{"title":"Khöömei and Heritage: An Afterword","authors":"Theodore Levin","doi":"10.1353/amu.2021.0019","DOIUrl":"https://doi.org/10.1353/amu.2021.0019","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42904340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:While a cultural politics of property predominates in public debates over the "ownership" of khöömii, many rural elders and herders often imply what Rebecca Empson describes as an aesthetics of propriety in local discussions about "taking" khöömii as a gift from the surrounding world of baigal' (nature-existence) or about using it for musical offerings to the master-spirits of mountains, in particular. Contemporary actors invoke both of these ways of belonging through khöömii performance depending on their agendas and positions within communal, national, or international discourses about the meaning and reception of Mongol khöömii. This article considers a few key aspects of this complex relationship between Indigenous, socialistic, and heritage-related ways of belonging. Through ethnography and interviews in two rural communities, I consider how propriety, property, and heritage interrelate with local values, social life, and public life. One of these communal case studies, Chandman' District in Khovd Province, is renowned for its intergenerational effort to promote khöömii, while the other, Tsagaannüür in Khövsgöl Province, seems to have lost a communal practice of khöömii. Perspectives from these communities may help scholars understand not only how or why heritage is made in Mongolia but also how or why it is not made in certain circumstances, a topic in need of more attention in the literature on heritage-making.Abstract:Өмчийн талаарх соёлын бодлого давамгайлж, хөөмийн "эзэмшил"-ийн тухай олон нийт хэлэлцэж буйн нөгөө талд хөдөөний настан, малчид байгаль дэлхийгээс хөөмийг "бэлэг" болгон "авсан" талаар, эсвэл хөөмийг ялангуяа уул нуруудын эзэн савдагт өргөдөг эгшиг аялгуун "тахил" утгаар орон нутагтаа ярьдаг нь Рэбэкка Эмпсоны дүрсэлсэн зохист явдлын гоо зүй юм. Монгол хөөмийн утга холбогдол, хөөмийг хүлээн авахтай холбоотой орон нутаг, орон даяарх, эсвэл олон улс дамнасан яриа, хэлэлцүүлэгт хөөмийлөх үйл явцад хэрхэн харъяалагддагаа холбогдогч хүмүүс нь өөр өөрсдийн байр суурь, эрмэлзлээсээ хамааран дээрх хоёр байдлын аль алинаар нь илэрхийлж байна.Уугуул, социалист болоод өв соёлтой холбоотой харъяалалын хэлбэрийн хоорондох энэхүү ярвигтай харилцааны хэд хэдэн гол шинжийн талаар энэ нийтлэлд авч үзнэ. Хөдөөгийн хоёр сумд хийсэн угсаатны зүйн судалгаа, ярилцлагуудаар жишээлэн, зохист байдал, өмч, өв соёл нь хэрхэн тухайн газрын нийгмийн хийгээд нийтийн ахуй, үнэт зүйлтэй харилцан уялдаж байдгийг харуулна. Орон нутагт хийсэн энэхүү харьцуулсан судалгаагаар авч үзэхэд, Ховд аймгийн Чандмань сумынхан хөөмийг түгээн дэлгэрүүлэх үйлст үе дамжин идэвх гаргаж ирсэнээрээ алдартай бол, Хөвсгөл аймгийн Цагааннуур сумын хувьд нийтээрээ хөөмийлөхөө больсон харагдаж байна. Энэхүү судалгааны дүгнэлт Монголд соёлын өв хэрхэн, эсвэл яагаад бүтээгддэг талаар төдийгүй, соёлын өв бүтээхтэй холбоотой эрдмийн ажлын хүрээнд анхаарал хандуулууштай сэдэв болох тодорхой нөхцөл байдалд соёлын өв хэрхэн, эсвэл яагаад бүтээгддэггүй талаар судлаач эрдэмтдэд о
{"title":"Propriety, Property, and Heritage in the Performance of Mongol Khöömii","authors":"Andrew Colwell","doi":"10.1353/amu.2021.0014","DOIUrl":"https://doi.org/10.1353/amu.2021.0014","url":null,"abstract":"Abstract:While a cultural politics of property predominates in public debates over the \"ownership\" of khöömii, many rural elders and herders often imply what Rebecca Empson describes as an aesthetics of propriety in local discussions about \"taking\" khöömii as a gift from the surrounding world of baigal' (nature-existence) or about using it for musical offerings