In Echoes from Dharamsala, Keila Diehl uses music to understand the experiences of Tibetans living in Dharamsala, a town in the Indian Himalayas that for more than forty years has been home to Tibet's government-in-exile. The Dalai Lama's presence lends Dharamsala's Tibetans a feeling of being "in place," but at the same time they have physically and psychologically constructed Dharamsala as "not Tibet," as a temporary resting place to which many are unable or unwilling to become attached. Not surprisingly, this community struggles with notions of home, displacement, ethnic identity, and assimilation. Diehl's ethnography explores the contradictory realities of cultural homogenization, hybridity, and concern about ethnic purity as they are negotiated in the everyday lives of individuals. In this way, she complicates explanations of culture change provided by the popular idea of "global flow." Diehl's accessible, absorbing narrative argues that the exiles' focus on cultural preservation, while crucial, has contributed to the development of essentialist ideas of what is truly "Tibetan." As a result, "foreign" or "modern" practices that have gained deep relevance for Tibetan refugees have been devalued. Diehl scrutinizes this tension in her discussion of the refugees' enthusiasm for songs from blockbuster Hindi films, the popularity of Western rock and roll among Tibetan youth, and the emergence of a new genre of modern Tibetan music. Diehl's insight into the soundscape of Dharamsala is enriched by her own experiences as the keyboard player for a Tibetan refugee rock group called the Yak Band. Her groundbreaking study reveals the importance of music as a site where official and personal, old and new representations of Tibetan culture meet and where different notions of "Tibetan-ness" are being imagined, performed, and debated.

Contextualising the seemingly esoteric and exotic aspects of Tibetan Buddhist culture within the everyday, embodied and sensual sphere of religious praxis, this book centres on the social and religious lives of deceased Tibetan Buddhist lamas. It explores how posterior forms – corpses, relics, reincarnations and hagiographical representations – extend a lama’s trajectory of lives and manipulate biological imperatives of birth and death. The book looks closely at previously unexamined figures whose history is relevant to a better understanding of how Tibetan culture navigates its own understanding of reincarnation, the veneration of relics and different social roles of different types of practitioners. It analyses both the minutiae of everyday interrelations between lamas and their devotees, specifically noted in ritual performances and the enactment of lived tradition, and the sacred hagiographical conventions that underpin local knowledge. A phenomenology of Tibetan Buddhist life, the book provides an ethnography of the everyday embodiment of Tibetan Buddhism. This unusual approach offers a valuable and a genuine new perspective on Tibetan Buddhist culture and is of interest to researchers in the fields of social/cultural anthropology and religious, Buddhist and Tibetan studies.

This edited collection addresses the relationship between diaspora, religion and the politics of identity in the modern world. It illuminates religious understandings of citizenship, association and civil society, and situates them historically within diverse cultures of memory and state traditions.

Music and arts initiatives are often praised for their capacity to aid in the rehabilitation of refugees. However, it is crucial to recognize that this celebratory view can also mask the unequal power dynamics involved in regulating forced migration. In Composing Aid, Oliver Shao turns a critical ear towards the United Nations-run Kakuma Refugee Camp in Kenya, one of the largest and oldest encampments in the world. This politically engaged ethnography delves into various cultural practices, including hip hop shows, traditional dances, religious ceremonies, and NGO events, in an urbanized borderland area beset with precarity and inequality. How do songs intersect with the politics of belonging in a space controlled by state and humanitarian forces? Why do camp authorities support certain musical activities over others? What can performing artists teach us about the inequities of the international refugee regime? Offering a provocative contribution to ethnomusicological methods through its focus on activist research, Composing Aid elucidates the powerful role of music and the arts in reproducing, contesting, and reimagining the existing migratory order.

The ten papers presented in this eight volume of the Proceedings of the Ninth Seminar of the IATS, 2000, provide examples of the colourful and lively range of Tibetan self-expressions that exist within the modern homeland and in exile. The scholars here represent the fields of anthropology, sociology, literary studies, history, and political science. Four papers are based in studies in the modern Tibet Autonomous Region, five are grounded in the Tibetan diaspora, and one deals with both classical Tibetan history and current affairs. The mass representation of Tibetan self, delivered through various literary vehicles, by linguistic competence, body decoration, landscape, or individual deportment, constitutes the basic theme of this collection. The volume is useful for any student of Tibet and those interested in the process of identity formation and presentation.