Abstract

Lhamo, the popular folk opera of Tibet is a genre in which the contested politics of the Tibetan diaspora and the People's Republic of China are displayed. This essay notes the practice of the art by the Tibetan refugee community in India and beyond, where it evokes nostalgia for a lost existence and the struggle for a return to the Tibetan Buddhist homeland. Meanwhile the art has been redeveloped in the People's Republic of China in the wake of the Cultural Revolution and used to support Chinese claims to Tibet. Lhamo presents a case study of a particular art and how it can be articulated to different political and economic ends.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 149-178
Launched on MUSE
2006-04-12
Open Access
No
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