An introduction to popular Shan music

I have been hearing about the growing popularity of modern Shan music - largely settled in and focused around Chiang Mai - for the past few years. I have also learned of its resurgence through contact with, albeit sporadically (entirely my fault), several dedicated, inquisitive and budding academics who can provide a more detailed (and erudite and enlightening) explanation/introduction than I ever could. But, no matter. To begin with, I am providing this preliminary mini-posting with the hope that their (and other knowledgeable) comments will be hot on its heels. Thank you in advance.

So, to get this pop Shan music discussion started, I would like to direct your attention to an excellent introductory article on Shan music - it is entitled 'THE SHAN: Music Weaves through Imagined Community' and was published in 2005 by Wandee Suntivutimetee. The article is available through the Imagine Our Mekong website, a new web-info site dedicated to information on and from the Mekong Region and Golden Triangle.

Finally, for a bit of free publicity and to pop-star-up this posting, I have attached a photo of Sang Jom Fa, a main figure in the modern Shan music scene. He is, possibly(?), the James Blunt of popular Shan music. Does this moniker fit?
Any comments/criticism anyone??

Gyan mah chan tha ba seh,

Naw Liang

'Eating the horses: nineteenth century tribute relations in the Shan States'

Presenter: Susan Conway
Date/Time: Thursday 12 October 2006 - 17.00
Place: The School of Oriental and African Studies (SOAS) - Room G51

I was intrigued to receive an email today from SOAS' Centre of South East Asian Studies (CSEAS) on the above topic. And, as I dug deeper, I felt more and more amazed as well as more and more ashamed: I have never heard of Susan Conway. Amazed that, at nearly every turn, I uncover, bump into or simply trip over another Shan enthusiast - each of the highest calibre - and ashamed that I have not come across her work - books, collections, art and more - before, particularly through our common SOAS connection. I am eagerly looking forward to her talk on the 12th.

Conway, as her website eloquently states, is a research associate at SOAS and an "artist whose work is a liaison between textiles and fine art". She has published, presented and held exhibitions of her findings, thoughts and insight(s) widely, including exhibits of her own artwork. Although her topic is a departure from my usual social anthropological leanings, I am eager to understand historical tribute relations amongst the Shan, particularly through art and textiles, that will, I am assured, provide an important keys to comprehending their use and significance as well as unlocking the inner secrets of Shan culture and society. It has all the makings of a very interesting and educational evening: I hope to see you there.

For more information on Susan Conway, including a list of her articles and books, please visit: www.susanconway.com.

See you there,

Khun Naw Liang