If rock-fusion or revoiced (re-instrumented) melding of disco/strobe dance takes its cue from unvarnished or self-originating song+dance (+language-creative) performances witnessed or (better) imagined at one or two degrees of distance, how does this transfer take place in logistical terms, and what are its limitations imposed thereby?
The most persuasive single answer is misbegotten audience expectation and venue habitation. The adjacence or overlap of lender and borrower seems almost everywhere to take place before (on the occasion of) jubilee festivals (kuanghuan jie) orchestrated as great tourist assemblages, arranged and audienced by MC professionals: (or) else as television broadcast “contests” by ensemble pop groups grouped (until 2006) into four
The journey from primeval (-ish) to MTV: the Ando (Mongolia) Band, 2006-12 and “Sumaro”
There are a few cases where we can track the evolution of (almost) folk-indigene to rock-MTV, not many however as encouraging (successful commercially) for the performers who somehow still manage their sound pulse to keep audible consistency with their start point. (Though some of the continuity is after-the-fact, since they first got to the 2006 (1st) yuanshitai sing-off with the support a record studio. (How they were discovered is a story still untold, though I would guess that it was small-scale performances in one or two Baotou clubs that created their initial “name”).