So first, yeah, I would like to thank all the organiser of this seminar, because, as I said,
juries obliges before with the current situation, with the virus and all, we miss an opportunity to discuss about our work.
So it's very important way to work now.
So. Thank you so much. And thank you to all the participants who came to listen.
My paper, because you have all the different times if were different.
Many work to do so. Thank you so much to join and to to hear.
And I would like to say sorry because most often I can be here because I have a class at Elco.
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.
Also at the Inoko. So my name is critical speech.
And as Daniel said, I'm peers, you student in ethnomusicology at Carino, the university.
I do also study at in accord with cultures. Go about and got ya.
Is that what we are? We are in the same kind of Bible enquiries for all these kind of studies.
And I'm also basically a musician, so I have a classical singer information basically, so I can to musicology.
But basically I'm a musicologist and a performer basically.
So I use the fact to sing and dance. I play instruments during or when I can.
I go to India or in Tibet. I used to learn and to perform not as an artist, but as a student.
Most of them. So I'm supervisor by understand and custom keyboarding Burris, so an anthropologist in Nepal and more anatomy psychologist in India.
And so I has done you choose me a little bit.
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.
So that's why this lasts. We have moved that move a lot. And please forgive my English.
So as you know, as a friend, I'm not very like use using the usual to use some words in English.
So if I don't have all the shades of this language, please forgive me.
I will do my best. But perhaps it would be like little bit weird sometimes.
So my piece de focus is on the place of musical choreographically performances in the construction of subjectivities.
Independence's 18 Excite Interruption in India.
So I focus my attention on on one side, the representation of musical and dance practises in the public space.
So it's more religious about what Daniela spoke just before in India last year.
I present a paper about that and the other side on the discourse is formulated about the about them in an individual listening,
which I consider as musical experience. It's in its own right.
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.
So more specifically, I would present the systematised listening station that I set up for my last fieldwork in 2019.
And the advice of one of my supervisors. To this station, I wish to question the importance placed attributed to nationalism in Tibetan society,
in exile within scientific discourses, especially those about music.
To do so, I will highlight the different value system or extra logical grammars attributed by
Tibetan refugees to the music that constitute as Tibetan soundscape either Renschler.
It will also allow me to show that despite the weight of Tibbett, an institution in the field of battle,
memorisation of musical choreographic knowledge and their discourses on what counts in their situation of excite,
individuals constrict their own value system and their own logic of attachment through their life experience.
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.
They will also baramidze me to demonstrate that this it is through musical
experience that this defendant shared an individual value system are articulated.
I therefore believe that this experience of music plays an important, particularly important role in the construction of individual subjectivities,
but also in the cohesion of Tibetan society in Dharamsala as an emotional community in exile,
despite its great, great atherogenic e.g. and internal conflicts.
So far today. Till now. Any narrow conference.
I used to present more, ignore graphical Dartez to speak about my field works and describe musical practises and institution.
So what I will do today. It's kind of new, a little bit experiential for me.
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.
So about the listening station. Why I choose to do that, so after my visit in 2018 in Dharamshala,
I came to wonder whether the Tibetan nationalism that was so much in evidence in the field of Tibetan music,
in Excite research and more generally about Tibetan society in exile, was really at the core of the Tibetan refugee experience.
So people do present you the different music I choose to set up in.
I think it's important to tell you about the people who accepted actually actually to participate to this experience.
So for now, it's 10 people I knew beforehand.
So it is some member of my family host or some friends close to them because I used to teach French also in Dharamsala,
or it was some type of artist friends or musician I have worked with and some close friend or a longtime friend.
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,
67 hardboard in exile in Asia and the other half part in Tibet with a person from the three big region,
great region as it's defined it more generally now.
And the majority of them are living in India and a few people are living in the West.
And I represent a different socio professional activities in clinching artistic activities as well as retired and unemployed.
People know that all this person have at one time or another in their lives and in different context be music and dance practitioner.
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.
It's more like soft. But in English perhaps it's a bit hard, but sorry.
So this individual station where it in English or in Tibetan and once in French language in a place are the participant convenience.
So it could be a room or a Tarasov restaurant, a coffee, an office or a room in a private home.
And at least it's the duration was between one and two hours.
In general. So I just wanted to be able to do a portrait of the participants.
The first part of this listening station, there was a time when participants describe to me their past life,
past and their relationship to artistic practises. The second part was dedicated properly on listening with individual,
with hair and a headphone, as you saw in the picture of the beginning of my presentation.
And it was really this bad for a listening session.