to the master-spirits of mountains, in particular. Contemporary actors invoke both of these ways of belonging through khöömii performance depending on their agendas and positions within communal, national, or international discourses about the meaning and reception of Mongol khöömii. This article considers a few key aspects of this complex relationship between Indigenous, socialistic, and heritage-related ways of belonging. Through ethnography and interviews in two rural communities, I consider how propriety, property, and heritage interrelate with local values, social life, and public life. One of these communal case studies, Chandman' District in Khovd Province, is renowned for its intergenerational effort to promote khöömii, while the other, Tsagaannüür in Khövsgöl Province, seems to have lost a communal practice of khöömii. Perspectives from these communities may help scholars understand not only how or why heritage is made in Mongolia but also how or why it is not made in certain circumstances, a topic in need of more attention in the literature on heritage-making.Abstract:Өмчийн талаарх соёлын бодлого давамгайлж, хөөмийн \"эзэмшил\"-ийн тухай олон нийт хэлэлцэж буйн нөгөө талд хөдөөний настан, малчид байгаль дэлхийгээс хөөмийг \"бэлэг\" болгон \"авсан\" талаар, эсвэл хөөмийг ялангуяа уул нуруудын эзэн савдагт өргөдөг эгшиг аялгуун \"тахил\" утгаар орон нутагтаа ярьдаг нь Рэбэкка Эмпсоны дүрсэлсэн зохист явдлын гоо зүй юм. Монгол хөөмийн утга холбогдол, хөөмийг хүлээн авахтай холбоотой орон нутаг, орон даяарх, эсвэл олон улс дамнасан яриа, хэлэлцүүлэгт хөөмийлөх үйл явцад хэрхэн харъяалагддагаа холбогдогч хүмүүс нь өөр өөрсдийн байр суурь, эрмэлзлээсээ хамааран дээрх хоёр байдлын аль алинаар нь илэрхийлж байна.Уугуул, социалист болоод өв соёлтой холбоотой харъяалалын хэлбэрийн хоорондох энэхүү ярвигтай харилцааны хэд хэдэн гол шинжийн талаар энэ нийтлэлд авч үзнэ. Хөдөөгийн хоёр сумд хийсэн угсаатны зүйн судалгаа, ярилцлагуудаар жишээлэн, зохист байдал, өмч, өв соёл нь хэрхэн тухайн газрын нийгмийн хийгээд нийтийн ахуй, үнэт зүйлтэй харилцан уялдаж байдгийг харуулна. Орон нутагт хийсэн энэхүү харьцуулсан судалгаагаар авч үзэхэд, Ховд аймгийн Чандмань сумынхан хөөмийг түгээн дэлгэрүүлэх үйлст үе дамжин идэвх гаргаж ирсэнээрээ алдартай бол, Хөвсгөл аймгийн Цагааннуур сумын хувьд нийтээрээ хөөмийлөхөө больсон харагдаж байна. Энэхүү судалгааны дүгнэлт Монголд соёлын өв хэрхэн, эсвэл яагаад бүтээгддэг талаар төдийгүй, соёлын өв бүтээхтэй холбоотой эрдмийн ажлын хүрээнд анхаарал хандуулууштай сэдэв болох тодорхой нөхцөл байдалд соёлын өв хэрхэн, эсвэл яагаад бүтээгддэггүй талаар судлаач эрдэмтдэд о","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48439813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article sheds light on the logics that informed China's 2009 successful application and nomination of khöömii as UNESCO Intangible Cultural Heritage of China. It explores how bureaucrats charged with overseeing cultural heritage applications, while expertly aware of the requirements to satisfy the terms of the UNESCO Convention, often unknowingly distance and disenfranchise local knowledge in the process. I argue that just such a phenomenon occurred in Inner Mongolia, in which bureaucrats created a new musical taxonomy to justify the existence of and need for safeguarding of khöömii in China. Offering a close investigation into the UNESCO application, this article spotlights the practice of chooryn duu (tsooryn duu, chogur-un dagu) and the logic through which it became strategically subsumed within and conflated with khöömii for the purposes of the UNESCO application.Abstract:
