The Raid. Early in April of , my wife and I arrived, malarial and diffident, in a Balinese village we intended, as anthropologists, to study. A small place, about five hundred people, and relatively remote, it was its own world. We were intruders, professional ones, and the villagers dealt with us as Balinese seem always to deal with people not part of their life who yet press themselves upon them: as though we were not there. For them, and to a degree for ourselves, we were nonpersons, specters, invisible men. We moved into an extended family compound that had been arranged before through the provincial government belonging to one of the four major factions in village life.
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I think that the word statues must be replaced with status in the 4th paragraph. Did u try to use external powers for studying? Like DigitalEssay. They helped me a lot once. I added new knowledge to my database for essay writing skill.
Power TV is the top TV that you can watch for free. Thanks for your artical. MY website has 7m. To start form the bottom line, Clifford Geertz 's essential notion expressed in " Deep Play: Notes on the Balinese Cockfight" is that a people's culture is an ensemble of rituals which are in themselves ensembles, and these texts are what the anthropologist is trying to decipher.
Geertz shows how the Balinese cockfight serves as a cultural text which embodies, at least a portion of, what the real meaning of being Balinese is.
Despite being illegal, cockfighting is a widespread and highly popular phenomenon in Bali, at least at the time "Deep Play: Notes on the Balinese Cockfight" was written Geertz reports that the Balinese people deeply detest animals and more specifically expressions of animal-like behavior.
However, they have a deep identification with their cocks yes, with their cocks and "in identifying with his cock, the Balinese man is identifying not only with his ideal self, or even his penis, but also, and at the same time, with what he most fears, hates, and ambivalence being what it is, is fascinated by- the powers of darkness". Although gambling is a major and central part of the Balinese cockfight, Geertz argues that what is at stake is much more fundamental than just money, namely, prestige and status.
Geertz distinguishes "deep fights", with high wages, and "shallow fights", usually with low wages of both gambling and prestige. Following Bentham, Geertz defines a "deep fight" is one in which the stakes are so high the people lose their rationality.
In the case of the Balinese cockfight, a deep fight is one in which results are unpredictable, the odds are more even and the bets are more balanced.
With bets fairly even in the case of a deep fights, financial gain is not the center of the event, but rather everything which is expressed in the concept of "status".
Cockfighting is a fight for statues, with bets serving only to symbolize the risk. But it is a momentary gain or lost, the statues is only gained or lost momentarily following the fight but is maintained in the long run, with cockfights assisting in making sure of that. Participants of the "deep fights" are usually dominant members of society. However the fight, according to Geertz, is not between individuals but is rather a simulation of the social structure of kinship and social groups.
People never bet against a cock from their own reference group. Fighting always takes place between people and cocks from opposing social groups family, clan, village etc. The Balinese cockfight is, as Geertz puts it, a way of playing with fire without getting burned. Social tensions are represented through the cockfight, but after all, it's just a cockfight.
Geertz also notes that the higher the status of the participants in the cockfight, the deeper the cockfight is, and the deeper it the more a person identifies with his cock and the more the financial aspect of gambling associated with the fight is marginal in comparison with the symbolic aspects of it. The "deep play" of the Balinese cockfight, says Geertz, is like artworks which illustrate an essential insight into our very existence.
It is a symbolic manufactured representation of something very real in our social life. It channels aggression and rivalry into an indirect symbolic sphere of engagement. The fights both represent and take part in forming the social and cultural structure of the Balinese people which are dramatized through the cockfight. Rituals such as the Balinese cockfight, Geertz concludes, are a form of text which can be read.
It is a society's manner of speaking to itself about itself, and is therefore of prime interest for the anthropologist. Labels: Geertz , summary. Unknown December 30, at AM. Unknown February 8, at PM. Unknown February 13, at AM. Unknown March 13, at AM. Anonymous January 5, at AM. Unknown May 27, at PM. Unknown November 29, at PM. RatnaVita January 10, at PM. Unknown April 21, at AM. D Ace January 13, at AM. Becks April 30, at PM. Dona May 27, at PM. Newer Post Older Post Home. Subscribe to: Post Comments Atom.
Deep Play: Notes on the Balinese Cockfight by Clifford Geertz
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Deep Play: Notes on the Balinese Cockfight
Culture and Politics pp Cite as. This reading alerts us that Americans hold no monopoly on popular culture. Geertz relates both the various events surrounding and the deeper cultural meaning of an example of popular culture, cockfighting on a South Pacific island. For Geertz, cockfighting in Bali engages central cultural values such as honor, dignity, and respect. Thus, rather than seeing Balinese men betting unreasonable amounts of money on a mere game, Geertz portrays what appears as play to be a deadly serious struggle over relative status.
Considered Geertz's most seminal work, the essay addresses the meaning of cockfighting in Balinese culture. Cockfights were generally illegal in Indonesia when Geertz was doing his fieldwork there in the s. The first cockfight that he and his wife viewed was broken up by the police. The experience of hiding from the police in the courtyard of a local couple allowed Geertz to break the tension between himself and the villagers, and perform all of the interviews and observation which make up The Interpretation of Cultures.