Navigating Generational Frictions Through Bihu Festival Performance in Assam, India
Requires Subscription PDF

How to Cite

Kheshgi, R. (2018). Navigating Generational Frictions Through Bihu Festival Performance in Assam, India. MUSICultures, 44(1). Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/26078

Abstract

Abstract: Drawing on research conducted during doctoral fieldwork in Assam, India from 2009 to 2016, this article investigates frictions that shape narratives of generational change. In addition to exploring how female performers in rural Assam creatively interpret the narrative themes of Bihu as they transition from youth to adulthood, I situate the work of singer Khagen Mahanta, whose performances contributed to the mass popularity of Bihu, alongside more recent musical innovations of his son, who has become an icon of Assamese youth culture. These discussions intersect with my experiences performing with artists who move between ritual contexts, festival stages, and competitions.
Requires Subscription PDF
  • The author retains copyright over the work.
  • The author grants the journal owner (The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales) an exclusive license to publish the work.
  • The author may post a pre-print or post-print version of the work (see definitions below) on a personal website for up to twelve months after the work is published in MUSICultures. After twelve months, the pre-print version must be replaced with the published version.
  • The author may deposit the published PDF of the work in a non-commercial online repository twelve months after the work is published in MUSICultures, or any time thereafter.
  • Any such deposit must include a link to the work on the MUSICultures website, e.g., https://journals.lib.unb.ca/index.php/MC/article/view/19996

A pre-print is a work-in-progress—a contribution not yet accepted, or perhaps even submitted, to MUSICultures.

A post-print is the version of a contribution after peer review and acceptance by MUSICultures, with revisions completed.

The published version is the PDF file of a contribution as it appears in MUSICultures.

Please note that academia.edu and ResearchGate.com are both for-profit repositories; authors may not deposit the published PDF of the work in these repositories until after the journal’s embargo period.

For permission to reprint or translate material from MUSICultures, please contact Heather Sparling, General Editor of MUSICultures (heather_sparling@cbu.ca).