Victor Turner is the main key figure of Symbolic Anthropology who “approached symbolic analysis from a different angle”. Turner “examined symbols as mechanisms for the maintenance of society” vs Geertz who looks at cultural symbols in order to see a worldview of a society. Turner did not follow Geertz’s thick description, instead “he believed that the interpretation of ritual symbols could be derived from three classes of data: (1) external form and observable characteristics, (2) the interpretations of specialists and laymen within the society and (3) deduction from specific contexts by the anthropologist”.
This is seen to be a combination of both emic and etic descriptions. Turner believed “Ritual symbols were the primary tools through which social order was renewed.
Interpretative anthropology becomes visible in Turner’s work on Ndembu’s of Northern Rhodesia, titled ‘Schism and Continuity in an African Society: A study of Ndembu Village Life’, 1957.
Turner focused on the link between rites of passage and social drama along with the idea of liminality, which is understood as in the Nkang’a, the puberty ritual of a girl.
In his account narration of neophyte wrapped in a cloak is laid at the foot of a ‘mudyi’ sapling is given focusing on the event and phenomena occurring. The broader aspects of processual phases of these rite de passage rituals constructed by Turner were 1) separation, where ritual subject is made sacred, 2) margin involving full or partial separation from everyday life and new names have been given to these ritual subjects symbolizing their transitional phase and liminality of the status and 3) re-aggregation known as Kutumbuka involving, treatment and celebration dance for the end of isolation.
In his approach to ritual Turner constructed some elemental aspect of it where, first remained the ritual as a process of ongoing social drama, the second being centrality of symbols as smallest unit in ritual activity. Third, revolves around meaning of these symbols which can be multiple, concerned with the social order and need of individual in transition.
The tree, Diplorrhyncus condylocarpon is known for its white latex in the community, giving milky beads when bark is scraped. The tree is called as ‘milk tree’ by the author, which is explored by him among the community women for its meaning to them emerging as being ‘senior’ (mukulumpi) tree of the ritual which Turner categorised under the head of ‘Dominant Symbol’ known for their axiomatic values i.e. not only fulfilling the motive of a ritual but at the same time referring the values regarded as ends in themselves. The other perspective which marked the emic perspective of ritual and its symbolic characters was tree resembling the human breast milk and the breast as well which is giving it. This corresponded the facts of Nkang’a performed near the mudyi sapling symbolising girl’s breast maturing. Turner calls it the ritual showing connection with the mother and child, more importantly the nurturing ties of it involving biological act of breast feeding to social linkage in domestic relations and in the structure of the society which is matrilineal. In the third notion which emerged in the study pointed out it being ‘the tree of a mother and her child’.
The discussion on puberty ritual of a girl is taken forwards to the concepts of nourishment and learning which are equated in the content of the milk tree. The child narrated to be swallowing instructions as a baby swallows milk, here the milk tree undertaking of directives in Ndembu culture followed by inititation rituals in both the genders (circumcisions in boys and long trial of lying without moving in girls). In the Nkang’a the focal element of the ritual is the integration of Ndembu women, Mudyi itself more specifically, is the flag of Ndembu women. In certain situations, girl’s particular tree symbolizes her shift in social personality as a grown woman filled with maturity.
Turner interpreted ‘milk tree’ endowing order and structure on Ndembu social life as both locally operating system, matrilineal descent and virilocality, counteracting and preventing stronger group formation larger than village and at the same time hindering the growth of deep lineages and increasing probability of individual movement and village fission.
Within village quiet unstable marriages allowed Turner to exhibit social drama as a tool to look beneath the layer of social regularities, hidden contradictions and eruption of conflict in the social structure. The social drama in Ndembu society in its processual form is interpreted to following four stage, 1) a violation of regular norm governed social ties between individuals or groups of a social unit, 2) crisis stage due to extension of isolation, unless conflict is sealed, 3) measures brought into operation by leading members of the unit; and 4) reintegration of the upset social unit or social recognition of an irreparable violation or schism. The redressive mechanism are the rituals performed at community level which were performed by cult associations cross cutting the boundaries of lineages and villages, creating wider networks of association, which is treated by turner as a social glue holding the Ndembu society together. The principle of matriliny as element in semantic structure of the milk tree, itself symbolizes the total system of interrelations between groups and persons that makes up Ndembu society. At its highest level of abstraction, therefore, the milk tree stands for the unity and continuity of Ndembu society. These thoughts were supported by perceptions of educated Ndembu’s explaining the milk tree as british flag above the political spaces stating Mudyi being their flag. It is important to not only include the emic perspective but at the same time the processual aspects of the ritual adhering to the meanings associated with symbols and in totality symbolizing their solidarity.
Turner collected properties of these symbols through observation and data collection process. Through his processual approach towards ritual he made a distinction between life cycle ritual and rituals of affliction which are more of cult associated, i.e. when a person is caught by spirits or shades as used by Turner
Legacy and Critique
Turner will be most remembered for his work in bringing symbols, and the interpretation of symbols to the forefront of anthropological thought . In the case of “Muchona the Hornet, Interpreter of Religion”, he could be critiqued as relying too much on one source for information. Muchona was a rare exception from normal Ndembu citizens. While he was highly intelligent, and highly trained, he came from a strange background, and was not well liked by the men of the community . Also, Turner neglected to gain the insight of female members of society, even though many of the rituals discussed only concerned women. Relying too much on one person for information, can lead to a narrow view of society, and the way that symbols are interpreted.