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Ritual and Event

Catastrophic contemporary events challenge ritual’s power to reconcile and

heal the destitute, disenfranchised, and dying. The essays in this book
reassess and revise the traditionally understood relationships between ritual
and politics, ritual and everyday life, ritual and art making, and ritual and
disaster in the post-Hiroshima, HIV/AIDS, 9/11 era. The contributions
range in subject matter from choreography, film, photography, and visual
culture to theatre, religious studies, semiotics and literature. The essays are
unified by the question: how can ritual confront the event today?
While some essays revisit major thinkers such as Gregory Bateson and
Victor Turner in the light of new fieldwork and reflection, others analyze
ritual acts in choreography, improvisation, theatre, and spectatorship from
the Japanese film series Gojira and its American antidote Godzilla to
contemporary Zambian community theatre amidst the raging AIDS crisis.
Still others interrogate the ritual efficacy of artistic and media responses to
9/11 and Abu Ghraib in choreography, film, and photography. Methodolo-
gies are drawn not only from Anthropology but also Linguistics, Psycho-
analysis, Philosophy, and Literature to make this inquiry truly
interdisciplinary in scope.
This volume brings together scholars from various academic disciplines to
explore ritual in the context of the catastrophic and transforming events in
today’s world. Just as rituals are re-activated by contemporary social crisis,
so our understanding of ritual is transformed in kind. Ritual and Event takes
the world of “the event” as its intellectual testing ground where interdisci-
plinary inquiry becomes the crisis – if not the event – of academic thought.

Mark Franko is a choreographer and performance scholar who is Professor

and Chair of the Theatre Arts Department at the University of California,
Santa Cruz. Among his publications are Dance as Text: Ideologies of the Baroque
Body, Dancing Modernism/Performing Politics, The Work of Dance: Labor, Move-
ment, and Identity, and Excursion for Miracles.
Routledge advances in theatre and performance studies

1 Theatre and Postcolonial Desires

Awam Amkpa

2 Brecht and Critical Theory

Dialectics and contemporary aesthetics
Sean Carney

3 Science and the Stanislavsky Tradition of Acting

Jonathan Pitches

4 Performance and Cognition

Theatre studies after the cognitive turn
Edited by Bruce McConachie and F. Elizabeth Hart

5 Theatre and Performance in Digital Culture

From simulation to embeddedness
Matthew Causey

6 The Politics of New Media Theatre

Life®™
Gabriella Giannachi

7 Ritual and Event

Interdisciplinary perspectives
Edited by Mark Franko
Ritual and Event
Interdisciplinary perspectives

Edited by Mark Franko

First published 2007
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada
by Routledge
270 Madison Ave, New York, NY 10016
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2007 Selection and editorial matter, Mark Franko; individual
chapters, the contributors
This edition published in the Taylor & Francis e-Library, 2006.
“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”

All rights reserved. No part of this book may be reprinted or

reproduced or utilized in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
A catalog record for this book has been requested

ISBN10: 0-415-70181-3 (hbk)

ISBN10: 0-203-96819-2 (ebk)

ISBN13: 978-0-415-70181-5 (hbk)

ISBN13: 978-0-203-96819-2 (ebk)
Contents

List of figures vii

Contributors viii

Introduction: eventful knowledge and the post-ritual

turn 1
MARK FRANKO

PART I
Critical historiographies/new formations 11

1 Going back to Bateson: toward a semiotics of

(post-)ritual performance 13
SALLY A. NESS

2 Performative interventions: African community theatre

in the age of AIDS 31
OLA JOHANSSON

3 Ritually failing: Turner’s theatrical communitas 56

ANDREW C. WEGLEY

4 Situation and event: the destinations of sense 75

TYRUS MILLER

PART II
Case studies from the performative and visual archives 91

5 The terrorist event 93

BILL NICHOLS
vi Contents
6 Gojira vs Godzilla: catastrophic allegories 109
AARON KERNER

