Earlham College Tibetan Studies Program 

Special thanks to the Tibetan Institute of Performing Arts, Tibetan Children's Village (Upper Dharamshala), and Namgyal Monastery.

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Introduction

Music is a tool, derived from human emotion, that aids in the shaping of one’s identity. This expressive tool can assist in unifying a nation through common feelings. An example of this is the 1960s Counterculture movement in the United States, which produced a new wave of genres with some of the most well-known rock groups such as Jimi Hendrix and Grateful Dead [1]. Musical identity, or the perception of oneself through music, constantly fluctuates [2]. The arisal of new musical genres and tones are often products of cultural uprisings or swings in socio-political status [3]. Similarly, the Tibetan community has developed a contemporary style of music, influenced by the liminal process of the Chinese occupation of Tibet [4]. This report will discuss the historical evolution of Tibetan music from traditional genres to its modern forms. In addition, the effectiveness of the continuation of Tibetan music will be examined. The cultural suppression of Tibet by China has created a communal intent by Tibetans to preserve Tibetan music. Although Tibetan music has been formed from outside influences, it now appears to be more authentic in places outside of Tibet. 

 

The Origin

The origin of Tibetan music is unclear. According to Geshela Kunga, an assistant director and ceremonial musician of Namgyal monastery, musical instruments were first introduced to Tibet in the 12th century by the 7th Dalai Lama for monastic (relating to Buddhist monks and nuns) ceremonial use [5]. Others claim that the earliest record of Tibetan music dates to the 12th century, when storytellers would spread morals of Buddhism through song [6]. 

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Although the practice of traditional Tibetan monastic music has largely remained the same, it was developed through the influences of different nations. Regal music ceremonies are performed by Buddhist monks on certain holidays, correlating with the Tibetan calendar. The kangling, a horn constructed from a human femur bone, has been used for practices in Tibetan Buddhism since the emergence of music in Tibet [5]. However, this instrument has influences from India, as the horn was used by Tantric Buddhists from India in the 9th century [7]. The dungchen, a long brass horn, originates from Mongolian Buddhist ceremonies [5]. International and multicultural influences have shaped monastic music over centuries. 

 

Chinese Cruelty

The Cultural Revolution of China, erupting in 1966, introduced a shift of norms for Tibet and China. Mao Tzedong, the prime minister of China, ordered the reconstruction of cultural models to appeal to communism. Chinese forces of the Cultural Revolution destroyed musical free speech, as Mao Tzedong only allowed Chinese propaganda music for the public to hear [8]. Chinese forces also decimated Tibetan Buddhist monasteries and temples, as they perceived Tibetan Buddhist monasteries as a threat against “renew[ing] the spirit of the communist revolution” [8][9]. Most monasteries that remained were located in Tibetan cities where Chinese authorities could easily control them [10]. Once the Cultural Revolution ended in 1976, monasteries were reopened with new laws under the Chinese government that banned certain religious activities, such as worshiping the Dalai Lama. Chinese forces restricted the amount of monks and nuns that can reside in monasteries. More recently, security cameras have been installed to monitor Buddhist practices [9]. Kunga states, “When there is full restriction on the practice of free religion, then… music is also related [to this]” [5]. Since many Tibetan monastic regal ceremonies are performed to praise His Holiness the Dalai Lama, it seems that the Chinese government would place restrictions on monastic music. Although there is little research on Tibetan monastic music, one could theorize that monastic music in Tibet has been controlled, and thus altered by Chinese forces. However, the preservation of Tibetan monastic music seems secure in places outside of Tibet. Namgyal monastery, located in McLeodganj, India, regularly practices regal ceremonies with traditional instruments and musical structure [5]. Furthermore, some Tibetan monastic instruments originate from India and Mongolia: so the protection of monastic musical practices appears more stable than other forms of traditional Tibetan music. 

 

A Rural Approach

Other non-monastic forms of traditional Tibetan music include Tibetan opera and Tibetan folk music [11]. These genres were rooted in, and spread from, rural areas in Tibet [12]. Samten, the Artistic Director from the Tibetan Institute of Performing Arts, claims that traditional Tibetan music originates from interactions with nature. “Tibetan vocals are very much related with natural things” [13]. Musical tones were developed from Tibetan farmers and nomads while doing labor [13]. Other aspects of their surroundings were also implemented in their songs. Some songs paint a picture of “a land of clean snow, towering mountains, and animals meandering under the watchful eye of a strong artistic people” [14]. These tones were passed on from Tibetans to their children, and often accompanied with dance [13]. 

 

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Evolving from rural life, the messages of these traditional forms of music were altered by the Chinese government. In numerous cases, The People’s Republic of China (or the PRC) utilized the voice of a Tibetan to promote China’s success. In 1959, the year that Tibet was occupied by China, Tibetan singer Tseten Drolma sang a song in front of Chinese officials that highlighted the beauty of Tibet. After this performance, she was chosen to represent Tibet and the PRC, as she was perceived as an “ordinary girl” that rose to fame through China [3]. She was not, however, popular among Tibetans [3]. A form of identity expression was employed to promote a falsified message: Drolma’s music reluctantly glorified the PRC, as her musical success story as a “liberated serf” was a vehicle for Chinese propaganda. This occurrence marked the beginning of an enduring suppression of Tibetan identity through music. Drolma’s performance further represented the start of a modern musical movement among Tibetans: her song was the first to display instruments from both traditional Tibetan music and Western music [3]. This was one of the first signs of musical modernity among Tibetans, as Drolma’s music sounded foreign to them. Drolma’s song was more of a Chinese adaptation rather than a Tibetan musical form. 

