Cardboard Kingdoms Raymond P

San Jose State University SJSU ScholarWorks San José Studies, 1980s San José Studies Spring 4-1-1987 San José Studies, Spring 1987 San José State University Foundation Follow this and additional works at: https://scholarworks.sjsu.edu/sanjosestudies_80s Recommended Citation San José State University Foundation, "San José Studies, Spring 1987" (1987). San José Studies, 1980s. 23. https://scholarworks.sjsu.edu/sanjosestudies_80s/23 This Journal is brought to you for free and open access by the San José Studies at SJSU ScholarWorks. It has been accepted for inclusion in San José Studies, 1980s by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Spring 1987 San Jose State University Journal of the Arts, Humanities, Social Sciences, Sciences, and Business. $5.00 Forthcoming in San Jose Studies-in addition to poetry and fiction: Integration in Earthsea and Middle-earth Edith Crowe Style and Proportion: Josephine Miles Suzanne Juhasz Adam's Rib: Girl Guides and an Imperial Race Richard A. Voeltz Cover: Nijinsky as the Faune, the mythical man-beast. SaiOOlS asof NVS SAN JOSE STUDIES Volume XIII, Number 2 Spring, 1987 ARTICLES Reflections on the Performance of Ritual and Art Mary Lewis Shaw . 7 Cardboard Kingdoms Raymond P. Wallace .......... ........ .. ... .. ..... .. ... .. .. 23 John Steinbeck and American Literature Warren French ... .. ........................... .. ...... .. .... 35 The Folly of the Body Harold J. OeBey ........ .. ... .. .................. .. .... 78 Evaluating Fitness Programs Carol L. Christensen . ... ... ....... .. .. ....... .... ...... 84 Vitamin A and Cancer Paul M. Gahlinger .... ...... ... .. ... .. ..... .. ..... ........ 97 FICTION A Visit to Chartres Pierce Butler . .. .... .. .. ..... .... ........ .. .. ... ... .. .... 50 Patton William R. Kanouse .. ...... .. .... .. .. ..... ..... ... 60 POETRY James Sutherland-Smith from Naming the Arrow The Feather Speaks ... .. ... ...... .. .. ... .... .. .. ...... 68 The Arrowshaft Speaks ..... .. ... ... ... ... ..... ... 69 The Arrowhead Protests .. ..... .. .. .. .. ... ... .. ... .. ...... 70 Hell ........................ ... ... .. .. ............ .. .... 71 Eurydice . .... ... .. .... ...... .. ... ... .. .. .. .... .. 72 Purgatory . .............. ... ... ..... .. .. ... .. ... .. 73 Paradise ........ .. ....... .. ........ .. ... ...... .. .... 74 Carolyn Grassi Music Room at Santa Clara University and Petit Trianon, Versailles .. ... .. .. .. .. .... ..... .. .. ... .. .. 75 The Kiwi Torte ...... ... .. .. .. ... .. .. .... .. .... ... .. .. 76 _, SAN JOSE STUDIES Volume XIII, Number 2 Spring, 1987 EDITOR Fauneil J. Rinn, Political Science and American Studies, San Jose State University ASSOCIATE EDITORS Billie B. Jensen, History, San Jose State University Harold J. DeBey, Chemistry, San Jose State University Allison Heisch, English and Humanities, San Jose State University EDITORIAL BOARD Garland E. Allen, Biology, Washington University Judith P. Breen, English, San Francisco State University John A. Brennan, History, University of Colorado, Boulder Hobert W. Burns, Philosophy, San Jose State University Robert Casillo, English, University of Miami, Coral Gables Lee Edwards, English, University of Massachusetts, Amherst Richard Flanagan, Creative Writing, Babson College Robert C. Gordon, English and Humanities, San Jose State University Richard Ingraham, Biology, San Jose State University Richard E. Keady, Religious Studies, San Jose State University Jack Kurzweil, Electrical Engineering, San Jose State University Lela A. Llorens, Occupational Therapy, San Jose State University William J. Rewak, English, Santa Clara University Richard A. Scott, Business, University of Arizo na Dwight Van de Vate, Jr., Philosophy, The University of Tennessee Ellen C. Weaver, Biological Sciences, San Jose State University COMMITTEE OF TRUSTEES Jean Beard T. M. Norton Marshall J. Burak Elsie Leach Charles Burdick Arlene Okerlund Selma R. Burkom Rose Tseng John A. Calm O.C. Williams, Chairman BUSINESS MANAGER Emi Nobuhiro GRAPHIC CONSULTANTS AI Beechick Laura Chau ©San Jose State University Foundation, 1987 ISSN: 0097-8051 The Bill Casey Award The Bill Casey Memorial Fund annually awards $100 to the author of the best article, story, or poem appearing in each volume of San Jose Studies. Friends and relatives of Bill Casey, a faculty member at San Jose State University from 1962 to 1966, established the fund at his death to encourage creative writing and scholarship. The recipient of each award is selected by the Committee of Trustees of San Jose Studies. The Bill Casey Award in Letters for 1986 has been presented to William McCraw for his article in the fall issue: "Fascist of the Last Hour." The Committee of Trustees also awarded