Balinese Cockfight Analysis

The paper discusses Melanesian and Polynesian polities and economies which in turn highlight the differencees and similiraies amongst them. Sahlins concerned himself with the tribal societies found present within Melanasia and the large and diverse hierarchical system within Polynesian polities. The reading

Cows, Pigs, Wars, and Witches by Marvin Harris divulges into some difference and components of culture around the world. He answers question as to why individuals perform and act the way they do in relation to culture. He looks at sexual hierarchies among Yanomamo culture as well as the Hindu’s respect for cows in India.

The, “Sorrow of the Lonely and the Burning of the Dancers”, is a ethnography written by anthropologist Edward Schieffelin, derived from his fieldwork with the Kaluli people of Papua New Guinea. The main focus of the book of the book is how many of the fundamental notions that are implicit in Kaluli culture are found in the Gisaro ceremony, which Schieffelin uses as, “a lens through which to view some of the fundamental issues of Kaluli life and society” (p1).

In the text this week we learned about different cultures and the different behaviors in these cultures. In

In Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule, the author, Ann Laura Stoler, examines the cultural intricacies of colonial rule in Indonesia. Namely, the juxtapositioning between intimate matters, such as sex and affection, and politics. Stoler examines the subtle crossings-over between two things that do not seem to fit together in this work. By investigating various forms of social classification, such as race, gender, and class, Stoler is able to look deeper into the interactions between these forms; what is expected, what is taboo, and what is forbidden. She categorizes these careful, critical interactions throughout the book, showing a glimpse into colonial life. This is the foundation for her overarching argument- that

Holly Wardlow’s “Wayward Women” is about passenger women, known as pasinja meri, and female agency. Passenger women are women who get money or presents for sex. Wardlow wants to know why legal sex happens in Tari, what happens because of it and what it has to do with female agency. Wayward means unmanageable, so the importance of the title is that it’s about females who are breaking the normal limitations of the Huli society. Their “waywardness” comes from their agency in deciding to be passenger women.

He observes that it is not actually the cocks that fight in the ring but rather the members of the society (Geertz 3). The fight to Greetz brings out the beast in the Balinese men, the character of good and evil, the masculine power as well as the destructive power in Balinese people which out of a place to unleash it is transferred to a bloody cockfight. The Cockfight symbolizes the Hatred that that the Balinese have, violence and cruelty, and eventually death. When Geertz therefore says that every people loves their violence and that the Balinese cock fight is a story about Balinese that they tell themselves, then the Kayaanisqatsi film could also be said that the film is a story telling Americans and the rest of the world a about their violence and their potential in violence against the environment as well as their fellow human

Social customs are what shape’s a culture, and establishes the attitude and behavior expected by the community, deviation from the norm creates what can later be known as a taboo. Kate Chopin and the producers of Mandingo decided to break the taboo of miscegenation and address the problem honestly in both the story and the film. By doing so, I had an insight to better understand the complexities of racial equality, history, gender, status and not delude myself into thinking these issues are not expressed in present time. Furthermore, my approach in this essay is to juxtapose between the movie and story and discuss themes, female protagonists and social issues that have occurred.

Gamelan is a term for various types of orchestra played in Indonesia. As Indonesia entails 17000 islands, there are many different styles of gamelan, and no gamelan orchestra is considered to be the same as another (See Y-S, 2000). The music of Bali - a Hindu island afloat in a Muslim sea - was described by the American composer Colin McPhee as the “stirring mystery of a thousand bells” (Gordon, 1994). Varieties of gamelan are distinguished through tunings, style, cultural context and the collection of instruments used. The varieties are generally grouped geographically, with certain styles being shared by nearby ensembles, therefore leading to a regional style (See Y-S, 2000). Balinese gamelan is the main element of Indonesian traditional music as well as belonging to the sacred elements of their culture. Throughout the following investigation, the style of Balinese gamelan will be analysed through its history, beliefs and values, musical elements, cultural effects and future observations.

Music and song, spoken word, and verbal storytelling remain the favorite forms of media; radio was adopted seemingly overnight, and these days there are innumerable channels dedicated to music or radio plays. Unsurprising of the competitive and pugnacious culture, games are another large facet of daily life in the nation. The board game, Patolli, can be found in every home and most public spaces, and several competitive games, from sparring to team sports, are played throughout the region. Ever the energetic community, when the wolves aren’t warring and fighting, they exhaust a near boundless physical energy through festivals and celebrations. On any given night in the cities, one can follow the faintest sound of music and shouting to a fete. The year itself is segmented by several national festivals covering the seasons, religion, or industry.

During fieldwork, Davies found a new view of gender identity. She found not one, but five identities all within Indonesia. The following identities being calalai, calabai, bissu, bugiz, and missu. She found a deeper understanding within each of them leading to her appreaction of them. She not only learns about their lifestyles, but the story from where it all began. What made people choose these types of identities and why they chose to stick with it. Because people don’t just wake up and say” I’m going to be a clabai today”, there’s something behind it.

When answering the question “What is the “function” of the cockfight, if not to reproduce Balinese social structure?” The first thing that must be done is to first to understand what Geertz’s believed cockfight means in the Balinese culture. The next is how this does this go with “structural-functionalism”. Then lastly contrasting Geertz’s argument using the information that Evans-Pritchard gives us with his work “Nuer”. These will help with deconstructing and then answering the question.

A strength of the study was the operationalized definition of sexual behavior in Japanese male quails. One of the main objectives of the study was to detect deviancy in sexual behavior within the male quails. Researchers operationalized sexual behavior as four main behaviors which included neck grab, mount attempt, mounting

The focus of this essay is based on how gender roles are different in to different cultures and generations. This essay is to investigate how gender roles are different in to different cultures and generations. In order to analyze this investigation with understandable argument and to answer the research question very well precisely, just to keep on the comprehensive line in order to bring all important information and concepts to make it clear and social .

In studying Bali it is easy for an anthropologist to overlook cockfighting and "aside from a few passing remarks, the cockfight has barely been noticed" (276). However through Geertz's observation he believes that the cockfighting has much more depth to it and it is not the cocks that are fighting, "actually, it is men" (276). In Bali animals are not portrayed as beautiful creatures but detested as representing demons. Much of Balinese life is adjusted to prevent any association with animals so they will "file the child's teeth" at a young age and eat "hurriedly and privately" because they believe it is beast-like (278). The Balinese are "aversive to animals," so why are they so involved with cockfights? Geertz believes the male Balinese identify with cocks as what they "most fear, hate, and are fascinated by – The Powers of Darkness" (278). Rather than treating the cocks cruelly like any other animal, they treat them with a tremendous amount of care and respect, even beyond that of fellow humans. Geertz as an anthropologist is capable of recognizing this relationship between the Balinese men and their fascination with cocks and how it has an affect on their culture.