By Libu Lakhi (Li Jianfu 李建富, Dawa Tenzin) with Qi Huimin 祁慧民 , Charles Kevin Stuart, and Gerald Roche.
The namʑi are among the scattered teams of individuals, formally categorized by means of the chinese language executive as Zang 藏 (ethnic Tibetans), who stay quite often in southern Sichuan 四川 but additionally in a number of locations within the north of the province. yes of those Qiangic-speaking peoples have been as soon as mentioned in historic files as 'Xifan' 西番 (Western Barbarians) (Harrell 2001:69). Strongly prompted through different neighborhood cultures, cultural and linguistic connections among those teams and the bigger Tibetan groups to the north and west fluctuate in measure. The namʑi who determine during this research dwell within the region of Xichang urban 西昌市 , the capital of the Da Liangshan Yi Nationality independent Prefecture 大凉 山彝族自治州 the place the dominant ethnic teams are the Han 汉 chinese language and an incredible subgroup of the Yi ethnic crew, the Nuosu 诺苏 . The namʑi keep a feeling of specified ethnic id inside their compact groups, although a lot of persons are acquainted with the languages and customs in their pals. one of the positive factors that distinguish the namʑi are language, ritual traditions, foodways, points of fabric tradition, and traditions of oral functionality. the current learn is a simple, pragmatic try to rfile the details of namʑi music and musical traditions comprising the neighborhood 'performance-scape'.
The basic researcher, Libu Lakhi, is a local of the neighborhood who was once informed in a really expert mode of auto-ethnography built by means of Charles Kevin Stuart and Gerald Roche at Qinghai basic college 青海师范大学, Xining urban 西宁市 , Qinghai Province 青海省 . Drawing on ethnomusicology, socio-linguistics, and the 'performance' university of folkloristics, the version is meant to let neighborhood peoples to rfile and reveal their very own traditions in a kind to be had to students and individuals on an international scale. This effective process will be successfully used in this type of small-scale codecs well-known to folklorists and ethnomusicologists. In spirit, the process of teaching isn't really distinct to the equipment hired in China because the may well Fourth flow period (1919 to the early Nineteen Thirties) the place students have been proficient to assemble neighborhood track and tale texts, tools revived and recalibrated in the course of government-sponsored folklore accumulating actions within the Fifties, and back because the 1980s.
The current examine, in spite of the fact that, not just stresses the gathering of track and chant texts, yet contextualizes them through offering particular descriptions of the performers and their lives, multi-linear representations of the music lyrics and musical notation, and info of the functionality strategy. whereas the authors haven't tried to put the songs and track in a better neighborhood context, the extent of aspect and documentation will permit the gathering to function fabric for in-depth comparative research with regard to different traditions. within the rapid region, comparative reports might be made one of the melodies, lyrics, and dynamics of functionality in traditions of a number of the Nuosu and Han groups, in addition to the Mosuo 摩梭 humans of the Lake Lugu 泸沽湖 quarter at the border of Sichuan and Yunnan 云 南 the place the word mada mi, a component of many songs during this quantity, can be a part of tune lore. In a broader context, this examine will tackle new that means because it is (hopefully) joined by way of different works that carry recognition to the multitude of sub-traditions grouped below the bigger professional ethnic different types, because the mosaic of ethnicity in southwest China is extra explored, documented, and made to be had for appreciation to audiences past the local.
---Mark Bender (The Ohio nation college)
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Additional resources for ASIAN HIGHLANDS PERSPECTIVES Volume 4: China's Namzi Tibetan Songs, Engagement Chants, & Flute Music
Unlike in nearby Nuosu and Han communities, it is not the custom to demand or encourage people to drink a great deal―guests drink as they like. Young people are not offered liquor. Children may play in the courtyard. In the past, the host offered each guest a pinch of ground, locally grown tobacco to be smoked in a pipe. C As time passed, and more liquor was drunk, the sound of laughter and loud conversation about Li Guoqiang and bu53 du53 mo11 increased in volume. A piglet raised by the host's family was killed in the courtyard by two young men from dʐə11 qu11 Village who then heated the carcass by the hearth and busily removed the bristles.
After washing the piglet in cold water, the two young men cut open the piglet and handed the gallbladder to li44 ʙu55 sə11pə53. He stood, examined the gallbladder, held the root of the gallbladder in his left hand high in the air so everyone could see it,D and then chanted good wishes to Li Guoqiang and bu53 du53 mo11 for their happy future. These orations are non-strophic. Thematically, they praise the family and predict an auspicious future. , The first author has never seen na53 mʑi53 use snuff.
Engagement parties are usually held in the girl's home. However, in this case the party was held in Li Guoqiang's home because it is near the road, which made it convenient for guests to reach, and also near the village shop, making it convenient to buy liquor and cigarettes. In contrast, bu53 du53 mo11's home is accessible only through a narrow path between rice fields and further from the road, which makes leaving the home somewhat difficult, especially if guests are inebriated. As soon as the guests entered the room, they were seated æ11 ŋæ44 and ʂa53 zo53 are neighbors.