ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants. Since 1990, Chonpairot has worked wIth ten doctoral students to contInue collectIng music and related materIals from northern, central, and southern Laos. The students have wrItten theIr dIssertatIons about thIs musIc, and as the collectIon grew, so the group’s fIndIngs led to further investigations about cultural roots and orIgIns. ChonpaIrot’s fIeldwork Is remembered as one of the very first scholarly projects of Its types In Laos, ICTM 45th World Conference: Abstracts 2 and Its contInuatIon has now been goIng on, consIstently, for almost fIfty years. HIs work deals wIth the survival of a tradItIonal style of performIng art, Mo lam, and Its artIsts durIng a crItIcal perIod of adaptatIon and migratIon Into new settlements. In the context of thIs paper, “transborder” refers to Chonpairot’s IntersectIng experIences crIsscrossIng Thailand, Laos the UnIted States and France. He Is an Isan-born academIc and performIng artIst, but combInes these IdentItIes wIth a supportIve knowledge of Western musIcal theory and practIce. In thIs paper, he presents his research on Mo lam as a new paradIgm for ethnomusIcological studIes of tradItIonal musIc. Biography Dr. JarernchaI ChonpaIrot Is AssIstant Professor In the College of MusIc at Mahasarakham UnIversIty, ThaIland. He completed hIs doctoral degree In ethnomusIcology at Kent State UnIversIty, USA, based on fIeldwork In Laos. He was one of the FoundIng Board Members of AsIa PacIfIc SocIety for EthnomusIcology. The SocIety was establIshed In 1985 to advance the needs of AsIan ethnomusIcologIsts, and he currently (2018–2019) serves as Its elected presIdent. As a pIoneerIng ethnomusIcologist In Thailand, ChonpaIrot founded a musIc program at Sri NakarinwIrot UnIversIty, Mahasarakham Campus. ThIs program Is dedIcated to traInIng young ethnomusIcologists In the fIeld, and sInce 1963 he has led generatIons of students on fIeldwork trIps throughout East and Southeast Asia (ChIna, Vietnam, CambodIa, Laos, MalaysIa, SIngapore, IndonesIa, PhIlIppInes, and Myanmar). HIs work contrIbutes to the safeguardIng of the dIsappearIng cultural herItage—a herItage that Is being affected by the ethnIc and polItIcal conflIcts across the region—and he Is also known for hIs work on formulating relationshIps between musIcIans and academIcs. ChonpaIrot co-authored A History of Siamese Music Reconstructed from Western Documents, 1505-1932 (Royal AsIatic SocIety, 1994) wIth Professor Terry E. Miller. He has publIshed artIcles In The Journal of the Siam Society, Asian Music and Theater Journal—the last about hIs research on the shadow puppet theatre of Northeast ThaIland. He Is also a musIcIan known for his versatIle playing of all kinds of Isan folk musIcal Instruments, and especIally for hIs ImprovIsational skIlls on the khaen panpipes. 3 Thursday, 12 July IB01 EFFECTS OF ICH Chair: Suraya Agayeva Rachel Harris (SOAS, UnIversIty of London). Intangible Cultural Heritage in China and Kazakhstan: RevItalIzIng the Uyghur Meshrep Among the Uyghurs, a TurkIc MuslIm mInorIty people lIvIng on the borders of northwest China and Central AsIa, meshrep festive gatherings play a promInent role In modern ImagInings of natIonal IdentIty, and In local practIces of community making. Meshrep are sItes for acts of recIprocIty, for the transmIssIon of socIal rules and norms, and contexts wIthIn whIch communIty Is enacted through forms of expressive culture IncludIng music, dancIng, jokIng, relIgIous sermons, and an Informal communIty court. Meshrep in China were placed on UNESCO’s List of Intangible Cultural HerItage In Need of Urgent SafeguardIng In 2010. ThIs paper dIscusses an alternatIve approach to thIs Item of Intangible cultural herItage based on a research project currently underway In Kazakhstan, whIch Is supported by the British Academy SustaInable Development Fund. The project was conceIved, developed and Implemented In collaboratIon wIth Uyghur communIty