Crossover (entering “World Music” community label):
Up-tech reiteration (Mongol-Tibetan)
truly cross-tribal sound-mixing (Mongol-Tibetan Buddhist vs. Khazakh/Uighur Islamic musical shape)
World music can be almost anything that is listened to across linguistic borders, but that is of course a weak identifier, since it is quite often the case that both sides are listening to themselves/the same thing. A poignant example, also a disappointing one, of this occurred some years back in the Theravade-Buddhist exclave of Shishuangbanna (http://ethno.ihp.sinica.edu.tw/en/southwest/main_DA-07.html). No sooner had the long hoped for partial liberalization of the Thailand>Burma>Yunnan “pilgrimage” route begun to creak open, an apparently huge black market in ‘Dai” popsong-casettes (In all 3 languages) swamped across the border at sky high prices, so big the supply gap and price heft that the Shishuangbanna Dai/Lue came gradually to accept that their own music was way behind the times. Jiangmai piracy of Hong Kong labels was moving to the too: have it, you were cool; not, you had to have lots of RMB. That was the route to a “new Dai” music, but its final resting place is by the Mekong side of the Shishuangbanna exclave where new disco clubs have sprouted to soak up the lower end, and thus give employ to deflated Dai (female) singers. A few of these ladder-climbers made it to the top, but (this was in the 80s and 90) almost all now are forgotten. The price, ultimately, of gussying up older folksongs for glizt-mad tourists eager to rehear their :own Red stifled “youth” music replayed as religion-cum-rock. But the music stayed essentuially the same – not what is supposed to happen with “Crossover”. (Ref…)
Kemberhan career as gypsy
C:\Users\User\My JP documents\Website modules from dec 17 2010\Dongfanghong Lead_in\ethnic danbce mats var 2 Niov 25.doc
Not all hybrid or up-teched ethnic music in our HKU/TM morass were content, apparently, with the nightclub solution for the Western Crescent, least of all the Mongol-tribe-descendants of the SW Moingolia Oirat zone (centered in the Qinhgai city of Delhi(ar). Amonsg these are to be counted Tana…. Q, by birth an “Tibetan” from the immigrahnt-filled town of Delhi(ar)
A history of “world” dance/music:
The Dunhuang dance and (badly described) the Uighur-Hindic-Kazakh “Sound”/Choreography>> the Maqam.
No theory, but where apposite music/dance (“festival” and esp. religioius) cultures exchange terr-control and trade repeatedly, “fence” repeatedly over culture, there is a near certainty that (entertainment/diplomatic needs) will bring about cross-presenatation(s) thence unified (fused) music.
Kemberhan Amet’s pilgrimages across the USSR/Xinjiang/PRC border and the resulting update and elevation of the maqam offer a well known example.
If that “oscillation” had political tension behind it, so also does the tentative merging of Mongolian/ -Tibetan and/vs Uighur-Hindic one discovers in Haya: the logic now however being not domination but merging for survival; that is, cross-intelligibility of musical cultures within their own exchange belt, q kind of unity of lessser folk against both China threat and the impress of ruinous musico-technology.
Multi-generational. commanded, an old master.
Why world music when i8t sounds more or less likkke Mongilian ballad (norinhuur+throatsong)
alao wth bellls and whisltles.
Mongolian Andhlo Band plays Sumaro, and builds an offhshore follow