Tibet Online
2007[1997] International Campaign for Tibet. Electronic document, http://www.tibet.org/, accessed October 13.
Encarta Encyclopedia
2007[1993] Tibet. Electronic document, http://encarta.msn.com/encyclopedia_761567065/Tibet.html, accessed October 13.
The Office of Tibet
Publish date n/a The Government of Tibet in Exile.
Electronic document, http://www.tibet.com/, accessed October 15.
Author n/a 2000 Tibet. Electronic document, http://www.asianinfo.org/asianinfo/tibet/tibet.htm, accessed October 15.
Dharma Haven 2005 Preserving Tibet. Electronic document,
http://www.dharma-haven.org/, accessed October 15.
Simhanada Publish date n/a Tibetan Buddhism. Electronic document, http://www.simhas.org/, accessed October 22.
Hamilton, Tom. "Songs of Defiance:the turbulance of Tibet's last half-century has had important implications for its rich musical culture. Geographical. 79.2 (Feb 2007):42(6).
Mcgranahan, Carole. American Ethnologist. August 2003, Vol. 30, No.3. 460 -461
Thursday, December 6, 2007
Prayer Flags
Before I started learning about Tibet the one thing which I always thought of when someone mentioned Tibet was a string of colorful rectangular flags. I had no idea what the flags stood for, or if they represented or meant anything of any importance. I always thought they were very pretty and gave Tibet a certain exotic appeal, for some unexplainable reason. Now, after researching about Tibet I have educated myself on the significance of the "string of flags" and have at the same time come to a new understanding of Tibetan culture.
Tibetan prayer flags, as they are called, play a substantial role in Tibetan culture. There are two types of flags which depend on the way the flag is hung, either horizontal Lung ta or vertical Darchor. Lung ta flags are commonly hung at a diagonal slope from high to low. They are usually found on monasteries or temples. Darchor flags are larger than Lung ta and are usually planted on poles situated in the ground or on the tops of mountains.
The color and the order by which the flags are hung are very important. Prayer flags come in sets of five separate colors, each color represents an element such as :green -wind/air , or yellow=earth. The prayer flags are used to promote various emotions such as happiness, strength, peace, and wisdom. The movement of the flag in the winds is believed to cleanse the air and purify the surrounding area. Prayer flags are continually renewed in order to renew the wrodl they live in this mirrors the constant renewal and recycling of the earth in its space within the universe.
I now understand the significance of prayer flags and how they contribute to the way by which the people of Tibet make sense of the world they live in. Now when I see Tibetan prayer flags in pictures or in texts I read I do not think of the simple physical appearance of the flags but of the connection they represent between the Tibetan people and the world they live in. This is a type of connection, that between individual and world, which is not stressed in my own culture.
Tibetan prayer flags, as they are called, play a substantial role in Tibetan culture. There are two types of flags which depend on the way the flag is hung, either horizontal Lung ta or vertical Darchor. Lung ta flags are commonly hung at a diagonal slope from high to low. They are usually found on monasteries or temples. Darchor flags are larger than Lung ta and are usually planted on poles situated in the ground or on the tops of mountains.The color and the order by which the flags are hung are very important. Prayer flags come in sets of five separate colors, each color represents an element such as :green -wind/air , or yellow=earth. The prayer flags are used to promote various emotions such as happiness, strength, peace, and wisdom. The movement of the flag in the winds is believed to cleanse the air and purify the surrounding area. Prayer flags are continually renewed in order to renew the wrodl they live in this mirrors the constant renewal and recycling of the earth in its space within the universe.
I now understand the significance of prayer flags and how they contribute to the way by which the people of Tibet make sense of the world they live in. Now when I see Tibetan prayer flags in pictures or in texts I read I do not think of the simple physical appearance of the flags but of the connection they represent between the Tibetan people and the world they live in. This is a type of connection, that between individual and world, which is not stressed in my own culture.
Monday, December 3, 2007
A Tibetan Marriage
As we discussed in class there are several different forms of marriage. Marriages are very important when exploring and trying to understand a new culture. The purpose of a marriage is to regulate social mating and reproduction and the needs of children. One aspect of marriage is true across the world and that is the taboo of mating with parents, children, and siblings.
Unlike in the culture that I have grown up in where marriage is primarily categorized as serial monogamy (having one spouse at a time) Tibetan culture allows for a wide variety of marriage arrangements. In Tibet the marriages fall into three categories
1.) Monogamy (one spouse)
2.) Polygyny (The male can have two or more wives at a time)
3.)Polyandry (The female can have two or more husbands at a time)
While these forms of marriage are permissible generally Tibetan marriages fall under monogamy as well as under the patricarchial system where the hudband or the males of the family make certain final or important decisions.
Traditional Tibetan Wedding Attire
Another aspect of Tibetan marriage which I found interesting was how after being married the couple may join either the wife's family or the husband's family There is no discrimination against one side of a family over the other. I have learned that this is because the notion of the male as being the dominant figure within a marriage does not exist in Tibetan culture to the same extent that is does in my own culture. I have now learned that it is not a given that the female always gives up her name and home after being married. Evidently within the Tibetan culture the same types of relationships among men and women do not exist as they do in my own culture.
Traditional Music of Tibet - Unifying a Fragile Culture
There are several different categories of Tibetan music which vary from strictly instrumental music to a combination of speaking and singing to religious music to folk music. Ultimately Tibetan music is centered around the Buddhist religion. For instance, chanting (usually in the Sanskrit or Tibetan language) is usually very complex and flowing repetitiion of sacred texts. Sometimes chanting will be accompanied by very slow or deep sounding drums which follow the beat of the long drawn out syllables of the chanting.
