This paper extends a transnational ethnography of contemporary Hani music, the aural expressions of people who identify as descendants of an ethnic group in Southern China, Laos, and Vietnam. In the past decade, a vibrant reggae scene has been flourishing in Yunnan, Southwest China, where bands led by ethnic minorities gained recognition through album releases and international tours, alongside the rise of regional record labels (e.g. Sea of Woods). Among those joining this wave are Hani musicians (e.g. band “Wild Mushrooms”), who mobilize reggae, ska, and psychedelic elements to reimagine traditional folk songs in contemporary musical production.

By examining Hani musical innovations as a critical case of “Yunnan Reggae” and “Global Grooves,” this paper asks how the intersection of Afro-diasporic genres and Hani traditions engender new forms of intercultural interaction, minority identity negotiation, and transnational circuits. I argue that Hani musicians do not position themselves as preservers of “heritage” or participants in “world music” markets; rather, they develop what I call “counterpublic musicking” practices that articulate dynamic forms of Hani identity (Small 1998; Warner 2002). Gleaning insights from ethnomusicological scholarship of mediation, circulation, and mobility (Meintjes 1990; Novak 2013; Kielman 2022), this paper challenges ethnonationalist logics and reconceptualizes “caifeng” (采风) in Chinese folk music studies—a practice that documents minority music through short-term visits to rural villages. Treating recording studios, live performances, and record label practices as key sites of circulation, this project repositions Hani music within global circuits and listening publics while foregrounding its sonic mobilities and creative transgressions.