7 Given movement: dance and the event 125

MARK FRANKO

8 Illness as danced urban ritual 138

JANICE ROSS

9 Post-colonial torture: rituals of viewing at Abu Ghraib 159

CATHERINE M. SOUSSLOFF

Index 188
Figures

2.1 Community performance on HIV/AIDS in Sululu Village,

Masasi District, Tanzania (2002) 38
2.2 Performance on HIV/AIDS at the University of Botswana,
Gaborone, Botswana (2002) 39
6.1 The Daigo Fukuryu-maru 111
6.2 A Keloid victim 117
6.3 The monster. “Gojira, Mothra and King Ghidorah: Giant
Monsters All-Out Attack” 118
8.1 Anna dancing before her self-portrait 144
9.1 “Hooded Man on the Box,” Abu Ghraib Prison, Iraq 161
9.2 Tellett, “The Barbarization of Warfare” 162
9.3 “Stop Bush” 163
9.4 Naked figure leashed by uniformed figure, Abu Ghraib
Prison, Iraq 173
9.5 Display of naked figure’s genitalia, Abu Ghraib Prison, Iraq 174
9.6 Victim composition, Abu Ghraib Prison, Iraq 175
9.7 Grunewald, Crucifixion from the Isenheim Altar, around
1515 176
9.8 Living performance and deathly stillness, Abu Ghraib
Prison, Iraq 177
9.9 Francisco Goya, “This is Worse” from Disasters of War
(1810–14) 181
9.10 Francisco Goya, “Heroic Feat! Against the Dead!” from
Disasters of War (1810–14) 182
Contributors

Mark Franko, editor, is Professor of Dance and Performance Studies and

Chair of the Department of Theater Arts at the University of California,
Santa Cruz. He is a choreographer whose work has been produced in the
United States and Europe since the 1980s. His most recent book is Excur-
sion for Miracles: Paul Sanasardo, Donya Feuer and Studio for Dance
(1955–1964) (Wesleyan University Press).
Ola Johansson is a Lecturer at Lancaster Institute for the Contemporary
Arts, Lancaster University. He defended his doctoral dissertation The
Room’s Need of a Name: A Philosophical Study of Performance (Stockholm:
Teatron-serien) in 2000. He is currently engaged in African performance
studies, with special emphasis on how community theatre in Tanzania,
Ethiopia, and South Africa is used in the fight against HIV/AIDS.
Aaron Kerner teaches in the Cinema Department at San Francisco State
University and works as an independent curator. His exhibitions have fea-
tured artists such as: Alejandro González Iñárritu, Katsushige Nakahashi,
Masami Teraoka, and Kenji Yanobe.
Tyrus Miller is Associate Professor of Literature at the University of Cali-
fornia, Santa Cruz. He is the author of Late Modernism: Politics, Fictions,
and the Arts Between the World Wars (1999) and a forthcoming study enti-
tled Singular Examples: Cultural Politics of the Post-War Avant-Garde.
Sally A. Ness has been pursuing interpretive research on choreographic
phenomena for 25 years. She is currently Professor of Anthropology at the
University of California, Riverside. Her most well known work on dance,
Body Movement and Culture: Kinesthetic and Visual Symbolism in a Philippine
Community (1992), received the De la Torre Bueno Book Award, in 1993,
and the Outstanding Publication Award from the Congress on Research
in Dance in 1995.
Bill Nichols is the Director of the Graduate Program in Cinema Studies at
San Francisco State University. He has published books on film theory
and documentary film, including Introduction to Documentary, and is cur-
rently completing The Social History of Film for W.W. Norton.
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 Contributors ix
Janice Ross, Associate Professor in the Drama Department at Stanford Uni-
versity, is the author of Moving Lessons: Margaret H’Doubler and the Begin-
ning of Dance in American Education (Wisconsin University Press, 2001)
and Anna Halprin: Experience as Dance (University of California Press,
forthcoming).
Catherine M. Soussloff, Professor of History of Art and Visual Culture,
University of California, Santa Cruz, is the author of The Subject in Art
(Duke University Press) and The Absolute Artist: The Historiography of a
Concept (Minnesota University Press). She has edited Jewish Identity in
Modern Art History (University of California Press).
Andrew C. Wegley is a Ph.D. student in the History of Consciousness
Department at the University of California, Santa Cruz. His work primar-
ily focuses on the legacy of religions in contemporary thought. He is cur-
rently writing a dissertation on conceptions of love and their figuration of
the neighbor.
Introduction
Eventful knowledge and the post-ritual
turn
Mark Franko

[A]n event is neither substance, nor accident, nor quality nor process; events
are not corporeal. And yet, an event is certainly not immaterial; it takes
effect, becomes effect, always on the level of materiality.
(Foucault 1972, 231)1

