Power, Music and Shamanism in China. DE SALES Anne, NEVOT Aurelie, TREBINJAC Sabine

Chapitre

Titre: Presentation of Sabine Trebinjac and Aurelie Nevot by Anne de Sales
Durée: 00:03:45   [00:00:00 > 00:03:45]
Anne de Sales introduces fellow ethnologists Sabine Trebinjac and Aurelie Nevot, along with their book published with Société d’Ethnologie. The two authors have long engaged in researching on China.
After the first book on the Shamanistic writing of Lisu ethnic minority in China, under the title "Comme le sel, je suis le cours de l'eau. Le chamanisme à écriture des Yi du Yunnan (Chine)," Aurelie Nevot published her second book : Versets chamaniques. Le Livre du sacrifice à la terre (textes rituels du Yunnan, Chine). After the publication of the first volume of "Le Pouvoir en Chantant: L'art de fabriquer une musique chinoise," Sabine Trebinjac comes with the second volume "Le Pouvoir en Chantant : Une affaire d’Etat…impériale."
Titre: Introduction of Sabine Trebinjac’s book, the notion of power
Durée: 00:01:18   [00:03:45 > 00:05:03]
Sabine Trebinjac’s book demonstrates how music became a powerful tool of governance in China. It also explains how music functions as political symbols of power. Trebinjac’s work presents how across the period of twenty-five dynasties, each dynasty established its own musical standard.
Titre: Introduction of Aurelie Nevot’s book and Shamanism
Durée: 00:01:51   [00:05:03 > 00:06:55]
Nevot’s work approaches the question of the Shamanic practice of Yi ethnic community in Yunnan Province.
While less centered on the politics, the question of the power of the state remains pertinent to Nevot's research. Specifically, her work examines the power of the shaman and the shamanic verses ( the texts used in the shamanic rituals carried out in the form of village festivities during harvest time. She argues that the power of the shaman derives from the writing itself, which is understood as a “substance” that is handed down from one generation of shaman to another. The verses themselves are secret in nature, as the message is meant to be carried on from master to disciple and not to be revealed to the public.
Titre: Common research theme
Durée: 00:03:58   [00:06:55 > 00:10:54]
A common theme in the researches of the two wuthors concerns the question of marginality in China.
Nevot’s work approaches the question of the religious practice of Yi ethnic minority in Yunnan Province of China. While Trebinjac’s primary text is emblematic of the central power of the Chinese empire. The Confucian text that Trebinjac examined depicts music as having the power of regulating and guiding the people, a power that wise rulers should master. The music officials working for the imperial court labor to collect music from the people in order to produce an unified "Chinese music." Trebinjac argues that the making of "Chinese music" the legitimate form of music represents the domination of the state through the re-appropriation of music that originally belonged to the people themselves.
Titre: The treatment of primary text of the two books
Durée: 00:02:36   [00:10:54 > 00:13:31]
In the primary texts, Trebinjac finds that various emotions are conveyed through musical instruments. In Nevot’s work, despite the esotericism in the ritualized rhythms, the shamanic verses provide a reservoir of details into the human dimensions of the everyday life. It expresses happiness, sadness and all other universal emotions.
Titre: Sabine Trebinjac presents Le pouvoir en chantant (tome I) : L'art de fabriquer une musique chinoise
Durée: 00:14:23   [00:13:31 > 00:27:54]
In her book, "Le pouvoir en chantant (tome I) : L'art de fabriquer une musique chinoise," Trebinjac argues that the practice of music inventory in China transformed traditional music through the practice of state traditionalism. Trebinjac notes that the consolidation of the state power is achieved through the incorporation of folk music collected from newly conquered territories into Han music. The refashioned folk music is then renamed as the "Chinese music," and considered as national musical heritage. Trebinjac argues that the construction of one and indivisible Chinese state also applies to the musical identity. Through studying the practice of music inventory, Trebinjac understands the Chinese state as a centralized bureaucracy, hierarchical and totalitarian in nature.
Titre: On the second volume, Le Pouvoir en Chantant (Tome II). Une affaire d’Etat…, impériale
Durée: 00:12:45   [00:27:54 > 00:40:40]
In the second volume of "Le Pouvoir en Chantant (Tome II). Une affaire d’Etat…, impériale," Trebinjac uses the notion of “time,” as theorized by Paul Ricœur, to evoke a “historical time” related with tradition, heritage and reinterpretation.
