Community in the Bush

The community structure of the Bushmen band portrayed in The Gods Must be Crazy gave the appearance of there being one big extended family living around one hut. As discussed in my earlier post, a typical !Kung San band consists of several families each with their own hut. The !Kung San family structure is not discussed to any length in the film but is fascinating and worth examining. The !Kung San are a uxorilocal  society by and large, meaning upon marriage, the husband goes to live with his wife's family (Stockard, 2002, pp.34). This is because he must pay a brideservice for her hand by hunting for her parents. Bands therefore are constructed not of men originally belonging to them, but of men that marry in (Stockard, 2002, pp.28). Upon 10 years of brideservice or the birth of three children, a man may return to his original band with his new family or choose a completely new one (Stockard, 2002, pp.34).

This practice of joining the wife's band provides a certain power to a !Kung San woman. She maintains the influence she has with her family, allowing her an extra measure of power in her relationship with her husband, as he is providing brideservice to her father (Stockard, 2002, pp.33). She can even request and persuade her parents to find a new husband for her if she feels the two of them are incompatible. The tradition of paying a brideservice also causes the !Kung San to value daughters in addition to sons as it means the potential for a son-in-law that provides meat. This tradition has aided in the !Kung San remaining a largely egalitarian society, where both men and women hold equal voice in the family and community decision making (Stockard, 2002, pp.27). My next post will examine the gender roles and expectations held by the !Kung San.

Stockard, Janice E. (2002). Marriage in Culture: Practice and Meaning across Diverse Societies. Belmont, CA: Wadsworth.

Uys, Jamie (Producer), & Uys, Jamie (Director). (1980) The Gods Must Be Crazy [Motion picture]. South Africa: Ster Kinekor