Although familiar to us from twentieth-century poetics, avant-garde

performance practices, and the philosophy of history, “the event” took on a
new shape in the wake of World War II. Since the bombing of Hiroshima
and Nagaski and the discovery of the camps, what happens became histori-
cally aligned with what is socially impossible to process, culturally and psy-
chologically unabsorbable, and highly resistant to linguistic, visual, and/or
performative symbolization. Although the event’s impact on post-World-
War-II expressive culture was undeniable, its theorization has proceeded
only obliquely. In the above quote from Michel Foucault’s inaugural address
at the Collège de France in 1971, for example, the discursive event under
discussion has as its determining characteristic a material dispersion that, we
note, can also exist outside or alongside language. Indeed, the determining
notion of event itself is not linguistic, but acts on language. In the wake of
9/11 the event has taken on a new immediacy: no longer one among a
number of possible accidents and/or tragedies to be sequenced and framed as
historical, the event now challenges our very reliance on sequence, chrono-
logy, and the implicit usefulness of these classifications for either continuity
and/or to future change.2 But, the event, which Foucault characterizes as
existing at a level of material dispersion, also exists at a level of theoretical
dispersion.
The event not only challenges representational and theoretical accounts: it
challenges ritual. What are the resources of symbolic action, not only for the
event’s representation (although this issue is difficult to avoid), but also for
coming to terms with “the event” from a social, cultural and collectively psy-
chological point of view?3 Are rituals mutating into “post rituals” in the sense
that they are revising our traditional understanding of the means and ends of
ritual?4 Does the event today require a post-ritual situation or theory?5
2 Mark Franko
These questions emerged from the international interdisciplinary confer-
ence “Post-Ritual: Performances/Events/Art” that I organized at the Univer-
sity of California, Santa Cruz in January 2003.6 Why do such questions
require interdisciplinary approaches? The pairing of ritual and event seems
determined by the problem of finding or creating rituals adequate to the
event, and by the necessity that the event imposes for choreographic and/or
visual narrative.7 This conjuncture mandates, it seems to us, an interdiscipli-
nary inquiry that no one disciplinary model can adequately encompass.
The interdisciplinary nature of ritual studies is not a new idea. The cross-
fertilization of ritual studies and other disciplines has led to a performance
studies approach to ritual (Brown 2003). This has been due in large part to
the remarkably productive inquiries of Richard Schechner and Victor Turner
as well as to the dialogue between theatre and anthropology in their work
since the early 1980s. Within that complex theorization and exchange the
focus on ritual as cultural performance relies on a notion of event that is also
important to avant-garde theatre practice.8 It places theatre in a context that
is no longer in the service of drama as the manifestation on stage of a pri-
marily literary tradition. A body of ritual theory exists whose interdiscipli-
nary qualities are indisputable (Schechner and Appel 1990). What I wish to
accent here is the crystallization of event within the space of that theory.
What does event bring to ritual that was not so obviously present before?
The particular events described in this volume include the bombing of
Hiroshima and Nagasaki in 1945, the HIV/AIDS pandemic in Africa and
the United States since the 1980s, actual or imagined ritualizations of 9/11,
and the recent mediatization of Abu Ghraib. None of these are privileged as
sequential or presented for the sake of chronological order. Rather, each is
considered in the light of ritual and from the interdisciplinary perspectives
of dance studies, visual culture, film studies, anthropology, literature, reli-
gious studies, and community studies. What brings unity to the different
authorial voices writing in this collection is the question of “event” itself,
but also shared critical methods deriving from important artists and
thinkers emerging in the 1950s and 1960s: Fanon, Hijikata, Sartre, Schech-
ner, and Turner, among others. Austin’s speech act theory (1962) was the
starting point for influential theories of performativity, and Michel Fou-
cault’s “discursive event” undermined the notions of simultaneity and suc-
cession as properties of the archive (1972, 27–8).
The essays in this volume show the importance of all these contributions
to our present inquiry. They also unearth the relevancy of earlier twentieth-
century intellectual sources – Freud, Peirce, Eliot, and Bateson. Here again
it is not a question of studying chronology but of the layering of intellectual
traces; evidence that preoccupation with the event precedes the post-World-
War-II era (Franko and Richards 2000). The reinterpretation of that archive
contributes to the construction of “eventful knowledge” in the present.
The task of this introduction is to situate for the reader the critical and
philosophical sources drawn upon throughout to rethink ritual in the light
 Introduction 3
of event. The first four chapters take on a critically historiographic view of
the resources and concepts at our disposal. This impulse, however, is present
in all of the other chapters as well. Sally Ann Ness illuminates Gregory
Bateson’s insights into Balinese corporeal performance of the late 1930s
using the terminology of Peircean semiotics. Ness finds in Bateson’s study of
what he called Balinese “steady state” from his fieldwork conducted in Bali
the elements for an understanding of corporeal performance that are neces-
sary to contemporary performance studies; these have been suggested by, but
also blocked in, post-structural thought of the 1960s and 1970s, including
