This article explores the songfests involved in a Nepali women's festival called Tij. Presenting a practice theory of meaning constraint, I argue that any attempt to constrain interpretive indeterminacy in discursive events like Tij songfests must be firmly situated along sociospatial, temporal, textual, and intertextual dimensions. Choosing one song to analyze in detail, I propose an explanation for why potentially oppositional lyrics have not thus far challenged prevailing gender relations in the village of junigau.
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Laura M. Ahearn (1998) studied this question.
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