. PUNK IS DEAD (KENNEDYS)?: NOSTALGIA, POLITICS AND SOCIAL DRAMA ON A CANCELED TOURAbstract: This paper aims to observe the possible side effects related to artists' reunions, especially of the rock'n'roll, focusing on crises that may or may not be established in the face of the audience reception. Our main observable is the band Dead Kennedys and the following events from the announcement to the cancellation of its 40-year celebratory tour, which should have happened in Brazil in 2019. From Reynolds (2011) retromania theory, which inherent to pop rock culture, we present the, what Pereira de Sá (2018) named as “treta” of the Californian group. As methodological process, we bring the four fases of social drama theory proposed by Turner (1982). In conclusion, we think the interconection between revision, relation and reaction brings up some interesting reflections about the past and the present, in witch we may see some expressive and discursive incongruity in the band's history.Keywords: Dead Kennedys. Nostalgia. Social Drama.

Carnivalesque, Liminality and Social Drama: Characterising the Anti-Structural Potential of Theyyam

The cultural and ritual performance of Theyyam in Northern Kerala, considered as a reflection of the war cry against the caste system and oppression, conducts subversion of the social hierarchy. The chosen deity by the performer for a transitory symbolisation expresses the collective outrage of the oppressed and exploited people. This research paper enquires about the anti-structural characteristics exhibited by the performance of Theyyam. In the context of Richard Schechner’s performance theory, it attempts to trace the characterisation of Mikhail Bakhtin’s carnivalesque, Victor Turner’s liminality and social drama in the transitional performance of Theyyam that mostly relies on interim separation and reintegration. The expression of antipathy to the hierarchy in Bakhtinian carnival, the anti-structural emphasis in Turnarian liminality, and the deconstructive-reconstructive stages in social drama elucidate the symbolic delineation of the performance of Theyyam. The analytical findings of the paper derived from the discussion of the three concepts reveal that the performance of Theyyam is rooted in its anti-structural characteristics. The performer is subject to continuous alteration in the identity that intermediates the idiosyncrasy between the deity and the human being. It symbolises the temporal transition from the oppressed to the equivalent status of the dominator that occurs as part of counter-culture, through status reversal and inversion.

THE MOTIVE OF LOST ILLUSIONS IN W.S. MAUGHAM’S “FOR SERVICES RENDERED” AND J. B. PRESTLEY’S “TIME AND THE CONWAYS”

The purpose of this article is to analyze the motive of lost illusions in W.S. Maugham’s “For Services Rendered” and J. B. Priestley’s “Time and the Conways”. This motive is realized, firstly, at the level of the system of characters, when two authors show characters with broken hearts, thus the idea of “a heartbreak house” becomes the dominant one in these plays. Secondly, both playwrights use a circular composition, showing the life circle of their characters. The article concludes about the genre diversity of the works of the two authors: Maugham creates a social drama (focusing on the fate of representatives of the "lost generation", the spiritual blindness of the adherents of good old England), Priestley - a philosophical "drama of time" with its characteristic semantics: the loss of time, the compression of time and its reverse flow. Besides, the article discusses a historical and literature context of post-war time: we find typological connections with Siegfried Sassoon’s poetry and Ernest Hemingway’s novel “A Farewell to Arms”.

Postcolonial social drama: The case of Brazilian dentists in Portugal

By the late 1990s, when I was conducting ethnographic fieldwork research in Lisbon, the ‘dentists’ case’ had become a familiar trope for the presence of Brazilian immigrants in Portugal. Although it involved a small group of Brazilian and Portuguese professionals, it gained visibility in the media of both countries, escalating into a political and diplomatic quarrel, and culminating in the amendment of the 1966 Cultural Accord. I use Victor Turner’s concept of social drama to address the case as a chapter in the cyclical pattern of connection and disconnection of postcolonial Luso-Brazilian relationships. Drawing from a recent discussion on the concept of cosmopolitanism in migration studies, I employ the idea of postcolonial sociabilities to help explore the seemingly inherent ambiguities in the relationship between Brazilians and Portuguese.

Театр как «образ жизни» человека с инвалидностью: антропологические наблюден

В статье на основании пилотного исследования методом кейс стади прослеживаются связи инвалидности с искусством: какой путь проходит человек с инвалидностью, стремясь к театральному творчеству? Ответ на этот вопрос строится через попытку рассмотреть жизнь человека с инвалидностью как своеобразную социальную драму, и увидеть то, какие трансформации происходят при взаимодействии реальных жизней с реальным театром. Контекст привычного нам театра смещается от формата выдуманных персонажей и их историй, упакованных в рамки воображаемого мира одного автора, в сторону персонажей, со-творящих художественный проект реалистичными деталями своих индивидуальных жизненных нарративов. Это становится возможным благодаря феномену социального театра. Он, как и его форма – инклюзивный театр, вмещает в себя, помимо эстетической составляющей, иную иерархию – горизонтальную, где каждый участник – творец на равных, имеющий свои зоны ответственности. Образ инклюзивного театра раскрывается на конкретном примере крупного российского проекта «Инклюзион», работающего в семи городах России. На Новосибирском кейсе этой сети театральных школ иллюстрируется, какие ценности позиционируются артистами с инвалидностью как те, что делают жизнь человека «наполненной», несмотря на «ограниченные возможности». Based on a pilot study, the article traces the links between disability and art: what path does a person with a disability take on the way to theatrical creativity? The answer to this question is built through an attempt to consider the life of a person with a disability as a kind of social drama, and to see what transformations occur when real lives interact with real theatre. The usual context of a theatre is shifting from the format of fictional characters and their stories, packed in the framework of the imaginary world of one author, towards characters who co-create an artistic project with realistic details of their individual life narratives. This is made possible by the phenomenon of social theater. Social and inclusive theater contains, in addition to the aesthetic component, a horizontal hierarchy, where each participant is a creator on an equal footing, with his/her own areas of responsibility. The image of an inclusive theater is revealed in the article on the concrete example of the big Russian project “Incluzion”, which works in seven cities of Russia. The Novosibirsk case of a theater network demonstrates which values are positioned by artists with disabilities as those that make a person’s life “fulfilled”, despite “limited opportunities”.