a one-year subscription to San Jose Studies to the author of the best work (exclusive of the Bill Casey award) published in the categories of (1) poetry, (2) fiction, and (3) articles. The 1986 recipients of these awards are: Poetry Mordecai Marcus for her poems, "Closet Thoughts" and "A Press of Needs," in the spring issue. Fiction Laurie Kaplan for her short story, "Silence and Slow Time," in the winter issue. Essay Robert Casillo for his article, "Ezra Pound and Hermes," in the fall issue. Sti1:JI~HV Reflections on the Performance of Ritual and Art Mary Lewis Shaw HE relationship between ritual and art being vast and complex, this T essay examines it from a limited point of view: the sole focus is on the Yaqui Deer Dance and L'Apres-midi d'un Faune, examples of per formance within American Indian and European cultures. The principal medium of both the Deer and Faune is dance, and the two works are equally tied to special music and particular texts. In each case, the primary figure is that of a wild woods animal-immortal who is inter preted by one male dancer. The common subject choice is not fortuitous, for the deer and faun are historical carriers of cultural significance, animals of mythical stature for Yaquis and Europeans respectively. The major and most readily apparent difference between these per formances is that the Yaqui Deer Dance is perceived as ritual, the effecting of a rite, while the Faune is viewed as an instance of performed art. The Deer Dance was conceived to be and remains an intrinsic element in a ceremonial event; the Faune was created to stand alone, a self-sufficient work of art. This difference in function immediately presents a rationalization for the very different histories of the Deer Dance and the Faune and seems responsible for other dissimilarities which will be explored. The Deer Dance is essentially non-evolving. Ideally, it is effected today as it always was, and it is attached to no particular period within the growth of Yaqui culture. In this it already lacks an important aspect of the European idea of art, which characteristically seeks to propose a timeless "fond" garbed in an up-to-date or timely form. 1 By contrast to the Deer Dance, the ballet, L'Apres-midi d'un Faune is 7 The Faune Caresses the Scarf Of his performance in the ballet Nijinsky said, "To be able to give to the world the perfection of the art of centuries by the movements of the dance is my ambi tion and delight." (Nesta MacDonald, Oiaghilev Observed.) 8 marked by a particular birth date and place (Paris, 1912), a renowned group of artists-Mallarme, Debussy, and Nijinsky-and a series of developments or "movements" that have determined the course of modern art. That the Faune's premiere created a scandal and has now become a classic underlines the point that European art is essentially evolving in relation to culture. It is my object both to explore the fundamental difference between ritual and art as the major area of divergence between the two dances and to reveal some of the similarities that give them a rather large common ground. But before relating the Yaqui Deer and the European Faune to each other, I will describe each dance separately to show how each is expressive of its cultural context. * * * The first encounter between Yaquis and Europeans occurred in 1553. The conquistador, Diego de Guzman, on an exploratory expedition around the Sea of Cortez, was warned by a people who called them selves the "Yoeme" not to cross over a line representing the northern most boundary of already conquered territories. De Guzman neverthe less crossed the line and was rapidly defeated in battle. The "Yoeme" sub sequently acquired a name among the Spaniards (who called them "Hiaquis" after the Rio Yaqui) and a reputation as most fierce among the warriors of New Spain.2 There was no further direct contact between Yaquis and Europeans until the advent of a second Spaniard, Captain Hurdaide, into Yaqui territory in 1610. Again there was a battle and again a Spanish defeat. Hurdaide quickly retreated to his Villa Sinaloa garrison, 250 miles south of Yaqui country. Over the next five years, the Yaquis sent delegations there of up to 400 Indians for "friendly" visits and peaceful negotiations. The Yaquis were curious enough and strong enough to wish to explore Spanish settlements in conquered neighboring territories for their own purposes and on their own terms. They were respectfully received by both military and Jesuit authorities, who showed off their churches, schools, and agricultural establishments-the sum and benefit of 20 years' work on the part of Jesuit missionaries. Impressed by the seeming well-being among their neighbors and the prosperous air of the communities

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