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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1993 A Performance-Centered Approach to Leslie Marmon Silko's "Ceremony". Randall Thomas Hill Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hill, Randall Thomas, "A Performance-Centered Approach to Leslie Marmon Silko's "Ceremony"." (1993). LSU Historical Dissertations and Theses. 5512. https://digitalcommons.lsu.edu/gradschool_disstheses/5512 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9401533 A performance-centered approach to Leslie Marmon Silko’s “Cerem ony” Hill, Randall Thomas, Ph.D. The Louisiana State University and Agricultural and Mechanical Col., 1993 Copyright ©1994 by Hill, Randall Thomas. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 A PERFORMANCE-CENTERED APPROACH TO LESLIE MARMON SILKO'S CEREMONY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Doctor of Philosophy in The Department of Speech Communication by Randall Thomas Hill B.A., The University of North Carolina, 1984 M.A., The University of North Carolina, 1988 May 1993 ACKNOWLEDGMENTS This dissertation could not have been completed without the assistance of many friends who gave selflessly of their time to read manuscripts and offer contributions. I wish to express my appreciation first to my director, Dr. Mary Frances HopKins. Without her guidance, this project would have never reached completion. I also offer appreciation to my committee: Dr. Michael Bowman, Dr. Andrew King, Dr. Bainard Cowan, Dr. Ruth Laurion Bowman, and Dr. James Honeycutt. I offer special appreciation as well to Dr. Beverly Whitaker Long at UNC Chapel Hill, Dr. Della Pollock at UNC Chapel Hill, Dr. Dwight Conquergood at Northwestern University, Dr. Kristin Langellier at the University of Maine, Orono, Dr. Cindy Kistenberg at the University of Houston, Dr. Darlene Hantzis at Indiana State University, and Mr. Jonathan Gray at St. Lawrence University. DEDICATION there is not enough space to say why I dedicate this to you, so I'll simply say thanks, Kirk iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ....................................... ii DEDICATION ....................................... iii LIST OF FIGU R E S ........................................ vi ABSTRACT.............................................. vii CHAPTER ONE: INTRODUCTION ................................... 1 TWO: METHODOLOGICAL RECONFIGURATIONS OF NATIVE DISCOURSE ........................ 32 Methods of Analyzing Native Discourse .... 37 Structuralist-Social Scientific Approaches . 37 Archetypal-Mythic Criticism ................ 45 Content Analysis ........................... 54 Ethnic C r i t i c i s m ............................. 59 Feminist C r i t i c i s m .......... 64 Marxist Criticism ......................... 79 Postmodern Criticism ...................... 91 S ummary....................................... 99 THREE: PERFORMANCE, REHEARSAL, CULTURE: READING SILKO'S CEREMONY .................. 106 Performance.................................. 108 Rehearsal.................................... 120 C u l t u r e ...................................... 131 FOUR: A DRINKING RITUAL: REHEARSING THE USE OF A L C O H O L ................................... 142 Patterns of Drinking in the Southwestern T r i b e s .................................... 143 A Drinking Episode in Ceremony: Rehearsing the Struggle Between Inclusionary and Exclusionary Impulses .................. 154 A Drinking Episode in Ceremony: Ritual Performance .............................. 163 FIVE: A WITCHES' RITUAL: REHEARSING THE ORIGINS AND IMPACT OF WHITE PEOPLE .................... 170 Betonie's Story As Performance..... ........ 171 Rehearsing the Origins of White People . 177 Rehearsing the Impact of White People . 192 iv SIX: THE NAVAJO RED ANTWAY CHANT: REHEARSING THE HEALING PROCESS ............................ 201 Navajo Chantways .......................... 203 Myth of the Red A n t w a y .......................208 Prototype Ceremonial of the Male Evilway of the Red A n t w a y ...........................210 Betonie and Son of the Late Tall Deschini: Representations of the Red Antway Chant . 214 SEVEN: CONCLUSION ............................ 235 BIBLIOGRAPHY .................................... 258 VITA ............................................... 280 v LIST OF FIGURES Figure 6.1: Wyman and Kluckhohn Chantway Classification ........................... 205 Figure 6.2: Ceremonies of the Evilway Chants .......... 212 vi ABSTRACT This study argues that in Ceremony Leslie Silko rehearses her Laguna-Keres culture and her culture's interactions with others. She accomplishes this rehearsal by employing representations of performances from the Laguna people as well as other cultures. To establish the context of my argument, first I offer a brief exploration of the current critical interest in Native American arts and cultures, review the questions involved in defining the parameters for a study of Native American novels, examine the significance of Native novels for performance scholarship, and review performance studies scholars' responses to Native texts. Second, I review methodologies from a variety of disciplines (from the early Social Scientific methods of anthropologists such as Henry Rowe Schoolcraft to the more contemporary Postmodern methods of Gerald Vizenor) that scholars have employed in examinations of Native discourse. Third, I evolve concepts of performance and rehearsal that distinguish them from each other and allow the formation of other concepts derived from the work of Stephen Greenblatt and Arnold Krupat for analyzing how Ceremony rehearses Laguna-Keres culture. Finally, using three examples of Silko's representations of performance, I argue that Silko's novel rehearses the Laguna-Keres culture as well as these peoples' interactions with other cultures. CHAPTER ONE: INTRODUCTION The Indians must conform to "the white man's ways" peaceably if they will, forcibly if they must. They must adjust themselves to their environment and conform their mode of living substantially to our civilization. This civilization may not be the best possible, but it is the best the Indians can get. They cannot escape it and must either conform to it or be crushed by it. T. J. Morgan, Commissioner of Indian Affairs, 1889 What sets worlds in motion is the interplay of differences, their attractions and repulsions. By suppressing differences and peculiarities, by eliminating different civilizations and cultures, progress weakens life and favors death. The ideal of a single civilization for everyone, implicit in the cult of progress and technique, impoverishes and mutilates us. Every view of the world that becomes extinct, every culture that disappears, diminishes a possibility of life. Octavio Paz, 1967 One can speak of the absolute aesthetic need of one person for another, for the seeing, remembering, gathering, and unifying activity of the other, which alone can create [Self's] externally completed personality; this personality will not exist if the other does not create it. M. M. Bakhtin, 1930s The greatest distance between people is not space but culture. Jamake Highwater, 1981 As the epigrams that open this chapter indicate, attitudes toward Native American cultures and their discourses have changed significantly over the last century. Octavio Paz reverses T. J. Morgan's racist and imperialist 1 2 assumptions, arguing that Americans' desire for cultural homogeneity is ethnocentric and destroys other cultures. Mikhail Bakhtin warns that to ignore difference on
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