872
N. Ross Crumrine
Anthropos 69. 1974
Does the projected structural model reveal the significance of other
facts? Does it generate accurate predictions concerning other anomalous
figures and liminal roles should these be discovered? Makarius (1968) also has
written an interesting article on “The Blacksmith’s Taboos: From the Man
of Iron to the Man of Blood.” In this article she explains his “great magical
power” and his almost “untouchable” status as a result of his violation of the
blood taboo. Although her cases, in which an actual murder or sacrifice is
committed, are few in number, her argument seems to hold for the examples
which she discusses at length. If we examine the blacksmith as an anomalous
figure and a liminal role, what additional insights does our structural model
predict ? Above all the role should achieve transformation, which certainly the
blacksmith does in his transformation of ore, a very different substance, into
iron. However, there is an interesting difference between roles, as the black
smith actually transforms matter whereas the ritual clown transforms the
conceptual or social world. Although both figures achieve transformation by
dismantling elements and resynthesizing them into new forms.
The blacksmith’s performance of circumcision, healing, and cult rites,
all involved with transformations, fit his liminal role, which is hedged with
numerous prohibitions. Makarius (1968: 32-33) also notes: “The Mongols have
the same word for shaman and blacksmith. A well-known Siberian saying
runs; ‘The blacksmith and the shaman are from the same nest.’” Perhaps the
Mongols are suggesting a structural parallel rather than one originating in the
violation of the blood taboo. The shaman as an anomalous figure certainly
fits the form of our structural model. He achieves the transformation of his
patient through an entrance into the sacred dangerous liminal world and a
return with the patient’s soul or other kinds of curing information or powers.
Often the shaman utilizes hallucinogens in his entry and travel in liminality.
Perhaps like Manabozo’s violation of taboo or the Capakoha imitation, the use
of hallucinogens may be another alternative theme or means in the manipula
tion of liminality. Interestingly Weston La Barre (1972) argues, that reli
gions developed from the shamanistic use of hallucinogens. Thus an extremely
crucial transformation perhaps was performed by an anomalous figure. My
own experience with the Mayos also suggests that certain types of modern
folk curers as well as folk prophets and certain revitalization cult leaders may
be considered as members of additional liminal roles. They achieve transforma
tion through entrance into and manipulation of liminality. Thus a dynamic
structural model presenting a framework of anomalous figures, characterizing
culturally coded roles, traces the transformation achieved by the figure as he
enters and manipulates liminality and forges new innovations from dismem
bered traditional socio-cultural elements.