「作る」と「パクる」の狭間で --チベタン・ポップをめぐる権利言説と実践から見る難民社会の今--

Abstract

This paper aims to clarify the meanings of musical activities among Tibetan refugees in India and Nepal: by paying attention to discourses and practices by both Tibetan pop singers, who compose and perform songs, and Tibetan audiences who consume their songs. It especially focuses on their discourses and practices concerning the copyrights of Tibetan pop songs, and attempts to show twists that have stemmed from multiple contacts among such discourses and practices, and been bringing about dynamics in perceptions on musical activities among Tibetan refugees in India and Nepal. It insists that such dynamics have embodied themselves as clashes between moral discourses on the copyrights and unconsidered and unfair consumptions by audiences from the singer's perspective, or between singers' self assertion as individual and public tendency to make each singer's name anonymous. This paper regards these clashes as bringing about some gradual change in Tibetan refugees' perceptions on musical activities, and it shows such transformation exemplifies what condition Tibetan refugees are in.