So I played it songs, I was selected and I played in taxation without the participant spend doing what the they were about.
So the question I asked before starting the listening was much more neutral as possible that this music makes you think about something,
just that after the discussion was very open. So in addition to the speeches made about the different items,
I took into account the listening time so the person could stop the music whenever they want and as much as possible.
I tried to describe the physical reaction when there were any like crying or crossing cards looking up.
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.
And finally, I handed the station with the third part where I ask three question.
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?
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?
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?
So about the selected items so far, the really the listening station,
I meant the choice of song I chose chosen for displayed ekström speeches on certain repetoire or on the musical
test in a more general way is that I have already heard during my fieldwork in 2015 for my master degree,
but not by decree, particularly during my fieldwork in 2018 where I had read the work,
which is within institutions such as the Tibetan Institute of Performing Arts.
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.
So in Upper Dharamsala.
So it seems the distinction between the three regions or with some uncommon under became important in Tibetan culture in exile.
I choose six songs from this point of view about original song characteristic.
Then I choose three songs that are part of the soundscape in Dharamshala without original consideration as Indian film music culture is important.
I choose a song from Bollywood movie.
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.
So this song I will present today to show you how I work about this listening and that that I need.
It's this song of this patriotic song. And then the quality of modern Tibetan pop song, Produ said in exile.
Compare it to those produced in Tibet being often at the heart of this debate in Dharamsala.
I chose to song from this repetoire. Finally, I choose to include some family before not very present.
Now, in the soundscape in Dharamshala today, the rock, the pop and the rubbing, much more present in Dharamsala today.
So it's kind of a different situation. That's Cayla.
There was about to describe 20 years ago. The order in which I choose to play the music over was also Southwold.
Since my work is initially focussed on the musical experience of people from Kambala, I thought about the order of listening.
From what I understood to be the most DTL to the more familiar for a musical point of view.
So about the presentation of that after this intermission.
I have chosen to present the analysis of the data of the six some of the players on what they knew.
So it is a song that is Scattergood. I'm sorry, categorised as a patriotic song, thought in Tibetan school in exile.
So the lyrics were right. And by again, the water showed up and appeared to city music teacher who was also trained in Tibet.
Actually. So where music teacher?
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.
Putting himself in this child choose. He described the feeling he has when he think of the family he had left, especially his mother.
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,
especially by men and the importance of mothers in culture,
the maternal figure in this contest has apparently perhaps I'm wrong, but I didn't feel anything about that.
Not with so much research. Actually, this this is one of the teams that I won't develop, in particular in my Puji.
And that is, I think, really want to present to you today.
So the recording comes from a YouTube video that was put online by Tibet TV for the celebration of the 50s,
third anniversary of the purchase of this school in Dharamsala in 2013.
In these videos, students from the severe kindergarten classes line up on the school's board drum and perform this song,
choreograph it and set in music by again, the what, Sheila?
The audiences all around the field in the bleachers is composed of family members, school students, officers and sponsors are invited for the event.
A small orchestra of older students play the instrument, that part that accompany them.
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
think of the moments spent in Tibet with his beloved parents and especially with his mother,
whom he got civil rights several times on Mallat Amala.
He talked in particular about his crying and how he continued to apply his parents advices in school life.
We have this and speak correctly, politely make for it.
So now we'll try to present and as we so not, I think it's OK if it's too low.
Please let me know. We checked this before with Dannion. So.
So. About the question of moderates were interesting, but I won't speak about that,
but the fact the things also about how they choose to build this movie is also very interesting
because we don't know if the child is crying because of the meaning of the lyrics or something.
But as I think some of you have already be part of in the origins of this kind of event,
the child eyes are on the playground all the day and it's it's on the star studded and everything.
So we don't know a child cry for what he feel for the music or about the situation.
He's bored or the tired. We don't know that the use of the camera and how it's.
It's really interesting to to analyse also. But it's not my point, but it's something I find very interesting also.
So I will try to move for other. Thirty.
So now I'm going to present you the synthesis of the different values that have been attributed to this song by my intellectuals,
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.
Note that this work of creating categories from these speeches is on process.
And I would be more than happy to benefit from your comments.
And I advise for words. So. I would present the different dimension, like in order of importance in the speeches.
How many times it's appeared. So the first.
Sorry, the first one is the aesthetic dimension. The least more income about this.
So it was more about textual register. Some of the listeners said all the lyrics are very sad.
It's very nostalgic. So it's the aesthetic dimensions of this song.
And after these more explanatory dimension, who can lead a bit more?
But it was not so much important. So there is the knowledge register.
