All posts tagged: Hip-Hop

Uyghur Hip-Hop as Folk Music

Published by Darren Byler

Adil Mijit is not the only Uyghur comedian to incorporate a discussion of hip-hop into his performances. In the recent state-sponsored film Shewket’s Summer directed by Pan Yu with assistance from Beijing Film Academy students, Abdukerim Abliz joins the Uyghur hip-hop crew Six City as a reticent folk musician (see the 117 minute mark in the above film). The film, which is both a “coming-of-age” and “parent-trap” melodrama, highlights the way conflicts resolved at the level of the family have larger implications for society. Although the film is heavy in the propaganda of ethnic harmony (a Han character named Luobin [!] is featured as an aspiring musician in search of “original” tunes and then as an inspiration to the Uyghur characters), the slick production values and money behind the film present Uyghur folk arts in a strongly positive light. As a wise Native American activist and anthropologist once told me, “If The Man offers you money, you take the money.” Six City and Abdukerim took the money. The fact that the Uyghur-language poetics of Six City …

Hip-Hop vs. Folk Music

Published by Darren Byler

In the film The Silk Road of Pop a classically trained Uyghur tambur player tells viewers that listening to Western music such as hip-hop and jazz does not carry the same feelings of love, tradition and family as Uyghur folk music. He says that he hopes that the generation of Uyghur musicans coming of age today do not forget about their past. This tambur player, a member of a group of studio musicians who often accompany the King of Uyghur pop Abdulla, is repeating a refrain heard frequently by performance artists trained under the legacy of the Maoist regime of multiculturalism. During the Maoist years, ethnic theater, opera, music and dance troupes, were major institutional outlets for ethnically-ascribed life projects. Not only were they economically and politically secure positions, but they provided a space where the souls of people could leak out through gaps in the filter of Socialist Realism. Classically-trained performers of state-approved culture inhabited a role many people highly valued. Of course I’m not suggesting that Uyghur cultural performance was invented by the Chinese …

The Silk Road of Pop: Reviewed

Published by Darren Byler

The film The Silk Road of Pop (2013: 53 min.) ends with a young Uyghur rapper saying that he wants the world to know that Uyghurs exist. The man, a sculpted crop of hair jutting from his chin, says “Aside from China, who knows that Uyghurs exist? Zero percent.” As a view from a train window merges into film credits while the Uyghur singer Perhet Xaliq and his wife Pezilet sing an old song of Uyghur youth “sent-down” from the city, the pathos of his plea seem to resonate with the atmosphere of the land, the tight cement block apartments, the frozen sidewalks paved with Shandong tiles. Being contemporary Uyghurs is something that young people in Xinjiang seem to think about and perform all the time. You can hear it in the air. Why doesn’t the sound they make travel back to them? This mesmerizing new documentary film by the Canadian and Swiss filmmakers Sameer Farooq and Ursula Engel pulls the viewer in and out of the dense soundscape of Northwest China. Moving between the …