OPINION
Professor Phuntsog* makes a striking observation, suggesting that the CCP employs a calculated strategy to manipulate public perception. While permitting the production and showcasing of Tibetan music and dance—the visible and surface-level aspects of culture, likened to the tip of an iceberg—the CCP systematically undermines the deeper, unseen elements of Tibetan identity, such as language, traditions, and religion. This tactic serves as a propaganda tool to reinforce the CCP’s narrative of Tibet as a socialist paradise while simultaneously diverting young Tibetans from academic pursuits.
The stunning, colorful landscape of Tibet is home to a vibrant array of established and emerging musician luminaries, who traverse the land or ride horses for their performances. The enchanting sounds of their music resonate captivatingly with the breathtaking geography and magically complement each other. Since my retirement, I have had the opportunity to enjoy the beauty of Tibetan music, particularly songs originating in Tibet. The enchanting melodies, poetic lyrics, and vibrant, colorful costumes reflect the richness of Tibetan culture. Yet, this enjoyment is short-lived by an unsettling incongruity: the Chinese Communist Party’s (CCP) relentless suppression of Tibetan culture, religion, and language is at odds with the apparent freedom and abundance of Tibetan music production in the region.
This contradiction has puzzled me for quite some time. On one hand, we see the CCP systematically dismantling the pillars of Tibetan identity—its language, religion, and traditions. On the other hand, Tibetan music and dance continue to be produced and showcased under the CCP’s watchful eye. While I do not claim to have definitive answers, I have a strong suspicion about the motives behind this paradox. By sharing my observations, I hope to raise awareness and foster a deeper understanding of what I believe is a calculated strategy to undermine the very essence of Tibetan culture.
A Calculated Contradiction
The CCP has long demonstrated its intention in policy and in actions to erase the unique identity of Tibet, particularly by targeting its language, which serves as the vessel for sacred Buddhist scriptures and traditions. President Xi Jinping’s aggressive Sinicization of Tibetans has further escalated the process of erasure to a dangerous level not seen in the past. Tibetan songs often refer to their language as the “soul of the nation,” reflecting its central role in preserving cultural and spiritual heritage. Yet the CCP paradoxically permits, and even oversees, the production of Tibetan music, granting its seal of approval to select works. This selective tolerance raises an important question: why does the CCP allow the performance of Tibetan music and dance while simultaneously suppressing the Tibetan language in schools and religious institutions?
The answer lies in the CCP’s strategic use of Tibetan music as a propaganda tool. By allowing the visible elements of Tibetan culture—its songs, dances, and colorful costumes—to flourish under controlled circumstances, the CCP seeks to project an image of harmony and cultural preservation to the outside world. This carefully curated façade is designed to deceive foreign dignitaries, tourists, and even Tibetans themselves into believing that Tibetan culture is alive and thriving under CCP rule. It is undeniably a part of the CCP’s propaganda to support its narrative of Tibet as a socialist paradise.
A Staged Spectacle
Take, for example, the grand celebrations of the Tibetan New Year in Lhasa. These events are marked by elaborate performances of traditional songs and dances in halls adorned with glittering lights and flashing displays reminiscent of Western music concerts. Musicians, singers, and commentators, dressed in vibrant costumes and hats of all shapes and sizes, sit in neat rows, exchanging smiles and formal bows. Traditional tables are laden with Tibetan cookies, sweets, and various beverages, creating a festive atmosphere of abundance.
Yet, for an observer like myself, the artificiality of these events is glaringly obvious. From the overly staged settings to the performers’ rehearsed expressions, the lack of genuine warmth and authenticity is palpable. These performances, while outwardly celebratory, feel hollow—a stark contrast to the heartfelt and spontaneous expressions of Tibetan culture I have known.
The Hidden Agenda
The CCP’s promotion of Tibetan music and dance is not an act of cultural preservation but a calculated effort to manipulate perceptions. By showcasing these visible aspects of Tibetan culture, the CCP seeks to mask its systematic suppression of the deeper, more integral components of Tibetan identity.
Language, for instance, is the cornerstone of Tibetan culture. It is the medium through which sacred Buddhist scriptures are transmitted, and it embodies the collective wisdom and spirituality of the Tibetan people. Despite this, the CCP imposes severe linguistic restrictions in schools and monasteries, undermining the very foundation of Tibetan identity.
This tactic of promoting the “surface” elements of culture while eroding its “core” is both deceptive and insidious. Anthropologists often describe culture as an iceberg: the visible aspects, such as music and dance, represent only a small fraction, while the deeper, unseen elements—language, values, and beliefs—constitute the majority. By allowing the former to flourish while systematically dismantling the latter, the CCP is effectively hollowing out Tibetan culture from within.
The Cost of Deception
One of the most damaging outcomes of this strategy is its impact on Tibetan youth. The CCP’s promotion of show business lures talented young Tibetans away from academic and spiritual pursuits, offering them fleeting fame and monetary rewards. The CCP likely recognizes that a highly educated Tibetan youth could pose a threat to its unfounded claims that Tibet is an integral part of China. For example, the courageous and illustrious writer Tsering Woeser has used the power of the pen to expose the oppressive nature of the occupying regime.
In many parts of Tibet, it is not uncommon to see school-age girls, dressed in elaborate costumes, performing in restaurants to entertain guests. While these performances may appear harmless, they represent a disturbing trend: the commodification of Tibetan culture at the expense of education and long-term opportunities for these children.
The CCP not only exploits Tibetan youth by diverting their energy and potential into superficial pursuits but also undermines their individual futures and weakens the collective resilience of Tibetan society. The subversiveness of this approach is so subtle that the deception escapes the attention and awareness of participants and native onlookers alike.
Conclusion
The CCP’s show business policy in Tibet is not a celebration of Tibetan culture but a sinister strategy to control and manipulate it. By promoting the visible aspects of culture while suppressing its core, the CCP seeks to create an illusion of harmony and preservation, deceiving both the international community and the Tibetan people themselves.
We must remain vigilant and discerning, recognizing this façade for what it truly is: a calculated effort to erode the essence of Tibetan identity. Only by exposing these tactics and advocating for the authentic preservation of the Tibetan language, religion, and traditions can we hope to protect Tibet’s rich cultural heritage for future generations.
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* Dr Nawang Phuntsog is a Professor Emeritus in the Department of Elementary & Bilingual Education at California State University, Fullerton, USA, and a founding member of www.tibetaneducationadvancement.org. He is also the author of “A Tibetan-American Educator’s Odyssey: Learning at the Feet of Adversity,” published by LTWA in 2024. He is currently working on his next book, exploring the intersectionality of Tibetan Nationalism and the Middle Way Approach.