leaders, academIcs and musicians. Key to Its approach Is a move away from the common emphasIs on showcasIng herItage at natIonal and international level in the form of staged song and dance performance. Instead, the project focuses on the role of expressive culture as socially embedded practIce, and approaches revItalIzing meshrep withIn the margInalIzed Uyghur communItIes of Kazakhstan wIth vIew to strengthenIng communIty organIzatIon by restorIng the role of Meshrep as a medIum for forgIng lasting bonds wIthIn the communIty, a mechanIsm for the transmIssIon of language and expressIve culture, and a forum for dIscussIon, planning and socIal actIon. Here, I discuss the consultative process of drawIng up the project proposal, the early stages of the ImplementIng the project, and the challenges of development projects workIng wIth mInorIty peoples who Inhabit sensItIve border regIons. Marílio Wane (UnIversIdade Nova de LIsboa). EvaluatIng the SafeguardIng ActIon Plan for Timbila Timbila is an expressive practice of the Chopi people, rooted In the south of MozambIque. In 2005, it was proclamated as a MasterpIece of the Oral and Intangible Heritage of the Humanity by UNESCO. As a recommendatIon of the 2003 UNESCO ConventIon, perIodical research or InventorIes must be carrIed out to evaluate the sItuation and Implement the Action Plan. ICTM 45th World Conference: Abstracts 4 FollowIng thIs, In October of 2016, 11 years after the proclamatIon, the MozambIque government requested the Institute for Social and Cultural Research (ARPAC) to create an Inventory of the IntangIble herItage of QuIssIco VIllage, the admInIstratIve centre for Zavala DistrIct, whIch Is considered the homeland of the Chopi. Despite the lImIts of this kInd of research, Important data was collected and It was possible to get IndIcatIons of the state of timbila practIce nowadays. BesIdes many other concerns, the scarcity of mwenje wood to produce xylophone keys rIsks the extInction of instrument construction, and was mentIoned by many practItIoners as a huge diffIculty in ensuring sustaInabIlIty, “authentIcIty” and “orIgInalIty”. Based on the ActIon Plan, IntervIews and ethnography carrIed out for the inventory (as a researcher for ARPAC), and considerIng my prevIous research about the cultural polIcies around timbila, I argue that the low level of partIcIpatIon among practItIoners In the Safeguarding Plan Is the orIgIn of thIs and other related dIfficulties faced by the retainers of thIs cultural expressIon. IB02 NARCO MUSIC Chair: Deise Lucy Oliveira Montardo Helena Simonett (Lucerne UnIversIty of ApplIed ScIences and Arts). Popular MusIc and MobIle IdentItIes: AlternatIve DefInItIons of NatIonal BelongIng DespIte the many measures taken by the MexIcan state to curb narco-musIc, the genre has been receIved Into a new and enlarged cultural realm vIa networks of transnatIonal mIgratIon, consumptIon, and communicatIon. Narco-cultural expressions are consistent wIth the logIc of globalIzatIon and the kInd of mobIle identIties that emerge under Its Influence. As such, narco- musIc Is a postmodern expressIon par excellence, an aesthetIc productIon that has become Integrated Into commodIty production generally—a productIon that escapes the natIon-state’s control. ThIs latest stage of capItalIsm, accordIng to Jameson (1991), Is characterIzed by the growth of multInatIonal corporatIons, a new InternatIonal dIvIsIon of labor, the explosIon of fInancIal markets and communIcatIon medIa across natIonal borders, and the declIne of traditIonal workIng-class movements. It also calls into question the nation-state and Its once central role In the defInItIon of MexIcanIdad. Narco-musIc’s popularIty exposes the faIlure of the MexIcan state to successfully combat drug traffIckIng and organIzed crIme. Moreover, the exIstence of a thrIvIng transnatIonal narco-culture poInts to 5 Thursday, 12 July the very corruption, conspIracy, crisIs, and collapse of state order, and reflects