Abstract

Scholars and musicians alike have described the music of the Manganiyar musician community almost entirely in terms of Hindustani classical music. As a result of the Manganiyar community’s straddling of the India-Pakistan border, their lives inhabit a borderland in political space, religious belief, and cultural practice. Their music, while utilizing elements of Hindustani raga, also draws considerably on Sindhi surs, a body of musical/poetic texts more closely associated with Pakistani music. The Manganiyar meld these musical systems into their own practices in order to assert their borderland identities, and ultimately complicate broader dichotomies and binaries in South Asian contemporary music.

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Additional Information

ISSN
1553-5630
Print ISSN
0044-9202
Pages
pp. 3-33
Launched on MUSE
2012-01-01
Open Access
No
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