By Keila Diehl
26 b/w photos, 1 map In Echoes from Dharamsala, Keila Diehl makes use of track to appreciate the stories of Tibetans dwelling in Dharamsala, a city within the Indian Himalayas that for greater than 40 years has been domestic to Tibet's government-in-exile. The Dalai Lama's presence lends Dharamsala's Tibetans a sense of being "in place," yet even as they've got bodily and psychologically developed Dharamsala as "not Tibet," as a short lived resting position to which many are not able or unwilling to turn into hooked up. now not unusually, this group struggles with notions of domestic, displacement, ethnic id, and assimilation. Diehl's ethnography explores the contradictory realities of cultural homogenization, hybridity, and main issue approximately ethnic purity as they're negotiated within the daily lives of people. during this manner, she complicates reasons of tradition swap supplied by means of the preferred notion of "global flow." Diehl's obtainable, soaking up narrative argues that the exiles' specialise in cultural upkeep, whereas an important, has contributed to the advance of essentialist rules of what's actually "Tibetan." hence, "foreign" or "modern" practices that experience received deep relevance for Tibetan refugees were devalued. Diehl scrutinizes this pressure in her dialogue of the refugees' enthusiasm for songs from blockbuster Hindi movies, the recognition of Western rock and roll between Tibetan early life, and the emergence of a brand new style of recent Tibetan tune. Diehl's perception into the soundscape of Dharamsala is enriched by means of her personal studies because the keyboard participant for a Tibetan refugee rock team referred to as the Yak Band. Her groundbreaking research finds the significance of song as a website the place respectable and private, previous and new representations of Tibetan tradition meet and the place diversified notions of "Tibetan-ness" are being imagined, played, and debated.
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Additional resources for Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community
The accompanying expansion of interest from product to process and from text to creative and performative contexts parallels a general recognition of culture as continually emergent (R. Williams 1977) in the daily practice of historically positioned individuals and of the meaning of the arts as arising from their use (Geertz 1983: 118). Second, traditions are selected and ever changing. A number of important publications have problematized the notion of “tradition” by revealing it to be selective, invented, and/or symbolically constructed, articulating a position that has become a given among folklorists and anthropologists.
Helena Wulff Socialization has been described by Bambi Schieffelin as an “interactive process between knowledgeable members and novices (children) who are themselves active contributors to the meanings and outcomes of interactions with others” (1990: 17). 17 Narratives, habits, and songs explaining, facilitating, and reflecting on this experience of (re)socialization are being performed and responded to by Tibetan refugees at every stage of life, and the transmission of the knowledge and morals these expressions encode and engender is flowing in all possible directions between generations.
These scholars recognize that structures and cultural categories themselves only exist in everyday practice, where they are necessarily modified by “unintended consequences” (Giddens 1979: 27) or are submitted to “empirical risks” (Sahlins 1985: ix) generated by the uniqueness of each interaction. Bambi Schieffelin provides an example of this dynamic in a study of language socialization in which she convincingly presents the child as an “active learner” (and, therefore, as a socialization modifier) by emphasizing the degree to which addressee identity affects the form and content of all utterances, as the ethnography of speaking and conversational analysis literatures have well established (1990: 19).
Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community by Keila Diehl