The book "Le Pouvoir en Chantant (Tome II). Une affaire d’Etat…, impériale" is comprised of three parts. The first part deals with the place of the music in Ancient China and the state organization of the musical parctice. The second part deals with the long history of a musical institution called "Yuefu" from the second century to the contemporary period. Trebinjac notes that the change of dynasty is accompanied with the necessity to transform musical style. The third part of the book deals with the political symbolism in music as well as the inherent hierarchy in the Chinese state and Chinese society. By examining the modifications on tonalities and pitch scales of over 20 centuries, Trebinjac argues that firstly the incorporation of “foreign” music validates the territorial expansion of the empire; Secondly, the hierarchical imposition entailed in the practice of music inventory reflects the political and social structure inherent to Chinese society.
Titre: Aurélie Névot on Versets chamaniques. Le livre du sacrifice à la terre
Durée: 00:10:00   [00:40:40 > 00:50:41]
Focusing on a particular text of a particular shaman called bimo Li, Nevot examined how the shaman himself envisages the different strata of the universe and how he lives in the cosmos and communicates with the spirits in order to have good fortune bestowed upon his village or simply to guarantee the survival of the community.
In the reading of the shamanic manuscripts, Nevot focuses on the encounter with the “human”, the “other” while centering on the aspect of the “sensible.” She notes that it is through the reciting of the manuscripts that Shaman is able to communicate with the cosmos. In her book, Nevot presents the shamanic verses in their “raw” state, inviting readers to submerge in the "material." In the introduction section of her book, she also presents several themes that are key to her work, including the relationship between the written and the spoken, the corporality, the politics, the kinship, blood sacrifice, cosmogony as well as the transubstantiation.
Titre: The context of Nevot’s research
Durée: 00:13:21   [00:50:41 > 01:04:02]
In 1999, Nevot met bimo Li in a village of Yunnan province where several branches of the Nipa ethnic group live.
Facing the incomplete state of the shamanic verses, bimo Li decided to rewrite the manual and transcribe it into Chinese, following the call of local officials to centralize different bimo manuscripts in the region in order to produce a unified version of shamanic verses. In 1999, the most important worship for Nipa community took place after the autumn harvest, involving blood sacrifice that pays tribute to the spirits of ancestors praying for the survival and the consolidation of the village community. Nevot specifies that local community leader is the result of a lucky draw that is considered as following the will of the ancestor spirits. Moreover, it is the local community leader who will appoint a shaman. Local community ldeader has a different role from the village leader appointed by the Chinese Communist Party.
Titre: General discussion
Durée: 00:16:14   [01:04:02 > 01:19:36]
Nevot stipulates that the particular shamanic manuscript that she studied were used only for reading not for chanting. Moreover, she had to prove to bimo Li her ability to understand these texts, which was an important step in her apprenticeship.
Nevot understands the issue of the reincarnation and revitalization of the shamanic texts through the embodiment of generations of shamans is at the center of her research. Trebinjac specifies that the Confucian text that she studied provides a framework for thinking about the place of music in the political and social realm without literally talking about music per se. Trebijac argues that the common practice of rewriting history in China points to the fact that there is no “original text” or “fundamental texts.”

10 chapitres.
Titre: Power, Music and Shamanism in China
Auteur(s): DE SALES Anne, NEVOT Aurelie, TREBINJAC Sabine
Date de réalisation: 27/06/2013
Lieu de réalisation: Librairie Le Comptoir des Presses, 86 rue Claude Bernard, 75005, Paris, France
Langue(s): Français
Animated by Anne de Sales, two ethnologist Aurelie Nevot, Sabine Trebinjac gave a talk on their new books on China.
Nevot presented her studies of Shamanic verses of Yi community in Yunnan province. Her work examined the transformation of power through generations of shaman; Trebinjac presented her work on the continuity in China's music institutions and their role in the consolidation of state power, from Ancient China to the contemporary period. Her work focused on the practice of state traditionalism that transforms traditional Uyghur music.
Sujet: Musiques du monde par genre
Topique: Muqam
Libellé: Uyghur music
Localisation spatiale du sujet: Chine (République populaire) ; Xinjiang Uyghur Autonomous Region
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Aspects rhétoriques et discursifs: Explication ; Le sujet est traité exclusivement du point de vue de l'auteur
As an ethnomusicologist, Sabine Trebinjac treats the subject of state traditionalism of Uyghur music, from her own interpretations of the practice of music inventory in China and its implications on the power dynamics between the central state and local communities.
Muqam is a music genre that has its origin at Xinjiang Uyghur population. Each of the 12 muqams begins with an introduction and then followed by three parts, including naghma, dastan and mashrap.
