1 00:00:08,000 --> 00:00:14,000 So first, yeah, I would like to thank all the organiser of this seminar, because, as I said, 2 00:00:14,000 --> 00:00:23,210 juries obliges before with the current situation, with the virus and all, we miss an opportunity to discuss about our work. 3 00:00:23,210 --> 00:00:27,140 So it's very important way to work now. 4 00:00:27,140 --> 00:00:32,240 So. Thank you so much. And thank you to all the participants who came to listen. 5 00:00:32,240 --> 00:00:38,010 My paper, because you have all the different times if were different. 6 00:00:38,010 --> 00:00:41,810 Many work to do so. Thank you so much to join and to to hear. 7 00:00:41,810 --> 00:00:47,050 And I would like to say sorry because most often I can be here because I have a class at Elco. 8 00:00:47,050 --> 00:00:54,830 At the same time. So that's why you never saw my face. But I wish you have more time when I will finish my study. 9 00:00:54,830 --> 00:00:59,470 Also at the Inoko. So my name is critical speech. 10 00:00:59,470 --> 00:01:05,500 And as Daniel said, I'm peers, you student in ethnomusicology at Carino, the university. 11 00:01:05,500 --> 00:01:09,670 I do also study at in accord with cultures. Go about and got ya. 12 00:01:09,670 --> 00:01:15,880 Is that what we are? We are in the same kind of Bible enquiries for all these kind of studies. 13 00:01:15,880 --> 00:01:23,200 And I'm also basically a musician, so I have a classical singer information basically, so I can to musicology. 14 00:01:23,200 --> 00:01:27,880 But basically I'm a musicologist and a performer basically. 15 00:01:27,880 --> 00:01:33,010 So I use the fact to sing and dance. I play instruments during or when I can. 16 00:01:33,010 --> 00:01:39,780 I go to India or in Tibet. I used to learn and to perform not as an artist, but as a student. 17 00:01:39,780 --> 00:01:54,300 Most of them. So I'm supervisor by understand and custom keyboarding Burris, so an anthropologist in Nepal and more anatomy psychologist in India. 18 00:01:54,300 --> 00:01:57,560 And so I has done you choose me a little bit. 19 00:01:57,560 --> 00:02:07,100 It's I changed it a bit my contain in my presentation today because my supervisor asked me to do two chapter about really the listening stations. 20 00:02:07,100 --> 00:02:12,550 So that's why this lasts. We have moved that move a lot. And please forgive my English. 21 00:02:12,550 --> 00:02:19,320 So as you know, as a friend, I'm not very like use using the usual to use some words in English. 22 00:02:19,320 --> 00:02:24,120 So if I don't have all the shades of this language, please forgive me. 23 00:02:24,120 --> 00:02:29,670 I will do my best. But perhaps it would be like little bit weird sometimes. 24 00:02:29,670 --> 00:02:36,180 So my piece de focus is on the place of musical choreographically performances in the construction of subjectivities. 25 00:02:36,180 --> 00:02:40,250 Independence's 18 Excite Interruption in India. 26 00:02:40,250 --> 00:02:46,910 So I focus my attention on on one side, the representation of musical and dance practises in the public space. 27 00:02:46,910 --> 00:02:51,800 So it's more religious about what Daniela spoke just before in India last year. 28 00:02:51,800 --> 00:03:00,410 I present a paper about that and the other side on the discourse is formulated about the about them in an individual listening, 29 00:03:00,410 --> 00:03:04,830 which I consider as musical experience. It's in its own right. 30 00:03:04,830 --> 00:03:14,260 A lot of action in. And on the word today, it is about this taken part on this thing that I will and I will talk about. 31 00:03:14,260 --> 00:03:23,230 So more specifically, I would present the systematised listening station that I set up for my last fieldwork in 2019. 32 00:03:23,230 --> 00:03:32,420 And the advice of one of my supervisors. To this station, I wish to question the importance placed attributed to nationalism in Tibetan society, 33 00:03:32,420 --> 00:03:37,520 in exile within scientific discourses, especially those about music. 34 00:03:37,520 --> 00:03:43,460 To do so, I will highlight the different value system or extra logical grammars attributed by 35 00:03:43,460 --> 00:03:49,750 Tibetan refugees to the music that constitute as Tibetan soundscape either Renschler. 36 00:03:49,750 --> 00:03:56,040 It will also allow me to show that despite the weight of Tibbett, an institution in the field of battle, 37 00:03:56,040 --> 00:04:04,230 memorisation of musical choreographic knowledge and their discourses on what counts in their situation of excite, 38 00:04:04,230 --> 00:04:12,430 individuals constrict their own value system and their own logic of attachment through their life experience. 