ABSTRACT
The On Ikki Muqam (Twelve Muqam) have today achieved iconic status as one of the principal cultural assets of the Uyghur nation. As Nathan Light discusses in this volume, the very idea of the ‘Twelve Muqam’ as a set of fixed musical suites with a long historical pedigree is itself a modern, nationalist invention. But where does this leave us in terms of understanding this musical tradition within the wider cultural context? Current debates surrounding the Muqam seek to situate their historical roots on a cultural-geographical axis between China’s ‘Western Regions’ (Xiyu) and the Arab world. In this chapter I argue that a better understanding of these musical traditions can be achieved if we move away from the portrayal of linear development of discrete national repertoires which processes of canonization and study promote. If we seek to compare these traditions, then our comparison should encompass not only musical sounds and structures but also the social and cultural processes through which the music is given meaning and life. What emerges is a picture of overlapping local musical traditions and practices across Central Asia, from Khorezm to Qumul to Kashmir. These traditions clearly form a part of the wider Islamic musical world, and are closely related to other aspects of this wider culture, notably Sufism. Chinese musical influence on Uyghur traditions is extremely rare, and such examples that can be found are strongly contested by Uyghur nationalists.
