By Philip Auslander
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Additional info for Performance: Crit Concepts
Shcldon L. 1962. Life as Theater: Some Notes on the Dramaturgic Approach to Social Rea lity, Soeiometry 25: 98- 110. M ilner, Marion 1955. Role of II lusion in Symbol Formation. Jn New Directions in I'sychoa na lysi s. Mclanie Klein . Ed. New York: Basie Books. Mllkarovsk y, Jan 1964. ln A Prague Sehool Reader on Esthetics. Lite rary Str uctll re and Style. Paul L. Garvin , Ed. Washington , De: Georgetown Uni versi ty. 1970. Aesthetic Function, Norm and Va/ue as Socia l Facts. Ann Arbor: Depart nlent of Slavie Languages and Literature.
There is thus, in these ceremonial traditions, a close and integral relationship between performance and specific events, acts, roles, and genres, and the configuration creatcd by the interrelationships among these factors must be close to the center 01' an ethnography of performa nce among the Cuna . Constellations such as Sherzer describes, involving events, acts. gcnres, and roles in highly structured and predictable combinations, constitute the nucleus of an ethnography of performance among the Cuna, and are aptly made the focus ofSherzer's paper.
The boy 's speaker initiates each step of the kahary , which is then evaluated by the speaker for the girl. The latter may indicate that he agrees with and approves 01' that step, urging his opposite number on to the next, or he may state that the other's words are not according 10 tradition, that he has made an error in the kahary. The boy's speaker must lhen be able to justify what he has said, to show that no error has been made, or, if he admits error, he must cornxt it by repeating the step the right way and paying a smal1 fine to the girl's family.