39 00:04:12,430 --> 00:04:21,900 This thing is messed up, sorry. This listening station aim to reveal this different grammars and to show that music is a rebellion of them. 40 00:04:21,900 --> 00:04:26,700 They will also baramidze me to demonstrate that this it is through musical 41 00:04:26,700 --> 00:04:33,060 experience that this defendant shared an individual value system are articulated. 42 00:04:33,060 --> 00:04:42,000 I therefore believe that this experience of music plays an important, particularly important role in the construction of individual subjectivities, 43 00:04:42,000 --> 00:04:48,180 but also in the cohesion of Tibetan society in Dharamsala as an emotional community in exile, 44 00:04:48,180 --> 00:04:54,170 despite its great, great atherogenic e.g. and internal conflicts. 45 00:04:54,170 --> 00:04:58,910 So far today. Till now. Any narrow conference. 46 00:04:58,910 --> 00:05:05,900 I used to present more, ignore graphical Dartez to speak about my field works and describe musical practises and institution. 47 00:05:05,900 --> 00:05:11,100 So what I will do today. It's kind of new, a little bit experiential for me. 48 00:05:11,100 --> 00:05:21,360 So because I will present the tool I set up. So the listening station and approach and development that emerge from this and that is. 49 00:05:21,360 --> 00:05:28,260 So about the listening station. Why I choose to do that, so after my visit in 2018 in Dharamshala, 50 00:05:28,260 --> 00:05:34,710 I came to wonder whether the Tibetan nationalism that was so much in evidence in the field of Tibetan music, 51 00:05:34,710 --> 00:05:44,640 in Excite research and more generally about Tibetan society in exile, was really at the core of the Tibetan refugee experience. 52 00:05:44,640 --> 00:05:49,750 So people do present you the different music I choose to set up in. 53 00:05:49,750 --> 00:05:57,510 I think it's important to tell you about the people who accepted actually actually to participate to this experience. 54 00:05:57,510 --> 00:06:01,140 So for now, it's 10 people I knew beforehand. 55 00:06:01,140 --> 00:06:09,450 So it is some member of my family host or some friends close to them because I used to teach French also in Dharamsala, 56 00:06:09,450 --> 00:06:17,460 or it was some type of artist friends or musician I have worked with and some close friend or a longtime friend. 57 00:06:17,460 --> 00:06:30,240 So all this person agreed to Birth's back to the station. And amongst them, in 2019, there is lots of men and women aged between twenty three to 60, 58 00:06:30,240 --> 00:06:38,490 67 hardboard in exile in Asia and the other half part in Tibet with a person from the three big region, 59 00:06:38,490 --> 00:06:43,260 great region as it's defined it more generally now. 60 00:06:43,260 --> 00:06:49,020 And the majority of them are living in India and a few people are living in the West. 61 00:06:49,020 --> 00:06:57,480 And I represent a different socio professional activities in clinching artistic activities as well as retired and unemployed. 62 00:06:57,480 --> 00:07:09,110 People know that all this person have at one time or another in their lives and in different context be music and dance practitioner. 63 00:07:09,110 --> 00:07:18,350 So how the system. And sorry if my words in English, I need a bit strict, but it's hard for me to find in French. 64 00:07:18,350 --> 00:07:24,050 It's more like soft. But in English perhaps it's a bit hard, but sorry. 65 00:07:24,050 --> 00:07:32,420 So this individual station where it in English or in Tibetan and once in French language in a place are the participant convenience. 66 00:07:32,420 --> 00:07:39,480 So it could be a room or a Tarasov restaurant, a coffee, an office or a room in a private home. 67 00:07:39,480 --> 00:07:43,290 And at least it's the duration was between one and two hours. 68 00:07:43,290 --> 00:07:49,150 In general. So I just wanted to be able to do a portrait of the participants. 69 00:07:49,150 --> 00:07:54,790 The first part of this listening station, there was a time when participants describe to me their past life, 70 00:07:54,790 --> 00:08:04,150 past and their relationship to artistic practises. The second part was dedicated properly on listening with individual, 71 00:08:04,150 --> 00:08:09,490 with hair and a headphone, as you saw in the picture of the beginning of my presentation. 72 00:08:09,490 --> 00:08:13,090 And it was really this bad for a listening session. 73 00:08:13,090 --> 00:08:23,670 So I played it songs, I was selected and I played in taxation without the participant spend doing what the they were about. 