The Return of the Far-Off Past: Voicing Authenticity in Late Socialist Mongolia

IF 0.4 3区社会学 0 FOLKLORE

JOURNAL OF FOLKLORE RESEARCH Pub Date : 2019-03-08 DOI:10.2979/JFOLKRESE.56.1.02

Andrew Colwell

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引用次数: 0

Abstract

Abstract:This article combines conceptual history and musical ethnography to tell the story of yazguur (meaning "authenticity" or "originality"), a pivotal concept in late socialist Mongolia that continues to inform cultural heritage discourse and policy today. The seminal music researcher Badraa first proposed this notion in the 1970s as a translation for folkloristic and primordial "authenticity" in a bid to assert the cultural sovereignty of Mongolia under Soviet hegemony. However, his cohorts, such as the xöömeich (throat singers) with whom I have consulted, also resignified the term through their own discursive and performative practices that hinge upon pastoral custom and aesthetic propriety with baigal' (nature, existence). So, what does authenticity really mean when it departs from its Eurocentric sources, when actors begin holding its meanings accountable to the poetics and politics of indigeneity? One possible answer to this question lies in attending to what resemble sustained modes of global "entanglement" (more so than dichotomous "appropriations" and "encounters") through which circulating concepts become local sounds and sentiments.

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遥远的过去的回归：社会主义晚期蒙古的真实性

摘要：本文结合概念史和音乐民族志，讲述了yazguur（意为“真实性”或“独创性”）的故事，这是社会主义晚期蒙古的一个关键概念，至今仍在为文化遗产话语和政策提供信息。具有开创性意义的音乐研究者Badraa在20世纪70年代首次提出了这一概念，作为对民俗和原始“真实性”的翻译，以维护苏联霸权下蒙古的文化主权。然而，他的同伴，比如我咨询过的xömeich（喉咙歌手），也通过他们自己的话语和表演实践放弃了这个词，这些实践取决于田园习俗和与baigal（自然、存在）的审美礼仪。那么，当真实性偏离其以欧洲为中心的来源，当行动者开始对本土的诗学和政治负责时，真实性到底意味着什么？这个问题的一个可能答案是关注类似于全球“纠缠”的持续模式（比二分的“拨款”和“遭遇”更为如此），通过这种模式，循环的概念变成了当地的声音和情感。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

JOURNAL OF FOLKLORE RESEARCH FOLKLORE-

CiteScore

0.60

自引率

0.00%

发文量

期刊介绍： The Journal of Folklore Research has provided an international forum for current theory and research among scholars of traditional culture since 1964. Each issue includes topical, incisive articles of current theoretical interest to folklore and ethnomusicology as international disciplines, as well as essays that address the fieldwork experience and the intellectual history of folklore and ethnomusicology studies. Contributors include scholars and professionals in additional fields, including anthropology, area studies, communication, cultural studies, history, linguistics, literature, performance studies, religion, and semiotics.