Some people say, oh, I recognise this song. These are imaginary and about knowledge.
It was more about, oh, I understand the lyrics or I did.
I don't understand the lyrics. And there was also this exegetical register explanation on the lyrics.
Oh, this song is about. And the explanation something was did a bit different, depending on the listener.
How to say importance, both of you. So now it's a free, more prison in the discourses speeches of the listener.
It was an interpretative dimension.
So there is the imagination register the emotion register at the mediation registers like a little bit deeper insight about the imagination register.
It was passion of immersive value. Some people say, oh, it take us back to Tibet.
The other one was an emphatic, emphatic value. So we can imagine the pain of those who have experienced the separation from their parents.
Also about the emotion reduced. So I use emotion, feeling an affect in their favour indifferently as animal,
and consider emotion as interactive process that shape people's perception as as Lussick told, and also as a value revenge.
Or have I, Nick, use also this notion of emotion in global.
So in this dimension, this register, it was more about moving value, so the listener said, oh, it's a touching music.
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.
The fact it was children who were singing the melody also.
And the third one with the lyrics. So the second value, the intimate value.
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.
It's not my own point about order. And the third one is the ethical value.
You deal with important issues such as freedom of religion, practise and study, but also the important issue about separation from family and home.
So it's about this emotion register and third mediation register, so I used to say mediation,
because as I understand that it's a kind of breach who make a link between people or if sometimes.
But as it's in building suppress mediation is not the best word.
But I'm open to the proposition. So is the transmission value.
So some of my interlocutors said, oh, it's transmit some important point about Tibetan culture or Tibetan history.
So the second value was something more about the weirdness.
Oh, this song is important to explain issues about Excite or what others have experienced.
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.
And two, did Kotori explain to them about the past?
And the third venue in mediation was a revealing value.
So some people say that each one carry a sad story within.
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.
So the last dimension, who is equally prison at the interpretive dimension was the memory dimension.
So about this fourth dimension.
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.
But it was more not a question of importance in the speech.
So there's a seven souvenir memory value, so specific encapsulated moment that returned to memory.
So it's a question of remembrance of a specific past event.
For example, the show, the device itself, the public, the space, the children.
And it can also bring back feeling through the through that have been manifested during a specific best event.
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.
But there is someone who was present in the audiences and she remember that she was in the audience.
You remember the device in general. She remember what she felt and what she thought at that moment.
And also, it brings back to her some memory of the personal, even during these specific,
either because her niece was in the children who was there for me.
This song and just you noted that you have said the video for this condition that the listener just had a song.
If they didn't have the movie with a drink, the experience.
So the second value was the amputation memory value. So it's memory that is acquired through repetition, prisons in place.
So in that point, it was more evocation of classmates and teachers interest to school in than Charlotte, but also in Shimla.
It was also a location of school periods without any precise description.
Evocation of other musical repetoire was also pointed out in this venue of arbitration memory.
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,
because, for example, there is one person who did not tell me a precise memory.
And at the same time, she evoked her parents. So with the discourse as she did, I can match that to arbitration memory indeed.
In these words, combine it to her life course. So she is born and raised in Tibet.
And therefore separate from her parents. But she she was an A student at the time.
She she came in in in India when she was 25. So nothing allow me to connect this to souvenir memory or arbitration, Nimmer.
So there is sometimes a difficult to find how to because we can't classify everything.
It's moving. So I have to think about how to what to do about this kind of that.
Ah. Now, I don't know how to deal with that, but I think it's very important also.
So also in this memory, dementia, there is question of some marker register.
So, for example, to is the time that you notice for this point,
I would say it was more speeches from some musician and artist who say this kind of things.
But the question of style was made about the childish style.
So people was able to guess to understand that some children was playing the instrument that Bart.
And also, they recognise that it was a last ditch. We have the instrument play.
And there is also a question of locations or marker, so location value.
There is some people who said directly when they listened, that is, they owe it to some from here from Dharamshala.
And some people say also, although it's really a sort of a dirty trick.
So this is really location in different point of view who are linking it to the song market.
That's why I think it's important to to note is that.
That's what counts in this song for listeners.
We can see that even if this song has been categorise it in the repertoire of patriotic songs and is part of politics said.
What is important for them is expressing a set of values, especially didn't get to anemones.
This mediation feeling and imagination register.
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,
this listening session allowed me to question my knowledge of the musical practises of Tibetan exiles
in Dharamsala and more generally on the issues and experience of exile in this particular case.