74 00:08:23,670 --> 00:08:33,170 So the question I asked before starting the listening was much more neutral as possible that this music makes you think about something, 75 00:08:33,170 --> 00:08:40,560 just that after the discussion was very open. So in addition to the speeches made about the different items, 76 00:08:40,560 --> 00:08:48,960 I took into account the listening time so the person could stop the music whenever they want and as much as possible. 77 00:08:48,960 --> 00:08:56,700 I tried to describe the physical reaction when there were any like crying or crossing cards looking up. 78 00:08:56,700 --> 00:09:05,610 I did my best to try to, not on the same time, but as we will see how I will manage all this kind of data. 79 00:09:05,610 --> 00:09:11,130 And finally, I handed the station with the third part where I ask three question. 80 00:09:11,130 --> 00:09:22,650 What music did you prefer in this playlist? But with some kind of time puzzle, I think I should have asked, so which song did you like? 81 00:09:22,650 --> 00:09:31,020 The less or so. But now it's a bit too late. The second question was, what do you like to listen to if you have the choice? 82 00:09:31,020 --> 00:09:41,550 And the third one was if you had to choose only one music to symbolise Tibet to a person who don't know anything about it, what would you choose? 83 00:09:41,550 --> 00:09:46,710 So about the selected items so far, the really the listening station, 84 00:09:46,710 --> 00:09:54,960 I meant the choice of song I chose chosen for displayed ekström speeches on certain repetoire or on the musical 85 00:09:54,960 --> 00:10:02,120 test in a more general way is that I have already heard during my fieldwork in 2015 for my master degree, 86 00:10:02,120 --> 00:10:07,000 but not by decree, particularly during my fieldwork in 2018 where I had read the work, 87 00:10:07,000 --> 00:10:11,260 which is within institutions such as the Tibetan Institute of Performing Arts. 88 00:10:11,260 --> 00:10:20,790 Tipa where I was a student in singing and dancing and also Jullian playing and also in the upper GCB village, Tibetan Children's Village. 89 00:10:20,790 --> 00:10:23,720 So in Upper Dharamsala. 90 00:10:23,720 --> 00:10:31,070 So it seems the distinction between the three regions or with some uncommon under became important in Tibetan culture in exile. 91 00:10:31,070 --> 00:10:38,230 I choose six songs from this point of view about original song characteristic. 92 00:10:38,230 --> 00:10:47,830 Then I choose three songs that are part of the soundscape in Dharamshala without original consideration as Indian film music culture is important. 93 00:10:47,830 --> 00:10:50,770 I choose a song from Bollywood movie. 94 00:10:50,770 --> 00:10:59,860 Then I choose a patriotic song, as it's being considered by some people are the new traditional music and some people told me during my fever. 95 00:10:59,860 --> 00:11:05,470 So this song I will present today to show you how I work about this listening and that that I need. 96 00:11:05,470 --> 00:11:12,810 It's this song of this patriotic song. And then the quality of modern Tibetan pop song, Produ said in exile. 97 00:11:12,810 --> 00:11:18,780 Compare it to those produced in Tibet being often at the heart of this debate in Dharamsala. 98 00:11:18,780 --> 00:11:26,290 I chose to song from this repetoire. Finally, I choose to include some family before not very present. 99 00:11:26,290 --> 00:11:33,460 Now, in the soundscape in Dharamshala today, the rock, the pop and the rubbing, much more present in Dharamsala today. 100 00:11:33,460 --> 00:11:36,910 So it's kind of a different situation. That's Cayla. 101 00:11:36,910 --> 00:11:45,990 There was about to describe 20 years ago. The order in which I choose to play the music over was also Southwold. 102 00:11:45,990 --> 00:11:54,150 Since my work is initially focussed on the musical experience of people from Kambala, I thought about the order of listening. 103 00:11:54,150 --> 00:12:02,270 From what I understood to be the most DTL to the more familiar for a musical point of view. 104 00:12:02,270 --> 00:12:05,780 So about the presentation of that after this intermission. 105 00:12:05,780 --> 00:12:11,210 I have chosen to present the analysis of the data of the six some of the players on what they knew. 106 00:12:11,210 --> 00:12:20,090 So it is a song that is Scattergood. I'm sorry, categorised as a patriotic song, thought in Tibetan school in exile. 107 00:12:20,090 --> 00:12:27,640 So the lyrics were right. And by again, the water showed up and appeared to city music teacher who was also trained in Tibet. 108 00:12:27,640 --> 00:12:31,940 Actually. So where music teacher? 