Abstract

This article examines common misconceptions in the field of Tibetan opera (lhamo) studies that arise out of analysis of performances conducted in and outside the Tibet Autonomous Region (TAR). Dichotomies propagated by contextual and environmental elements of performance disallow clear analysis of the core characteristics of performance. An ingrained political and aesthetic prejudice leads to an oversimplification of the merits of lhamo performances inside the TAR and in exile. This article attempts to clarify some of the root reasons for these distortions and posits a new line of future research.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 270-278
Launched on MUSE
2014-04-14
Open Access
No
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