GOSPEL SINGING IN THE VALLEY: AN INVESTIGATION INTO THE HYMNODY AND CHORAL SINGING OF THE LISU ON THE CHINA-BURMA/MYANMAR BORDER

This dissertation is an ethnomusicological study of contemporary musical practices of the Christian Lisu in Nujiang Prefecture in northwest Yunnan on the China-Myanmar border. Among all the changes that the Nujiang Lisu have experienced since the twentieth century, the spread of Protestant Christianity throughout Nujiang’s mountainous villages has existed for the longest time and had one of the greatest effects. Combining historical investigation and ethnographic description, this study uses the lens of music to examine the impact of this social change on the Lisu living in this impoverished frontier region. The Lisu characteristics have never been vital in the music written by the Christian Lisu in Nujiang. Compared with the practices described in other ethnomusicological writings on Christian music around the world that I have read, this absence of incorporation of indigenous musical elements is unusual. There are probably many other cases similar to that of the Lisu, but few ethnomusicologists have paid attention to them. I aim to elucidate this particular scenario of Lisu Christian music in relation to three social and cultural forces: the missionary legacy of conventions; the government’s identification of the Lisu as a minority nationality and its national policies toward them since the 1950s; and the transnational religious exchange between the Christian Lisu in China and Myanmar since the late 1980s. My examination focuses on two genres which the Lisu use to express their Christian beliefs today: ddoqmuq mutgguat, derived from American northern urban gospel songs, the basis of the Lisu choral singing; and mutgguat ssat, influenced by the Christian pop of the Burmese Lisu, with instrumental accompaniment and daibbit dance and preferred by the young people. Besides studying these two genres in the religious context, I also juxtapose them with other musical traditions in the overall Nujiang music soundscape and look at their role in local social interactions such as those between sacred and secular, and majority and minority. This dissertation demonstrates that the collective performances of shared repertoires have not only created a sense of affinity for the Nujiang Christian Lisu but also have reinforced the formation of Lisu transnational religious networks.

OVERCOMING INTERCULTURAL CHALLENGES IN INTERPRETING: A CASE STUDY ON CHINESE-ENGLISH CONFERENCE INTERPRETING

This exploratory case study examines the role of culture in Chinese-English conference interpreting. Given that there has been a lack of empirical research in understanding the role of culture in conference interpreting through the lens of intercultural communication frameworks, we know relatively little about conference interpreters’ experiences with intercultural communication challenges. This project helps address this research gap by investigating the types of intercultural communication challenges that Chinese-English conference interpreters experience and their strategies in managing those challenges. This study hears the voices of both professionals and postgraduate interpreting students. A total number of 27 participants were recruited for this research. Twenty professional conference interpreter were interviewed and seven interpreting students were organized for a focus group discussion. Grounded theory was used to analyze the participants’ observations and strategies in managing intercultural communication challenges when doing Chinese-English conference interpreting. The data analysis process led to the emergence of two procedural guidelines and one process – Interpreters’ Intercultural Mediation Process. The two procedural guidelines offer guidance for the interpreters to provide the most appropriate and effective service: meet with the clients beforehand and be prepared to offer intercultural insights when consulted. Interpreters are found to follow the Interpreters’ Intercultural Mediation Process to decide when and how to mediate intercultural communication challenges at work. This Process includes four criteria, seven intercultural challenges, and seven coping strategies. This study offers theoretical and applied contributions to our understanding of the role of culture in interpreting. By jointly applying frameworks from intercultural communication and interpreting studies to examine the conference interpreting process, this case study makes great efforts to connect the field of intercultural communication with the field of interpreting studies. This study identifies the types of intercultural differences that would lead to challenges in Chinese-English conference interpreting. It also contributes to the call for a cultural turn in interpreting studies. By learning the two procedural guidelines, conference interpreters can be better prepared for their work. By following the Interpreters’ Intercultural Mediation Process, conference interpreters can better anticipate and manage the intercultural challenges at work. This study also offers guidance on tailoring intercultural communication courses for postgraduate interpreting training programs.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.