Abstract
Recently anthropologists have turned to the concept of drama and more specifically to the ritual drama and folk drama as an analytical model in the explication of social, ritual, and symbolic processes; for example Victor Turner's general work, Dramas , Fields and Metaphors (Turner, 1974) or our more specific analysis of the Mayo Indian San Cayetano dance as a type of folk drama (Crumrine and Crumrine, 1977). Since certain previous studies were broadly conceived and lacked clear definitional dimensions, they have produced negative reactions from at least one folklore scholar (Green, 1978). Turner applies the dramaturgic metaphor to «social drama», a broad range of social and ritual interaction, which Green is willing to accept as a legitimate metaphorical application of the concept. However, in
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