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On Wooden Horses: Music, Animals, and Heritage in Post-Socialist Mongolia

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On Wooden Horses: Music, Animals, and Heritage in Post-Socialist Mongolia On Wooden Horses: Music, Animals, and Heritage in Post-socialist Mongolia By Kip G. Hutchins A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) at the UNIVERSITY OF WISCONSIN-MADISON 2020 Date of final oral examination: 04/24/2020 The dissertation is approved by the following members of the Final Oral Committee: Jerome Camal, Associate Professor, Anthropology Zhou Yongming, Professor, Anthropology Falina Enriquez, Assistant Professor, Anthropology Amy Stambach, Vilas Distinguished Achievement Professor, Anthropology Michael Peterson, Professor, Theater and Drama Jennifer C. Post, Senior Lecturer, University of Arizona School of Music © Copyright by Kip G. Hutchins 2020 All Rights Reserved i Abstract “On Wooden Horses: Music, Animals, and Heritage in Post-socialist Mongolia” asks what there is to learn if we take Mongolian traditional musicians’ use of heritage as a form of future-making, rather than past-making. This dissertation is based on 20 months of participant- observation, musical apprenticeship, and interviews with musicians, music teachers, composers, heritage administrators, herders across rural and urban spaces in Ulaanbaatar and Dundgovi, Mongolia. My focus throughout the dissertation is on the practices, transmission, and institutions surrounding urtyn duu, or long-song, and a two stringed spike fiddle called the morin khuur, or horse-fiddle. These two intertwined aspects of Mongolian music are two of the first elements to have been included on Mongolia’s UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding. Throughout the dissertation I present cases in which nonhumans actively participate in the transmission and performance of heritage music. The musicians I profile take a broad variety of nonhumans, including horses, mountains, and ghosts, as bearers of a shared heritage. I argue that designation as “cultural heritage” brings bring these more-than-human networks into modernist institutions, allowing for people to imagine outside of both capitalist and socialist modernities. In Mongolia, the effects of anthropogenic climate change are currently bringing desertification and winter storms that make the rural pastoral lifestyles increasingly less tenable each year. For many in the country, the loss of habitable land in rural pastures foregrounds a more dire potential, the degeneration of the planet beyond rejuvenation. These calamities come together with the economic and political crises caused by the disjuncture between the socialist and capitalist approaches to modernization, both of which were imposed on the country in the 20th century. Now, many Mongolian people are thinking of alternatives to modernity and looking ii to what might come after. Traditional musicians are reacting by using pastoral music and the more-than-human relations this music requires to rebuild connections with the pasture while there is still time, and to prepare their art to survive in a future where such a reparation may not be possible. iii Acknowledgements This study was conducted in association with the Mongolian State University of Arts and Culture and the American Center for Mongolian Studies. My research was funded by the Fulbright-Hays Doctoral Dissertation Research Abroad Fellowship and the American Center for Mongolian Studies Cultural Heritage Fellowship. I would like to extend my sincere gratitude to my colleagues at the MSUAC, without whom I would not have been able to carry out this research, especially Dr. Gantsetseg for helping me organize my research project, Dr. Purevkhuu for allowing me to play in his horse-fiddle orchestra, and Dr. Chuluuntsetseg for allowing me to shadow her long-song classes. I would like to thank Delgeree Choi for her patience in helping me carry out the logistical end of my research. The American Center for Mongolian Studies has contributed more to the long-term success of my research than any other organization, having supported my research since 2010. I would like to extend my sincerest gratitude to the former director, Robin Charpentier, as well as the long-time manager of the center, Baigalmaa Begzsuren for helping me navigate life and research in Mongolia from early on. I owe a debt of gratitude to my teachers and collaborators at the Music and Dance College, especially Ganbold Muukhai who has been a long-time friend and collaborator. Furthermore, my research would not have been possible without the help of the National Philharmonic, particularly Khorolsüren Namkhai. I would like to thank my hosts in Dundgovi for their hospitality and patience during my research and those herders and musicians who participated in the project for