109 00:12:31,940 --> 00:12:41,860 She was inspired by the story of one of his students. He saw him waiting every day at the school gate for his parents to come and to pick him up. 110 00:12:41,860 --> 00:12:52,370 Putting himself in this child choose. He described the feeling he has when he think of the family he had left, especially his mother. 111 00:12:52,370 --> 00:13:01,100 I have chosen to present this particular song to you today because despite the number of modern Tibetan in song that have been writing about mother, 112 00:13:01,100 --> 00:13:05,690 especially by men and the importance of mothers in culture, 113 00:13:05,690 --> 00:13:12,680 the maternal figure in this contest has apparently perhaps I'm wrong, but I didn't feel anything about that. 114 00:13:12,680 --> 00:13:21,500 Not with so much research. Actually, this this is one of the teams that I won't develop, in particular in my Puji. 115 00:13:21,500 --> 00:13:26,440 And that is, I think, really want to present to you today. 116 00:13:26,440 --> 00:13:33,330 So the recording comes from a YouTube video that was put online by Tibet TV for the celebration of the 50s, 117 00:13:33,330 --> 00:13:38,680 third anniversary of the purchase of this school in Dharamsala in 2013. 118 00:13:38,680 --> 00:13:46,090 In these videos, students from the severe kindergarten classes line up on the school's board drum and perform this song, 119 00:13:46,090 --> 00:13:50,370 choreograph it and set in music by again, the what, Sheila? 120 00:13:50,370 --> 00:13:59,560 The audiences all around the field in the bleachers is composed of family members, school students, officers and sponsors are invited for the event. 121 00:13:59,560 --> 00:14:04,540 A small orchestra of older students play the instrument, that part that accompany them. 122 00:14:04,540 --> 00:14:13,110 But we don't see them in the video. The lyrics are a reflection of the great nostalgia and sadness felt by the speaker when he 123 00:14:13,110 --> 00:14:18,780 think of the moments spent in Tibet with his beloved parents and especially with his mother, 124 00:14:18,780 --> 00:14:22,890 whom he got civil rights several times on Mallat Amala. 125 00:14:22,890 --> 00:14:30,090 He talked in particular about his crying and how he continued to apply his parents advices in school life. 126 00:14:30,090 --> 00:14:34,680 We have this and speak correctly, politely make for it. 127 00:14:34,680 --> 00:14:40,140 So now we'll try to present and as we so not, I think it's OK if it's too low. 128 00:14:40,140 --> 00:18:27,150 Please let me know. We checked this before with Dannion. So. 129 00:18:27,150 --> 00:18:32,560 So. About the question of moderates were interesting, but I won't speak about that, 130 00:18:32,560 --> 00:18:37,640 but the fact the things also about how they choose to build this movie is also very interesting 131 00:18:37,640 --> 00:18:43,310 because we don't know if the child is crying because of the meaning of the lyrics or something. 132 00:18:43,310 --> 00:18:50,270 But as I think some of you have already be part of in the origins of this kind of event, 133 00:18:50,270 --> 00:18:55,370 the child eyes are on the playground all the day and it's it's on the star studded and everything. 134 00:18:55,370 --> 00:19:00,230 So we don't know a child cry for what he feel for the music or about the situation. 135 00:19:00,230 --> 00:19:05,570 He's bored or the tired. We don't know that the use of the camera and how it's. 136 00:19:05,570 --> 00:19:13,730 It's really interesting to to analyse also. But it's not my point, but it's something I find very interesting also. 137 00:19:13,730 --> 00:19:17,550 So I will try to move for other. Thirty. 138 00:19:17,550 --> 00:19:26,070 So now I'm going to present you the synthesis of the different values that have been attributed to this song by my intellectuals, 139 00:19:26,070 --> 00:19:35,700 the listener buys it on their speeches. I believe the categorisation by being inspired by the work done by Nick Giebel and but also lipless. 140 00:19:35,700 --> 00:19:40,380 Note that this work of creating categories from these speeches is on process. 141 00:19:40,380 --> 00:19:44,640 And I would be more than happy to benefit from your comments. 142 00:19:44,640 --> 00:19:55,860 And I advise for words. So. I would present the different dimension, like in order of importance in the speeches. 143 00:19:55,860 --> 00:19:59,640 How many times it's appeared. So the first. 144 00:19:59,640 --> 00:20:06,210 Sorry, the first one is the aesthetic dimension. The least more income about this. 145 00:20:06,210 --> 00:20:11,760 So it was more about textual register. Some of the listeners said all the lyrics are very sad. 146 00:20:11,760 --> 00:20:17,310 It's very nostalgic. So it's the aesthetic dimensions of this song. 147 00:20:17,310 --> 00:20:21,630 And after these more explanatory dimension, who can lead a bit more? 148 00:20:21,630 --> 00:20:27,690 But it was not so much important. So there is the knowledge register. 