Sujet: Traditions, coutumes et moeurs
Topique: Music inventory
Langue d'origine: Zhongwen (中文)
Expression en langue originale: 民乐采集
Localisation spatiale du sujet: Chine (République populaire) ; Xinjiang Uyghur Autonomous Region
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Localisation temporelle du sujet: From Ancient China to Contemporary Period
Sabine Trebinjac's research on the practice of music inventory in China (collecting folk music) and traditionalization of Uyghur music covered a time span of 25 dynasties.
Aspects rhétoriques et discursifs: Définition ; Explication ; Le sujet est traité exclusivement du point de vue de l'auteur
As an ethnomusicologist, Sabine Trebinjac treats the subject of state traditionalism of Uyghur music, from her own interpretations of the practice of music inventory in China and its implications on the power dynamics between the central state and local communities.
As an ethnomusicologist, Sabine Trebinjac treats the subject of state traditionalism of Uyghur music, from her own interpretations of the practice of music inventory in China and its implications on the power dynamics between the central state and local communities.
民乐采集是指从汉武帝开始通过设立乐府来进行收集编纂各地民间音乐的传统。乐府负责整理改编民乐、演唱及演奏。
Sujet: Musiques du monde par origine (géographique, culturelle)
Topique: Musique ouïghoure
Libellé: The traditionalization of Uyghur music by the Chinese state
Mots-clés: Traditionalization; Music inventory;
Localisation spatiale du sujet: Chine (République populaire) ; Xinjiang Uyghur Autonomous Region
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Localisation temporelle du sujet: From Ancient China to Contemporary Period
Sabine Trebinjac's research on the practice of music inventory in China (collecting folk music) and traditionalization of Uyghur music covered a time span of 25 dynasties.
Aspects rhétoriques et discursifs: Explication ; Le sujet est traité exclusivement du point de vue de l'auteur
As an ethnomusicologist, Sabine Trebinjac treats the subject of state traditionalism of Uyghur music, from her own interpretations of the practice of music inventory in China and its implications on the power dynamics between the central state and local communities.
Uyghur music refers to musical elements and practices of the Turkic ethnic group living in Xinjiang Uyghur autonomous region of China.
Sujet: Rituels et manifestations festives
Topique: Shamanism
Mots-clés: shamanism; trance; spirit
Localisation spatiale du sujet: Chine (République populaire) ; Yuannan province in China
Yunnan is a province of China, with the capital at Kunling. It is known for the many ethnic minorities residing in the region.
Aspects rhétoriques et discursifs: Explication ; Le sujet est traité exclusivement du point de vue de l'auteur
Sujet: Musique et société
Topique: Uyghur community
Localisation spatiale du sujet: Chine (République populaire) ; Xinjiang Uyghur Autonomous Region
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Xinjiang Uyghur autonomous region is the largest administrative division in China, with the capital city at Ürümqi.
Aspects rhétoriques et discursifs: Interprétation ; Le sujet est traité exclusivement du point de vue de l'auteur
Sabine Trebinjac interprets the role of music in Chinese society from her own point of view. According to her, the transformation of traditional music is indicative of the power relationships between minority and majority group.
Sabine Trebinjac interpreted the role of music in the society from her own point of view.
Nom: DE SALES
Prénom: Anne
Rôle: Contributeur (par catégorie)
Appartenance: CNRS - Centre national de la recherche scientifique, Laboratoire d'ethnologie et de Sociologie Comparative (UMR 7186), France
Fonction: Ethnologist
Adresse: France
Anne de Sales is a ethnologist and Director of research at CNRS Laboratoire d’ethnologie et de sociologie comparative-LESC, Nanterre, France. Between 2002-2006, de Sales was affiliated with Maison Française d’Oxford. Now, she is an associate researcher at Institute of Cultural and Social Anthropology of Oxford University . Her research interests include shamanism practice in the Hymalayan region and the socio-political transformation in this region.