sharing their insights and expertise with me. I would also like to thank my long-time friend J. Erdenebat for his help with questions on Mongolian Buddhism and Davaadorj Legden for helping me logistically and for our long conversations over fermented iv horse-milk. Above all, I could have never even attempted this research without the unequalled guidance and support of my Mongolian language teacher, Tserenchunt Legden. I would like to thank my advisor Dr. Camal for helping me frame my project and constantly pushing my thinking. His direction allowed me to carry out a research project that draws deeply from anthropology and ethnomusicology. Dr. Zhou, who acted as my primary advisor for many years, has been fundamental to my intellectual development. I would like to thank my committee members as well for contributing their time and expertise to helping me through my academic journey. Dr. Stambach’s guidance on topics of pedagogy and her support in my job search has been invaluable to me. I would like to thank Dr. Enriquez for her guidance in reframing my dissertation proposal, and her suggestions on rural music studies. Dr. Peterson inspired me to think through animals as performers, which further drove me to think through animals as critical audiences of performance, a major theme in the dissertation. Conversations with Dr. Post, both in Mongolia and in the US, have always been illuminating and uplifting. Throughout my Ph.D. at the University of Wisconsin I have been lucky to have peers who inspire me. I would like to thank Ellen Hebden, Bo Wang, Jeffrey Godsey, and Kendra Thomson for their friendship and support throughout graduate school. I would also to thank my cohort of colleagues that I met and worked with during my fieldwork, including Marissa Smith, Sainbayar Gundsambuu, Kenny Linden, Kathleen Kuo, Bazo, Javkhaa, and Dulguun Bayasgalan. I would like to thank my family for their patience and support as I traveled to remote parts of far-off Mongolia many times over the course of the past ten years. Without the insistence of my mother Sarah I would have never taken up the horse-fiddle in the first place, and without the intellectual support of my father William I would not have been inspired to pursue anthropological study. This dissertation would not have been possible without the constant help, v support, and inspiration from my amin khairtai Jessica Madison-Pískatá. Jessica has been my best friend and partner throughout fieldwork and writing, and she never ceases to amaze me with her insight and intellect. I look forward to our future together and the many projects: intellectual, poetic, and personal that we have yet to carry out. Finally, I would remiss if I did not acknowledge my multispecies social relationships. As such I would like to thank my cat, Mishka, who has contributed nothing to the dissertation but who I love dearly nonetheless. vi Note on Transliteration Throughout this dissertation I will use a modified version of the Tibetan and Himalayan Library system for transcribing Mongolian Cyrillic into Latin script. The main changes I have to this system are that I use v, '', y, and ' for в, ъ, ы, and ь respectively. For letters which correspond to more than one phonetic correspondence according to vowel harmony, I have disambiguated the sounds in the text. A complete table of the transcription system I will use is as follows: а: a п: p б: b р: r в: v с: s г: g т: t д: d у: u е: ye or yö (according to vowel harmony) ү: ü ё: yo ф: f ж: j х: kh з: z ц: ts и: i ч: ch й: i ш: sh к: k ъ: " л: l ы: y м: m ь: ' н: n э: e о: o ю: yu/yü (according to vowel harmony) ө: ö я: ya vii List of Figures Figure 0.1 31 Sükhbaatar Square in Ulaanbaatar, Blue Sky Obscured by Winter Air Pollution Figure 0.2 33 Dundgovi in the Summer Figure 0.3 34 The Morin Khuur or “Horse-Fiddle” Figure 2.1 81 Mother Camels and Calves Kept Close to the Encampment. Dundgovi, Mongolia Figure 3.1 89 Dundgovi in the Spring with Nursing Sheep and Lambs Figure 3.2 93 Sheep Enclosure with Fenced Area for New Mothers and Lambs Figure 4.1 116 Takhi Cross the Road in Hustai Nuruu National Park Figure 5.1 143 View of Ulaanbaatar from Zaisan Monument, Entry Point to Bogd Khan Figure 5.2 148 Süm Khökh Burd and its Surrounding Wetland viii Table of Contents 0 Introduction 1 Sunset/Sunrise 4 Heritage and More-than-Human Futures 7 Ethnomusicological Approaches 10 Mongolia and More-than-Human Agency 16 Research context 20 Methods 24 Rhythm and Mobility 26 Ulaanbaatar and Dundgovi 29 Horse-Fiddle and Long-Song 33 Structure of Chapters 36 Conclusion 39 1 Ghosts in the Fiddle 41 Modernities 44 The Soul of the Fiddle 50 Spiritual Creation of Buddha 54 Spiritual Energy 56 Conclusion 59 2 The Melodious Hoofbeat 60 Rhythm in Tatlagan-ayaz 65 Socialist Era Memories 67 Out to Pasture 70 Post-Socialist Rhythms 73 Horse-Fiddle
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