149 00:20:27,690 --> 00:20:34,200 Some people say, oh, I recognise this song. These are imaginary and about knowledge. 150 00:20:34,200 --> 00:20:37,620 It was more about, oh, I understand the lyrics or I did. 151 00:20:37,620 --> 00:20:44,960 I don't understand the lyrics. And there was also this exegetical register explanation on the lyrics. 152 00:20:44,960 --> 00:20:52,730 Oh, this song is about. And the explanation something was did a bit different, depending on the listener. 153 00:20:52,730 --> 00:21:02,000 How to say importance, both of you. So now it's a free, more prison in the discourses speeches of the listener. 154 00:21:02,000 --> 00:21:04,820 It was an interpretative dimension. 155 00:21:04,820 --> 00:21:16,690 So there is the imagination register the emotion register at the mediation registers like a little bit deeper insight about the imagination register. 156 00:21:16,690 --> 00:21:22,450 It was passion of immersive value. Some people say, oh, it take us back to Tibet. 157 00:21:22,450 --> 00:21:32,230 The other one was an emphatic, emphatic value. So we can imagine the pain of those who have experienced the separation from their parents. 158 00:21:32,230 --> 00:21:42,370 Also about the emotion reduced. So I use emotion, feeling an affect in their favour indifferently as animal, 159 00:21:42,370 --> 00:21:52,450 and consider emotion as interactive process that shape people's perception as as Lussick told, and also as a value revenge. 160 00:21:52,450 --> 00:21:57,620 Or have I, Nick, use also this notion of emotion in global. 161 00:21:57,620 --> 00:22:05,660 So in this dimension, this register, it was more about moving value, so the listener said, oh, it's a touching music. 162 00:22:05,660 --> 00:22:14,420 So about touching, it was like in three point, it can be the voice of the children who was moving, like, really about the voice. 163 00:22:14,420 --> 00:22:18,500 The fact it was children who were singing the melody also. 164 00:22:18,500 --> 00:22:24,400 And the third one with the lyrics. So the second value, the intimate value. 165 00:22:24,400 --> 00:22:33,680 This are some of my listeners say, oh, I feel very close to this song because it's a widely shared story, as they say. 166 00:22:33,680 --> 00:22:39,350 It's not my own point about order. And the third one is the ethical value. 167 00:22:39,350 --> 00:22:50,200 You deal with important issues such as freedom of religion, practise and study, but also the important issue about separation from family and home. 168 00:22:50,200 --> 00:22:57,790 So it's about this emotion register and third mediation register, so I used to say mediation, 169 00:22:57,790 --> 00:23:06,460 because as I understand that it's a kind of breach who make a link between people or if sometimes. 170 00:23:06,460 --> 00:23:10,230 But as it's in building suppress mediation is not the best word. 171 00:23:10,230 --> 00:23:15,550 But I'm open to the proposition. So is the transmission value. 172 00:23:15,550 --> 00:23:26,000 So some of my interlocutors said, oh, it's transmit some important point about Tibetan culture or Tibetan history. 173 00:23:26,000 --> 00:23:30,230 So the second value was something more about the weirdness. 174 00:23:30,230 --> 00:23:37,400 Oh, this song is important to explain issues about Excite or what others have experienced. 175 00:23:37,400 --> 00:23:46,970 So in this bottom view, it was more focussed on the child who born in exile and to remember them the past, that is story. 176 00:23:46,970 --> 00:23:53,210 And two, did Kotori explain to them about the past? 177 00:23:53,210 --> 00:23:58,010 And the third venue in mediation was a revealing value. 178 00:23:58,010 --> 00:24:02,630 So some people say that each one carry a sad story within. 179 00:24:02,630 --> 00:24:12,410 And it's a peer when they listen to this song. And they also realise that it's a shared story, that many people share the same story. 180 00:24:12,410 --> 00:24:21,050 So the last dimension, who is equally prison at the interpretive dimension was the memory dimension. 181 00:24:21,050 --> 00:24:23,930 So about this fourth dimension. 182 00:24:23,930 --> 00:24:34,240 It was about a amazing tristesse, so the first I choose to, but it's a it's more for a how does a building construction category. 183 00:24:34,240 --> 00:24:39,230 But it was more not a question of importance in the speech. 184 00:24:39,230 --> 00:24:46,280 So there's a seven souvenir memory value, so specific encapsulated moment that returned to memory. 