Bourdieu’s theory of habitus. Ness discusses the different kinds of symbolism
available to symbolic action, made available for consideration through the
vocabulary and distinctions of the inventor of semiotics, Charles Sanders
Peirce (1839–1914). She foregrounds in particular what in Bateson needs to
be rehabilitated or opened up again in order to help us to articulate how cor-
poreal performance renders key Derridian notions, such as spacing and trace,
meaningfully and usefully “performative.”9 These constructs are crucial to
ritual understood as corporeal performance, in that they introduce avenues
to explore contingency, loss, and discontinuity imposed by the event. As
Ness makes clear, this potential of corporeal performance, already so pro-
foundly implied in and by post-structural terminology, was misprized or
overlooked by that enterprise as a whole.10 If poststructuralist thought nur-
tured a prescient awareness of the event as a concept that was on its way to
fuller awareness over time, it left a theorization of the cultural resources
needed to cope with the event by the wayside.
It is interesting to turn at this point to Ola Johansson’s chapter for some
effects of similarity and contrast. In comparing the relative effectiveness of
traditional ritual actions based on close kinship bonds with the post-colonial
reality of dispersal and mixing of populations in Northwestern Africa today,
Johansson holds out hope for rituals of affliction in the AIDS pandemic in a
“multi-sectoral” and “multi-disciplinary” sense. The AIDS crisis imposes
“traces” and “spacings” of traditional ritual action, combined with other
social processes and approaches suitable to contemporary, pluralist reality.
Johansson discerns a post-ritual reality, perceiving the strongest hope for
mobilization against the pandemic in speech acts as byproducts of the com-
munal experience of community theatre. Johansson thus draws on the speech
act theory first developed by J.L. Austin in the 1955 William James lectures
delivered at Harvard University. Austin’s groundbreaking idea was that
certain linguistic utterances constitute actions he called performatives.
Without engaging in the subsequent debate that occurred between Searle
and Derrida in the early 1970s (a debate whose repercussions Mark Franko
deals with in his chapter), Johansson draws on the notion of performativity
that emerged, historically speaking, from that very debate. More import-
antly, he opens up the ritual potential of performatives that currently
emerge in community theatre, forum theatre, and related public per-
formances/venues. While the rituals of traditional societies have often been
4 Mark Franko
distinguished from those of postmodern Western cultures in the same
manner that cultural performance (the liminal) may also be distinguished
from aesthetic production (the liminoid), Johansson and others (notably
Wegley and Ross) confront the difficulty of maintaining such distinctions.
In Johansson’s chapter, this provides the interesting occasion for him to
place theatre itself outside and asymmetrically to the assumed differences
between cultural and artistic performance.
Characteristic of many approaches here is the critical re-consideration of
theories of symbolic action. In a close reading of Turner’s ethnography of the
Isoma ritual from The Ritual Process (1969), Andrew Wegley probes into the
anthropological notion of symbolic action itself. He looks at Turner from
within the intellectual climate of structuralism dominant in the 1960s and
1970s. Like Johansson, Wegley discovers the presence of theatricality in the
liminal, such as Turner theorizes it. Wegley’s analysis creates, however, a
different and unexpected relation between ritual and event. He finds within
Turner’s theory of ritual the possibility of the event in a progressive, if still
unsettling, sense. This results from his carefully deconstructive reading
unraveling of the intricate and troubled interdependency of religio and com-
munitas in Turner’s discourse and in its “archival” sources. Ultimately,
Wegley pinpoints what in Turner is post-Turnerian. Post-ritual here gains a
dimension toward a future that is eventful.
The creativity inherent in this concept of ritual brings it into relation
with art making. Tyrus Miller focuses on the promise inherent in the notion
of the event in the context of avant-garde art practices. His chapter, “Situ-
ation and Event,” shows how the art event or event art that, at least up until
the 1960s has been exemplary of avant-garde practice, hovers between pro-
grammatic or intentional action and a situation traversed by affect but not
rendered as embodied agency. Subjected to revisionary theorization, the art
event ritualizes subjectivity so that it can be lived as determined by, rather
than determining of, events. Referring to the meaning of event as it
developed in post-structuralist thought, Miller reinterprets the “theatrical
situation” of avant-garde agency as potentially outside classical avant-garde
and Marxist understandings of agency. This is demonstrated in the dance
poems of Jackson Mac Low, The Pronouns (1964). This non-Cartesian notion
of the subject that Miller ultimately apprehends at the level of the “infini-
tivization” of affect in the instructions for performed action of Mac Low’s
poem scripts – that is, as emanating from textual instructions for the
performance of a dance – both orients our reading of Wegley’s post-Turner
to a specific performative occasion, and envisions the performative actualiza-
tion of post-Turner in improvisational structures innovated in the 1960s,
the very period of Turner’s intellectual emergence. Thus, critically interpre-
tive readings of the archive generate new visual and performative terms for
ritual effectivity.
The chapters just discussed form the historiographic explorations of the
volume’s first section. A series of “case studies” begins with the case of 9/11
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