Many times Tibetan music will tell a story of the past (religious or nonreligious) of personal experiences, or of myths and legends. These types of songs and music arew usually spread by wandering musicians and storytellers who connect Tibetan people through their music as they move from village to village. This type of connection through music is known in Tibet as the Lama Mani tradition.
As I have learned from class music is a major source of creating a cultural identity. Tibetan music was a target during the attempts to erase all traces of Tibetan culture. However, Tibetan music remained a strong influence amoung the people of Tibet as it was easy to pass on from one person to the next and often held new of recent happenings; music, for the people of Tibet is a form of communication.
I have been able to listen to several different Tibetan songs which I found online. The music I listened to ranged from folk songs to religious chanting to traditional instrumental. Many of the songs titles that I listened to are meant to evoke feelings of hope toward the future,for instance, one song titled "Refuge Prayer" is featured in the CD Tibet Tibet by artist Yungchen Lhamo, and another song titled "Universal Kindness" is featured in the CD Music as Medicine. These songs had an impression on me because of how completely unprepared I was. What I was expecting I can no longer say but the Tibetan music I listened to was like the telling of a stroy or the conveyance a message, even when at times there were no words and just sound.
When I had first heard of (vaguely) what Tibetan music was like I had imagined long droned out vowels with hardly any point other than for religious purposes. Now I see that communicating by the use of words is not the only way in which people convey their emotions, thoughts, or experiences.
Many times Tibetan music will tell a story of the past (religious or nonreligious) of personal experiences, or of myths and legends. These types of songs and music arew usually spread by wandering musicians and storytellers who connect Tibetan people through their music as they move from village to village. This type of connection through music is known in Tibet as the Lama Mani tradition.
As I have learned from class music is a major source of creating a cultural identity. Tibetan music was a target during the attempts to erase all traces of Tibetan culture. However, Tibetan music remained a strong influence amoung the people of Tibet as it was easy to pass on from one person to the next and often held new of recent happenings; music, for the people of Tibet is a form of communication.
I have been able to listen to several different Tibetan songs which I found online. The music I listened to ranged from folk songs to religious chanting to traditional instrumental. Many of the songs titles that I listened to are meant to evoke feelings of hope toward the future,for instance, one song titled "Refuge Prayer" is featured in the CD Tibet Tibet by artist Yungchen Lhamo, and another song titled "Universal Kindness" is featured in the CD Music as Medicine. These songs had an impression on me because of how completely unprepared I was. What I was expecting I can no longer say but the Tibetan music I listened to was like the telling of a stroy or the conveyance a message, even when at times there were no words and just sound.
When I had first heard of (vaguely) what Tibetan music was like I had imagined long droned out vowels with hardly any point other than for religious purposes. Now I see that communicating by the use of words is not the only way in which people convey their emotions, thoughts, or experiences.
Methodology of Approach
My cross-cultural encounter has led me to look at and study several different types of mediums. For me, the closest thing to actually traveling to Tibet is looking at pictures, photographs, and images of Tibet. However, I have also come to understand that all picture sof Tibet have some form of 
bias whether good or bad which is directly related to the individual who has taken the picture. Therefore, with this is mind, I have been able to make myself look critically at photographs and try to find signs of bias. For instance, I ask myself who could have taken this photo, who is the photographer trying to interest or grab the attention of, was this photograph taken by a Tibetan native or an outsider? 
Other than visual images of Tibet I have read different literary texts explaining about Tibetan traditions, rituals and other aspects of the culture. It has been more difficult than I expected to set aside my own prejudices and preconceived notions of what made Tibet - Tibet. However, I believe that now I have come to a new understanding of Tibet. The literary texts I have examined have included sites campaigning for freeing Tibet and building up a new country of Tibet, I have looked at government websites which give very little detail on the intricacies of Tibetan culture and seem to focus more on the factual elements of Tibet such as religion, population, national identity, at sites such as these no mention of the crisis which Tibet has been wrapped up in and how this could effect ( or even change) what the religion or population of Tibet consists of. Another aspect of this encounter which has been difficult for me is not believing everything I read. I often become so enthralle din what I am reading that I forget that I shoudl be reading with a critical and questioning mind.
bias whether good or bad which is directly related to the individual who has taken the picture. Therefore, with this is mind, I have been able to make myself look critically at photographs and try to find signs of bias. For instance, I ask myself who could have taken this photo, who is the photographer trying to interest or grab the attention of, was this photograph taken by a Tibetan native or an outsider? 
Other than visual images of Tibet I have read different literary texts explaining about Tibetan traditions, rituals and other aspects of the culture. It has been more difficult than I expected to set aside my own prejudices and preconceived notions of what made Tibet - Tibet. However, I believe that now I have come to a new understanding of Tibet. The literary texts I have examined have included sites campaigning for freeing Tibet and building up a new country of Tibet, I have looked at government websites which give very little detail on the intricacies of Tibetan culture and seem to focus more on the factual elements of Tibet such as religion, population, national identity, at sites such as these no mention of the crisis which Tibet has been wrapped up in and how this could effect ( or even change) what the religion or population of Tibet consists of. Another aspect of this encounter which has been difficult for me is not believing everything I read. I often become so enthralle din what I am reading that I forget that I shoudl be reading with a critical and questioning mind.
Subscribe to:
Posts (Atom)