Nom: ESCoM-AAR (Equipe Sémiotique Cognitive et Nouveaux Médias - Archives Audiovisuelles de la Recherche)
Rôle: Producteurs d'oeuvres audiovisuelles
Appartenance: FMSH - Fondation Maison des Sciences de l'Homme, ESCoM - Equipe Sémiotique Cognitive et Nouveaux Médias, France
Adresse: FMSH (Fondation Maison des Sciences de l'Homme), Paris, France
ESCoM-AAR (Equipe Sémiotique Cognitive et Nouveaux Médias - Archives Audiovisuelles de la Recherche), FMSH (Fondation Maison des Sciences de l'Homme), Paris, France
Nom: NEVOT
Prénom: Aurélie
Rôle: Contributeur (par catégorie)
Appartenance: CNRS - Centre national de la recherche scientifique, Laboratoire d'ethnologie et de Sociologie Comparative (UMR 7186), France
Fonction: Ethnologist
Adresse: UPR 299 Centre d'Etudes Himalayennes, CNRS 7 rue Guy Môquet 94800 Villejuif CEDEX France, Villejuif, France
Ethnologist, Aurélie Névot started researching in china since 1998 at the province of Yunnan, where she studies the region of Nipa, the Sani branch of the Yi community, which is a form of Shamanism reposes on the usage of the secrete writing, reserved only for Shamans who are called Master of psalmody, bimo. Névot is also interested in the ontology of the Nipa culture, blood sacrifice, as well as the form of transubstantiation that is at the center of anthropological debate, developing a theoretical approach that is transcultural and trans-disciplinary in nature, surrounding the notion of trans-substantialism.
Nom: TREBINJAC
Prénom: Sabine
Rôle: Contributeur (par catégorie)
Appartenance: CNRS - Centre national de la recherche scientifique, Laboratoire d'ethnologie et de Sociologie Comparative (UMR 7186), France
Fonction: Ethnologist
Adresse: CNRS- Université Paris X- Nanterre, France
Specialist in China, Sabine Trebinjac is a researcher at CNRS, and member of the Comparative Ethnology at University of Paris X, Nanterre. She is interested in studying the root of Uyghur music and the traditionalization of Uyghur music by the Chinese state.
Type: Articles numériques
Auteur: Françoise AUBIN
Url: http://assr.revues.org/21194
Book review by Françoise AUBIN Françoise Aubin, « Sabine Trébinjac, Le pouvoir en chantant. Tome II. Une affaire d’État… impériale », Archives de sciences sociales des religions [En ligne], 148 | octobre-décembre 2009, document 148-128, mis en ligne le 31 décembre 2009, consulté le 09 juillet 2014. URL : http://assr.revues.org/21194
Type: Exposé(s) scientifique(s)
Two authors presented their researches on ethnomusicology and music Uyghur in China, as well as the practice of shamanic writing of Nipa community.
Type: Contexte "Recherche"
Public cible: Pour spécialistes
The presentations of Sabine Trebinjac and Aurélie Névot were intended for ethnologists and musicologists who research on China, as well as the informed audience who is familiar with the concept of shamantic ritual.
DE SALES Anne, NEVOT Aurelie, TREBINJAC Sabine. « Power, Music and Shamanism in China » Archives Audiovisuelles de la Recherche (AAR), n°2229, 2013, [en ligne] ; URL : http://www.archivesaudiovisuelles.fr/2229
Type: Droit d'auteur relatif à la production du document source
© ESCoM-AAR (Equipe Sémiotique Cognitive et Nouveaux Médias, Archives Audiovisuelles de la Recherche), FMSH (Fondation Maison des Sciences de l’Homme), Paris, FRANCE
Type: Droit d'auteur relatif à la réalisation du document source
© DE PABLO, Elizabeth, Production director, Paris, France, 2013 © MAREGLIA, Laura, Film editor, Paris, France, 2013
Type: Droit d'auteur relatif au contenu du document source
© DE SALES, Anne, Director, CNRS, Paris, France, 2013 © TREBINJAC, Sabine, Researcher, CNRS, Paris, France, 2013 © NEVOT, Aurélie, Researcher, CNRS, Paris, France, 2013
Type: Régime général "Creative Commons" relatifs au document source
This audiovisual resource is protected by the "Creative Commons" regime. You are free to reproduce it, distribute and communicate to the public. But you must report his paternity (its authors), you don't have the right to modify or to make commercial use. Reading, dissemination and practical exploitation of this audiovisual resource presupposes that you have accepted the Creative Commons legal rules described in the page
Titre: Thematic analysis in English of the video « Pouvoir, Music and Shamanism »
Langue(s): English
Type: Analyse plus détaillé
Comment citer: WEI, Boya. "Thematic analysis in English of the video « Pouvoir, Music and Shamanism » " (ARC, 2014), http://www.arc.msh-paris.fr/
Id analyse: b525a039-91b5-4bb1-b505-d32b0be27740
Id vidéo: 39eb6ffe-5e35-47f5-84ac-99ee5782c611
This analysis presents the different themes covered in the video «La Chine des marges vue par deux ethnologues. La Chine des marges vue par deux ethnologues».