Throughout the course of the twentieth century, as newly formed nations sought ways to develop and formalise their national identity and acquire a range of identifiable national assets, we find new musical canons springing up across the world. But these canons are not arbitrary collections of works imposed on the public by the authorities. Rather they acquire deep resonance and meaning, both as national symbols and as musical repertoires imbued with aesthetic value. This book traces the formation of one such musical canon: the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims. The book draws on Uyghur and Chinese language publications; interviews with musicians and musicologists; field, archive and commercial recordings, and aims towards an understanding of the Twelve Muqam as musical repertoire, juxtaposed with an understanding of the Twelve Muqam as a field of discourse. The book brings together several years' work in this field, but its core arises from a research project under the auspices of the AHRC Centre for Music Performance and Dance.

Throughout the course of the twentieth century, as newly formed nations sought ways to develop and formalise their national identity and acquire a range of identifiable national assets, we find new musical canons springing up across the world. But these canons are not arbitrary collections of works imposed on the public by the authorities. Rather they acquire deep resonance and meaning, both as national symbols and as musical repertoires imbued with aesthetic value. This book traces the formation of one such musical canon: the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims. The book draws on Uyghur and Chinese language publications; interviews with musicians and musicologists; field, archive and commercial recordings, and aims towards an understanding of the Twelve Muqam as musical repertoire, juxtaposed with an understanding of the Twelve Muqam as a field of discourse. The book brings together several years' work in this field, but its core arises from a research project under the auspices of the AHRC Centre for Music Performance and Dance.

The Music of Central Asia surveys the rich and diverse musical life of a region that was once at the center of the trans-Eurasian Silk Road trade and that has now reemerged as a crucial arena of global geopolitics. This beautiful and informative volume offers a resource for Central Asians to learn about the musical heritage of their region and a detailed introduction to this heritage for readers and listeners worldwide. The Music of Central Asia balances "insider" and "outsider" perspectives with contributions by 27 authors from 14 countries. A companion website provides access to some 175 audio and video examples, listening guides and study questions, and transliterations and translations of the performed texts. The generously illustrated text is supplemented with boxes and side bars, musician profiles, and an illustrated glossary of musical instruments. The Music of Central Asia targets a broad, non-specialist readership, while specialists will find it an indispensable resource. The book is divided into four parts: an overview of the region's music and musical instruments; sections on "The Nomadic World" and "The World of Sedentary-Dwellers," which explore music and musical life in the context of Central Asia's two great axes of civilization; and "Central Asia in the Age of Globalization," whose focus is the future of the past, or how musical heritage is being revitalized and reimagined in the contested cultural landscape of contemporary Central Asia. The Music of Central Asia can be read systematically to build comprehensive knowledge about interlinked topics—or used as a handy reference on specific musical styles, repertoires, and traditions. For instructors, the book's 35 chapters offer ample material for a semester-long course, while groups of chapters can serve as a module in courses devoted to broader topics in music, history, and culture.

This landmark book provides a comprehensive anthropological introduction to contemporary Central Asia. Established and emerging scholars of the region critically interrogate the idea of a ‘Central Asian World’ at the intersection of post-Soviet, Persianate, East and South Asian worlds. Encompassing chapters on life between Afghanistan and Kazakhstan, Turkmenistan and Xinjiang, this volume situates the social, political, economic, ecological and ritual diversity of Central Asia in historical context. The book ethnographically explores key areas such as the growth of Islamic finance, the remaking of urban and sacred spaces, as well as decolonizing and queering approaches to Central Asia. The volume’s discussion of More-than-Human Worlds, Everyday Economies, Material Culture, Migration and Statehood engages core analytical concerns such as globalization, inequality and postcolonialism. Far more than a survey of a ‘world region’, the volume illuminates how people in Central Asia make a life at the intersection of diverse cross-cutting currents and flows of knowledge. In so doing, it stakes out the contribution of an anthropology of and from Central Asia to broader debates within contemporary anthropology. This is an essential reference for anthropologists as well as for scholars from other disciplines with a focus on Central Asia

This collection of multi-disciplinary essays offers a fresh, perspective on Central Asian art and culture as it gains increased attention on both the local and international stage. Influenced by the golden ages of its history – from the ancient Scythians, through the glory of the Persians and Turks, and shaped by the Russian and later Soviet imperial powers – the region is revealed as exotic, dramatic, and universally topical. Contributions come from scholars and participants in the Central Asian cultural scene who specialise in different, often isolated, spheres. Their unifying theme is identity and its formation, including national, ethnic, cultural, religious and gender identities. Art and culture are shown to have active social roles – representing, analysing, questioning and supporting social upheavals and change. Culture is seen as an intrinsic part of society; while being affected by the specific historical context, it does at times affect it in return. From major socio-economic and political shifts, to smaller yet not less potent personal and individual identities, this collection demonstrates we are once again experiencing a time in which culture plays a crucial role in opening minds and facilitating change. The chapters in this book were originally published as a special issue of Central Asian Survey.

Central Asia is a diverse and complex region of the world often characterized in the West as exotic, remote, and difficult to understand. Central Asia: Contexts for Understanding offers the most comprehensive introduction to the region available for students and general readers alike. Combining thematic chapters with detailed case studies, readers will learn to appreciate the richly interconnected aspects of life in Central Asia. These wide-ranging, easy-to-understand contributions from many of the leading scholars in the field provide the context needed to understand Central Asia and presents a launching point for further reading and research.

This book brings together historical and ethnographic research from Kyrgyzstan, Kazakhstan, and Xinjiang, in order to explore how individuals and communities work to create and maintain forms of ‘culture’ in contexts of ideological repression and erasure. Across Inner Central Asia, in both China and the Soviet Union, while ethnic culture was on one hand lauded and promoted, it was simultaneously folklorized in the face of broader projects of socialist modernity. How do local intellectuals, cultural organizers, and performers work to negotiate their own forms and understandings of cultural meaning within the institutions and frameworks of a long twentieth century? How does scholarly attention to cultural production, tradition, and performance help to inform our understanding of (ethnic) nations not as given, but as coming into being?