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"We Tibetans are looking for a legitimate and meaningful autonomy, an arrangement that would enable Tibetans to live within the framework of the People’s Republic of China."

"Tibet in Song" Review - 2009 Asian American International Film Festival

August 3, 2009

By Eric Hung

For many ethnomusicologists and human rights activists, Ngawang Choephel
has been a household name for more than a decade. In 1995, the Tibetan
exile - who graduated from the Tibetan Institute of Performing Arts in
Dharamsala, India, and came to the United States as a Fulbright Scholar
at Middlebury College - returned to Tibet to make a film about the folk
music of his homeland. Two months into the trip, he was stopped at a
police check point, arrested on suspicion of espionage, and sentenced
without trial to 18 years in prison. An international human rights
campaign helped to secure his release in 2002.

Given this background, it is no surprise that Choephel's long-awaited
film, "Tibet in Song," did not come out the way he originally intended.
Since he sent half of his field recordings to India prior to his arrest,
Choephel was still able to make a documentary about the state of Tibetan
folk music in present-day Tibet. At the same time, "Tibet in Song";
narrates Choephel's own journey from folk musician and researcher to
political prisoner.

The autobiographical story is the more compelling of the two tales.
Here, Choephel concentrated not so much on his considerable suffering
during his imprisonment, but on his pride in becoming an active
participant in the Tibetan resistance and his growing admiration for
those who sacrificed much in their fight for independence. A
particularly gripping scene involves his interview with three women who
were sent to prison for protesting. During their incarceration, they
were tortured for refusing to sing the Chinese National Anthem during
the flag-raising ceremony each morning. This clearly demonstrated that
music, often seen as a purely positive force in American society, can
just as easily divide people and serve as a weapon.

The documentary's material on Tibetan folk music includes valuable (and
extremely hard-to-get) footage. It also makes several convincing
arguments; Choephel's overall point that Chinese government policies
have led to a rapid decline in Tibetan folk culture is impossible to
dispute. He also persuasively shows how folk music has traditionally
been used to educate young Tibetans on the culture's worldview and customs.

Ultimately, however, Choephel's overemphasis on the effects of Chinese
government policies, while perfectly understandable given his
background, makes his assessment of the decline of Tibetan folk music a
little too simplistic. After all, folk cultures are going extinct all
over the world, and the reasons are many: urbanization, changes in
religious philosophy, economic development, globalization, tourism,
technological innovation, fusion and so on. To be fair, Choephel does
mention some of these factors in the film; one only wishes that he had
explored them in greater depth. A particularly underdeveloped subject is
the relationship between the Tibetan folk music and its Buddhist culture.

Despite my reservations, "Tibet in Song" is a valuable film that not
only gives viewers a peek into a musical tradition that is not
well-known in the United States, but can also spark important
conversations on a wide variety of political and cultural topics.

"Tibet in Song" was shown at the 2009 Asian-American International Film
Festival. The film's director, Ngawang Choephel, won the festival's
"Best Emerging Director in Documentary Feature" Award.
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