And know I started using this tool, I had already have been able to attend several performances in this city,
but also to see how the Tibetan musical, choreographic, every stage inexact was transmitted here.
I had to decide that teachers, event organiser and artist, for example, often emphasises the importance of preserving rich Tibetan culture,
every stage of the involvement of the Tibetan community in the struggle for an independent free Tibet.
Depending on the point of view. So I had a very institutional,
political and spectacular vision of the peace musical and then practises that this listening station allowed me to question.
This I want to give an account of the fact that music is at the core of the constriction of subjectivities in these.
It is a privileged medium through which an emotional every stage and extra logical grammar school is to central television are transmitted,
ending the member of the timid and community interaction up through the use of every stage emotions.
So emotion that everything is emotion that I build using the notion of every stage of Cornetto they define.
It's about what we care about. So for me, emotional every stage is these motion.
We care about and for those, we are engaged in their transmission.
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.
What is important to individuals in the listening in listening music?
What matters and what does what does it tell us about Tibetan society?
But I'm Ciulla. And what about the experience of exile in this case?
Through the description of institute performances and the dust from the listening station, I will try to answer this question and show how.
Thanks to the emotions researching from the evocation of memories and the story station of the imaginary during the performance,
such as nostalgia, music, a little one to recreate links with obscene entities, Jim, important in the future in exile,
such as religion, the mother, the place Tibet or a way of life nomadism, for example.
I will also show how music allows us to relieve to make prison past even is crabbed in the collective story and imagination,
often charged with heavy emotions.
Then I will describe how these attachment to absent and pest entities allow us to create connexion with individual present.
With this inexact. This connexion and this work of weaving emotion through music.
Thanks to the set of venue that is allowed to bring in prisons and how people use them.
Having an essential role in the cuisine of the group as an emotional community.
So according to Rosen, by definition, emotional communities are a group in which people are dear to the same norm
of emotional expression and value or devaluate the same or related emotions.
In my case, I use emotional community as a social group whose members share intimate, emotional everyday through music.
But the validation and the expression depend on individuals actually go to Ramaa.
That can move in time depending on individual life experience.
So we saw that emotion register has been part of discourses of listeners,
thus, even if my work will not be focussing on them, topology of her emotion,
as I'm working more about extra G,
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.
Integration is particularly interesting and has already produced a number of points that could be very useful in my other areas,
such as outside emotional level. In her book The Manage It Hurt.
And I met Dick Cordiale, I think most of you know her, Brian.
He is the student and I'm totally objective, even if she is my friend, which is to me a few days ago.
There is many work who have been made about anthropology of emotion and feminine mythology in the immanence to this.
It's a feel of show that I'm not familiar with because of the focus of my research.
So I will be very much more than happy to learn more about if you have any recommendations about that.
But when I was in ethnomusicology is one become interested in the field of this research on emotion immigration.
It quickly became apparent that our discipline haven't been very present and more
absent from the debates and more widely in the development of this field of research.
Only need the work of is there any level to take and get this take seems to point in this triple direction.
And as for the more specific case of studies on Tibetan music, here again, we note that this approach has not been really developed.
Only the work of Killer Day in 2002 seems to provide some element.
And the purity of meat on up at the University of New York is more related to these.
Malls nearby. More generally, it seems that studies on the emotion immigration, very often focussing on transnational care practises,
have been more interested in the emotion aroused by material objects.
When the researchers evoke a material object, it is often by not recognising the importance in the emotional experience of migration.
This is, for example, the case of Moshe's the shark, who,
after evoking that object test and smells as well as EMH, may come to stand for a particular human Hodor.
Not merely some serious engagement with things from home may be an important way for immigrants to have,
you know, dialogues with the absent homeland and create a sense of belonging.
Summer to Sunseri seems to have only a potential importance in the emotional experience of immigrants with what comes from the country of origin.
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.
Conclusion. In spite of the religious disinterest on music by anthropology of emotion,
immigration and the absence of the Ittner musicological discipline in their debate,
my research was notably despite a listening station, but also with the work on describing insitute institutionalisation of music led me to art.
That sense of reality, and in this case in particular,
interest in the relation to the song is at the core of life experience and the constriction of subjectivities in migratory context.
This first, I hope I succeed to show that the ethnomusicology call approach has a place in the contemporary debate on emotion,
immigration and more particularly in the field of Tibet, anthropology.
Then I hope also I succeed to show that beyond the debate relate to nationalism,
that is to do a lot to do in the Tibet ethnomusicology research field.
To this year. Thank you, everyone. And you have all my biography.
And I'm done. Thank you. Give you a.