185 00:24:46,280 --> 00:24:50,420 So it's a question of remembrance of a specific past event. 186 00:24:50,420 --> 00:24:57,090 For example, the show, the device itself, the public, the space, the children. 187 00:24:57,090 --> 00:25:04,620 And it can also bring back feeling through the through that have been manifested during a specific best event. 188 00:25:04,620 --> 00:25:13,080 So, for example, the feeling that one person felt during this show at the city, for example, is the reason that I didn't do it, supposedly. 189 00:25:13,080 --> 00:25:18,820 But there is someone who was present in the audiences and she remember that she was in the audience. 190 00:25:18,820 --> 00:25:24,180 You remember the device in general. She remember what she felt and what she thought at that moment. 191 00:25:24,180 --> 00:25:29,290 And also, it brings back to her some memory of the personal, even during these specific, 192 00:25:29,290 --> 00:25:34,230 either because her niece was in the children who was there for me. 193 00:25:34,230 --> 00:25:42,020 This song and just you noted that you have said the video for this condition that the listener just had a song. 194 00:25:42,020 --> 00:25:48,010 If they didn't have the movie with a drink, the experience. 195 00:25:48,010 --> 00:25:56,080 So the second value was the amputation memory value. So it's memory that is acquired through repetition, prisons in place. 196 00:25:56,080 --> 00:26:04,600 So in that point, it was more evocation of classmates and teachers interest to school in than Charlotte, but also in Shimla. 197 00:26:04,600 --> 00:26:09,160 It was also a location of school periods without any precise description. 198 00:26:09,160 --> 00:26:18,310 Evocation of other musical repetoire was also pointed out in this venue of arbitration memory. 199 00:26:18,310 --> 00:26:27,820 And the third one, it's I think it's and also to say that there is some kind of speech that I don't know how to understand how to classify, 200 00:26:27,820 --> 00:26:32,470 because, for example, there is one person who did not tell me a precise memory. 201 00:26:32,470 --> 00:26:42,350 And at the same time, she evoked her parents. So with the discourse as she did, I can match that to arbitration memory indeed. 202 00:26:42,350 --> 00:26:47,020 In these words, combine it to her life course. So she is born and raised in Tibet. 203 00:26:47,020 --> 00:26:51,340 And therefore separate from her parents. But she she was an A student at the time. 204 00:26:51,340 --> 00:27:00,670 She she came in in in India when she was 25. So nothing allow me to connect this to souvenir memory or arbitration, Nimmer. 205 00:27:00,670 --> 00:27:06,370 So there is sometimes a difficult to find how to because we can't classify everything. 206 00:27:06,370 --> 00:27:11,740 It's moving. So I have to think about how to what to do about this kind of that. 207 00:27:11,740 --> 00:27:17,220 Ah. Now, I don't know how to deal with that, but I think it's very important also. 208 00:27:17,220 --> 00:27:22,140 So also in this memory, dementia, there is question of some marker register. 209 00:27:22,140 --> 00:27:27,090 So, for example, to is the time that you notice for this point, 210 00:27:27,090 --> 00:27:33,000 I would say it was more speeches from some musician and artist who say this kind of things. 211 00:27:33,000 --> 00:27:37,720 But the question of style was made about the childish style. 212 00:27:37,720 --> 00:27:45,810 So people was able to guess to understand that some children was playing the instrument that Bart. 213 00:27:45,810 --> 00:27:52,410 And also, they recognise that it was a last ditch. We have the instrument play. 214 00:27:52,410 --> 00:27:56,760 And there is also a question of locations or marker, so location value. 215 00:27:56,760 --> 00:28:02,070 There is some people who said directly when they listened, that is, they owe it to some from here from Dharamshala. 216 00:28:02,070 --> 00:28:06,210 And some people say also, although it's really a sort of a dirty trick. 217 00:28:06,210 --> 00:28:13,140 So this is really location in different point of view who are linking it to the song market. 218 00:28:13,140 --> 00:28:17,890 That's why I think it's important to to note is that. 219 00:28:17,890 --> 00:28:21,370 That's what counts in this song for listeners. 220 00:28:21,370 --> 00:28:29,200 We can see that even if this song has been categorise it in the repertoire of patriotic songs and is part of politics said. 221 00:28:29,200 --> 00:28:33,960 What is important for them is expressing a set of values, especially didn't get to anemones. 222 00:28:33,960 --> 00:28:39,970 This mediation feeling and imagination register. 