Adapting to Modernity

Proceeding the Cultural Revolution, Tibetans under occupation began manufacturing a musical sound with Chinese influences. With the emergence of modern electronic technology in the 1970s, people could broaden their limits of musical expression. Deng Xaioping, in an effort to modernize China, publicized Western pop music in the late 1980s through the allowance of tape recorders. Thus, music was more accessible to people. This introduction provoked a new wave of music, and Chinese propaganda songs from the Cultural Revolution lost popularity. Modern pop music techniques, such as the use of synthesizers, were being incorporated into Chinese music. Tibet was adaptive of these new Chinese musical genres because many aspects of their cultural environment were partly controlled by the Chinese government [3].

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Exiled Tibetans view Tibetan music with Chinese influences as a “contaminated agent of cultural sinicization” [3]. China has accepted these forms of altered Tibetan music in efforts to promote Tibetan tourism [8]. With the increasing competition of pop and rock singers in China starting in the 1990s, many Tibetan artists have adapted to Chinese culture, singing in the Chinese language [3]. A sense of Tibetan identity is partially lost. But Tibetan artists are not to blame: Chinese authorities have banned the teaching of Tibetan language to students in Tibet [15]. Music can be a mechanism to teach languages through song: the Tibetan language is put under threat when it is eliminated from musical lyrics. 

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Tibetans under occupation were allowed to express their identity through music as long as there were no “explicit political lyrics” [8]. Despite forces of sinicization, Tibetans in Tibet quickly adapted to this growingly popular genre of pop rock. In 1990, a singer from Lhasa named Dadon introduced the public to modern Tibetan popular rock music. She chose to sing about her native land of Tibet. While Dadon expressed pure feelings of her native land without conveying political messages, her music was inspired by tongsu, a modern form of Chinese music consisting of Chinese folk and Western pop rock influences. Despite outside influences, Dadon’s music resonated with native Tibetans, as they could identify with Dadon’s emotional lyrics [3]. The music of Dadon serves as an example of a controversially successful adaptation to modernization and sinicization (or assimilation into Chinese culture) in Tibet [8]. 

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Despite the partial victory of expression with the example of Dadon, other Tibetan artists were jailed for their music. In 2012, Pema Trinley and Chakdor, two pop singers living in Tibet, were imprisoned after releasing songs voicing explicitly about self-immolation and praise of the Dalai Lama [16]. The song, “Aku Pema”, by Tibetan native Palgon, is an example of how the PRC has abused the law that bans political lyrics. Known as one of the most well known modern pop songs of Tibet, “Aku Pema” was produced in 2003. Although the song contains Western pop influences, such as a rock drum set, Palgon utilizes the dranyen, a traditional Tibetan guitar. The name “Aku Pema” or Uncle Pema, metaphorically refers to His Holiness the Dalai Lama [17]. Although some Tibetans cannot understand the lyrics since it is sung in an Amdo dialect, it was temporarily banned in Tibet for conveying subtle political messages and threatening the security that China holds over Tibet [8]. Yet, the rights of Tibetan’s are restricted not only politically, but also culturally. The restriction of free speech, especially when communicated through music, limits the artist’s ability to embrace their full identity.

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Music in Exile

Tibetans in exile have created a space of free musical expression. TIPA, or the Tibetan Institute of Performing Arts, has provided a space for Tibetans in exile to practice traditional forms of Tibetan dance, voice, and instruments. TIPA, located in Dharamshala, India, was one of the first institutions founded by His Holiness the 14th Dalai Lama in 1959 to preserve and provide a basis of traditional Tibetan music [12]. TIPA has produced thousands of musical artists since 1959, some of which have since traveled the world to spread traditional and modern Tibetan music to the world [13]. Students and staff at TIPA face no political restrictions when producing and reciting music. 

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When first established, TIPA struggled with communicating musical notation to students, since most practices of traditional music were inherited verbally through family members. Yet, a structure and discipline of teaching has been developed by TIPA to improve the flow of learning [13]. TIPA has established a musical notation system to preserve traditional songs. The notation uses numbers instead of musical notes. TIPA’s notational system maintains a level of uniqueness, as they attempt to stray away from modern musical systems. However, this is controversial to making traditional Tibetan music known to the world, as their system is unapproachable to some [13]. 

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Dawa Tashi, a graduated TIPA member, notes that Tibetan musicians in exile are creating various genres of music, since many are living all around the world, from Switzerland to the United States [18]. Even in Tibet, Tibetan musicians are producing modern rock songs to “target the urban youth culture” [3]. A rock band from Lhasa named Gnam lcags, or “Sky Metal” was known as Tibet’s first rock band” [3]. Their music contains modern rock elements from the West, yet they still use some Tibetan instruments [3]. 

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Tashi now teaches dance at the Tibetan’s Children Village in Dharamshala. Additionally, he creates music lesson videos on YouTube to teach international students how to play traditional Tibetan instruments. He began teaching in order to motivate the younger Tibetan generations to feel more ‘purely’ Tibetan. He believes that music and dance serves as a tool for Tibetans to gain confidence when speaking of their heritage. “Still in my heart I am pure Tibetan… because of TIPA” [18].

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Conclusion

Although arguably all genres of music evolve, Tibetan music has evolved under artistic suppression. Traditional Tibetan music, including monastic and rural-influenced, have been both directly and indirectly sinicized through governmental restrictions on freedom of expression. However, spaces, such as TIPA, have been dedicated for the preservation of traditional forms of Tibetan music. The diasporic nature of Tibetans have allowed for the exploration of new musical genres. Yet as Tibetans under occupation have lost their political, social, and cultural freedoms, it is important to protect one of the most sentimental forms of freedom: music. Now, despite the ever-evolving nature of their music, Tibetans in exile are performing the songs from the past to preserve their nation’s future.