Amidst outcry over China’s recent assault on the Uyghurs, I’m finally giving equal coverage to the plight of the Tibetans. My comments set forth not from any knowledge of the societies in question, but from my interest in local communities and lives under the CCP, both during the Maoist era and since the 1980s’ reforms. So these posts cover social change, political upheavals, and expressive culture.
- Tibet during the Cultural Revolution (Goldstein)
- Forbidden memory (Woeser)
- Tibet: conflicting memories
- Labrang 1 (the New Grove debate, and the 2002 UK tour)
- Labrang 2 (Makley)
- How not to describe 1950s’ Tibet—including extraordinary footage of the Dalai Lama’s Buddhist graduation ceremonies just before he fled into exile in 1959
- Tibet: a blind musician
- Women in Tibetan expressive culture, including pop
- The enchanting world of Tibetan opera
- Tibet: some folk ritual performers
- Tibet: the Golden Age
- Expressive cultures of the Himalayas
- The Lhasa ripper
and necessary corrections to misguided views:
On the ritual cultures of ethnic groups around Amdo, see
A conspicuous absentee from my coverage so far is monastic ritual, a major part of the Tibetan soundscape that has been much studied, even at the expense of other genres. And as many Western studies turn to the lively scene of Tibetan pop, I tend to seek the changing fortunes of traditional culture.
See also Tibet tag.