223 00:28:39,970 --> 00:28:47,950 So now we are at more in the second time of my presentation. So in addition to providing a beginning of answer to my question, 224 00:28:47,950 --> 00:28:53,860 this listening session allowed me to question my knowledge of the musical practises of Tibetan exiles 225 00:28:53,860 --> 00:29:00,450 in Dharamsala and more generally on the issues and experience of exile in this particular case. 226 00:29:00,450 --> 00:29:06,670 And know I started using this tool, I had already have been able to attend several performances in this city, 227 00:29:06,670 --> 00:29:13,120 but also to see how the Tibetan musical, choreographic, every stage inexact was transmitted here. 228 00:29:13,120 --> 00:29:22,270 I had to decide that teachers, event organiser and artist, for example, often emphasises the importance of preserving rich Tibetan culture, 229 00:29:22,270 --> 00:29:27,430 every stage of the involvement of the Tibetan community in the struggle for an independent free Tibet. 230 00:29:27,430 --> 00:29:31,540 Depending on the point of view. So I had a very institutional, 231 00:29:31,540 --> 00:29:40,220 political and spectacular vision of the peace musical and then practises that this listening station allowed me to question. 232 00:29:40,220 --> 00:29:49,040 This I want to give an account of the fact that music is at the core of the constriction of subjectivities in these. 233 00:29:49,040 --> 00:29:57,760 It is a privileged medium through which an emotional every stage and extra logical grammar school is to central television are transmitted, 234 00:29:57,760 --> 00:30:03,580 ending the member of the timid and community interaction up through the use of every stage emotions. 235 00:30:03,580 --> 00:30:09,140 So emotion that everything is emotion that I build using the notion of every stage of Cornetto they define. 236 00:30:09,140 --> 00:30:14,590 It's about what we care about. So for me, emotional every stage is these motion. 237 00:30:14,590 --> 00:30:18,370 We care about and for those, we are engaged in their transmission. 238 00:30:18,370 --> 00:30:27,010 In other words, I thought the institution had a weight on what is determined to be Tibetan musical heritage and the meaning attribute to it. 239 00:30:27,010 --> 00:30:31,630 What is important to individuals in the listening in listening music? 240 00:30:31,630 --> 00:30:36,940 What matters and what does what does it tell us about Tibetan society? 241 00:30:36,940 --> 00:30:41,650 But I'm Ciulla. And what about the experience of exile in this case? 242 00:30:41,650 --> 00:30:50,250 Through the description of institute performances and the dust from the listening station, I will try to answer this question and show how. 243 00:30:50,250 --> 00:30:57,670 Thanks to the emotions researching from the evocation of memories and the story station of the imaginary during the performance, 244 00:30:57,670 --> 00:31:07,360 such as nostalgia, music, a little one to recreate links with obscene entities, Jim, important in the future in exile, 245 00:31:07,360 --> 00:31:14,620 such as religion, the mother, the place Tibet or a way of life nomadism, for example. 246 00:31:14,620 --> 00:31:23,320 I will also show how music allows us to relieve to make prison past even is crabbed in the collective story and imagination, 247 00:31:23,320 --> 00:31:26,680 often charged with heavy emotions. 248 00:31:26,680 --> 00:31:34,380 Then I will describe how these attachment to absent and pest entities allow us to create connexion with individual present. 249 00:31:34,380 --> 00:31:40,290 With this inexact. This connexion and this work of weaving emotion through music. 250 00:31:40,290 --> 00:31:46,150 Thanks to the set of venue that is allowed to bring in prisons and how people use them. 251 00:31:46,150 --> 00:31:51,330 Having an essential role in the cuisine of the group as an emotional community. 252 00:31:51,330 --> 00:31:58,980 So according to Rosen, by definition, emotional communities are a group in which people are dear to the same norm 253 00:31:58,980 --> 00:32:05,070 of emotional expression and value or devaluate the same or related emotions. 254 00:32:05,070 --> 00:32:13,710 In my case, I use emotional community as a social group whose members share intimate, emotional everyday through music. 255 00:32:13,710 --> 00:32:18,690 But the validation and the expression depend on individuals actually go to Ramaa. 256 00:32:18,690 --> 00:32:24,410 That can move in time depending on individual life experience. 