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By Francis Kleynjans

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These studies have addressed the salient role of artistic expression and performance among, for example, migrants to cities (de Gerdes 1995, Turino 1984, 1987), groups seeking political independence (Handler 1988), and ailing governments seeking to project desired images and maintain the appearance of national coherence (Buchanan 1991). The issue here is most basically expressed, perhaps, as that of the effectiveness of the arts—and, for the purposes of this study, the effectiveness of music in particular—in contributing to and making believable the placement of the individual in the social, and the placement of the social in the world.

Expose the basic building blocks of culture just when we pass out of and before we re-enter the structural realm” (1967: 110). Turner also drew attention to the liminal, and later the liminoid, as an important space/time for creative work. The editors of a collection of essays published in honor of Turner claim that his use of the three-stage model (separation, limen, and aggregation) has “set the agenda for the study of creativity in culture” in its movement from accepted configurations, through their dissolution into constituent elements to their subsequent reformulation (Lavie et al.

However understandable this bipartisan process of romanticization may be (and it is a process with a long and well-documented history in the case of Tibetan-Western relations), its positive effects do not come without a price. An extended stay with Tibetan refugees taught me that public representations of Tibetan-ness and the lives of Tibetans have tended to smooth grossly over the striking unevenness of experience encompassed in refugee lives. My concern is with the “zones of invisibility” (Rosaldo 1988: 79)—and, in the case of music, zones of inaudibility—created in large part by the well-intended selectivity at work in the Tibetan community and among scholar-advocates, however compassionate the motivations for such partial representations may be.

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A l'Aube du Dernier Jour (Guitar Score) by Francis Kleynjans

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