Abstract

This article examines the festive musical practices of Chinese immigrants from 1949 to 1988 in central Rangoon. Eschewing conventional interpretations of diasporic music that view a diasporic community as a fixed unit, the author adopts the mode of ethnographic historiography and focuses on multiple micromusics that emerged in the Burmese Chinese community. This speaks to the music’s performativity of difference whereby music is used as a strategic resource to help articulate differences and lay claim to subjectivity.

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Additional Information

ISSN
1553-5630
Print ISSN
0044-9202
Pages
pp. 19-55
Launched on MUSE
2011-07-09
Open Access
No
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