257 00:32:24,410 --> 00:32:28,770 So we saw that emotion register has been part of discourses of listeners, 258 00:32:28,770 --> 00:32:34,010 thus, even if my work will not be focussing on them, topology of her emotion, 259 00:32:34,010 --> 00:32:36,550 as I'm working more about extra G, 260 00:32:36,550 --> 00:32:43,850 I will not be able to ignore the grid concept that have been already developed in this perspective of the field of study on emotion. 261 00:32:43,850 --> 00:32:51,260 Integration is particularly interesting and has already produced a number of points that could be very useful in my other areas, 262 00:32:51,260 --> 00:32:56,090 such as outside emotional level. In her book The Manage It Hurt. 263 00:32:56,090 --> 00:33:00,550 And I met Dick Cordiale, I think most of you know her, Brian. 264 00:33:00,550 --> 00:33:06,080 He is the student and I'm totally objective, even if she is my friend, which is to me a few days ago. 265 00:33:06,080 --> 00:33:12,830 There is many work who have been made about anthropology of emotion and feminine mythology in the immanence to this. 266 00:33:12,830 --> 00:33:17,660 It's a feel of show that I'm not familiar with because of the focus of my research. 267 00:33:17,660 --> 00:33:24,690 So I will be very much more than happy to learn more about if you have any recommendations about that. 268 00:33:24,690 --> 00:33:31,720 But when I was in ethnomusicology is one become interested in the field of this research on emotion immigration. 269 00:33:31,720 --> 00:33:36,820 It quickly became apparent that our discipline haven't been very present and more 270 00:33:36,820 --> 00:33:43,380 absent from the debates and more widely in the development of this field of research. 271 00:33:43,380 --> 00:33:49,600 Only need the work of is there any level to take and get this take seems to point in this triple direction. 272 00:33:49,600 --> 00:33:57,300 And as for the more specific case of studies on Tibetan music, here again, we note that this approach has not been really developed. 273 00:33:57,300 --> 00:34:02,320 Only the work of Killer Day in 2002 seems to provide some element. 274 00:34:02,320 --> 00:34:08,860 And the purity of meat on up at the University of New York is more related to these. 275 00:34:08,860 --> 00:34:16,940 Malls nearby. More generally, it seems that studies on the emotion immigration, very often focussing on transnational care practises, 276 00:34:16,940 --> 00:34:21,590 have been more interested in the emotion aroused by material objects. 277 00:34:21,590 --> 00:34:29,270 When the researchers evoke a material object, it is often by not recognising the importance in the emotional experience of migration. 278 00:34:29,270 --> 00:34:32,240 This is, for example, the case of Moshe's the shark, who, 279 00:34:32,240 --> 00:34:40,390 after evoking that object test and smells as well as EMH, may come to stand for a particular human Hodor. 280 00:34:40,390 --> 00:34:46,760 Not merely some serious engagement with things from home may be an important way for immigrants to have, 281 00:34:46,760 --> 00:34:51,920 you know, dialogues with the absent homeland and create a sense of belonging. 282 00:34:51,920 --> 00:35:01,630 Summer to Sunseri seems to have only a potential importance in the emotional experience of immigrants with what comes from the country of origin. 283 00:35:01,630 --> 00:35:12,920 We also know that songs were not most were not in the least of elements that can signify or represent being, especially in a migratory context. 284 00:35:12,920 --> 00:35:18,350 Conclusion. In spite of the religious disinterest on music by anthropology of emotion, 285 00:35:18,350 --> 00:35:23,600 immigration and the absence of the Ittner musicological discipline in their debate, 286 00:35:23,600 --> 00:35:33,230 my research was notably despite a listening station, but also with the work on describing insitute institutionalisation of music led me to art. 287 00:35:33,230 --> 00:35:36,410 That sense of reality, and in this case in particular, 288 00:35:36,410 --> 00:35:46,790 interest in the relation to the song is at the core of life experience and the constriction of subjectivities in migratory context. 289 00:35:46,790 --> 00:35:53,720 This first, I hope I succeed to show that the ethnomusicology call approach has a place in the contemporary debate on emotion, 290 00:35:53,720 --> 00:35:58,520 immigration and more particularly in the field of Tibet, anthropology. 291 00:35:58,520 --> 00:36:03,020 Then I hope also I succeed to show that beyond the debate relate to nationalism, 292 00:36:03,020 --> 00:36:07,850 that is to do a lot to do in the Tibet ethnomusicology research field. 293 00:36:07,850 --> 00:36:13,160 To this year. Thank you, everyone. And you have all my biography. 294 00:36:13,160 --> 00:36:35,853 And I'm done. Thank you. Give you a.