{"title":"Khöömii, Chooryn Duu, and Dissonant Heritage in Inner Mongolia, China","authors":"C. D’Evelyn","doi":"10.1353/amu.2021.0017","DOIUrl":"https://doi.org/10.1353/amu.2021.0017","url":null,"abstract":"Abstract:This article sheds light on the logics that informed China's 2009 successful application and nomination of khöömii as UNESCO Intangible Cultural Heritage of China. It explores how bureaucrats charged with overseeing cultural heritage applications, while expertly aware of the requirements to satisfy the terms of the UNESCO Convention, often unknowingly distance and disenfranchise local knowledge in the process. I argue that just such a phenomenon occurred in Inner Mongolia, in which bureaucrats created a new musical taxonomy to justify the existence of and need for safeguarding of khöömii in China. Offering a close investigation into the UNESCO application, this article spotlights the practice of chooryn duu (tsooryn duu, chogur-un dagu) and the logic through which it became strategically subsumed within and conflated with khöömii for the purposes of the UNESCO application.Abstract:","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48448069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines community stewardship of khöömei, kargyraa, and sygyt (all commonly called "throat-singing") and musical pilgrimage to the Khöömei Ovaa (cairn) from 2011 to 2018 in the Tyva Republic, part of the Russian Federation. More generally, this article traces the revitalization of land-based gift exchanges in Altai and Sayan Mountain ecologies of Inner Asia through mutual entanglements of land, kin, and life energy (khei-a't). Following my teachers, I suggest a horse herder's tethering post (baglaash) as a model for musical stewardship in Tyva and discuss the obligations expected of guests and hosts in musical gift exchanges. I foreground envoicement (ünneshtirer) and attunement (khöönnei) as central aspects of the khöömeizhi's sonic-musical craft and explore the responsibilities entailed in using and sharing melodies for particular purposes. In so doing, I offer a reparative approach to reconciling disjunctures in historic consciousness and traumatic heritage across shared homelands in postsocialist Inner Asia and beyond.Abstract:Ук ажыл Тыва Республикада хөөмей, каргыраа, болгаш сыгыттың камгалапкадагалаттынып турарынын болгаш Хөөмей Оваазының дагылгазы-биле холбашкан, аңаа бараалгаар сорулгалыг аян-чорукту шинчилеп турар. Саян-Алтай девискээринниң чоннарынга төөгүден улуг салдарлыг чер, төрел болгаш хей-аът деп чүүлдерниң аразында харылзаазын, аңаа хамаарышкан чаяалга биле сартык бээр ужурну шинчилеп турар. Көшкүн чоннуң чуртталгазынга улуг ужур-уткалыг чылгы-малдың баглаажын үлегер кылдыр ап, хөгжүмнү кадагалаар соруктуг хемчээлдерни аңаа дөмейлеп турар мен. Хөөмей Оваазы, ону каастаан баглааштар аалчыларны чалап, оларга турлаг бооп, хөөмейниң үнген дөзүнге бараалгаар арганы берип турар. Хөөмейжиниң чаяалгазы биле мергежилиниң кол даяныр чүүлдери кылдыр үннештирерин болгаш хөөннээрин көрбүшаан, хөөмей болгаш аялгаларны үлежири-биле холбашкан харыысалганы шинчилеп турар мен.
{"title":"Gifts of the Sygytchy-Sons: Tethering Melodies to Land, Kin, and Life Energy at the Khöömei Ovaa, Tyva Republic","authors":"Robert O. Beahrs","doi":"10.1353/amu.2021.0015","DOIUrl":"https://doi.org/10.1353/amu.2021.0015","url":null,"abstract":"Abstract:This article examines community stewardship of khöömei, kargyraa, and sygyt (all commonly called \"throat-singing\") and musical pilgrimage to the Khöömei Ovaa (cairn) from 2011 to 2018 in the Tyva Republic, part of the Russian Federation. More generally, this article traces the revitalization of land-based gift exchanges in Altai and Sayan Mountain ecologies of Inner Asia through mutual entanglements of land, kin, and life energy (khei-a't). Following my teachers, I suggest a horse herder's tethering post (baglaash) as a model for musical stewardship in Tyva and discuss the obligations expected of guests and hosts in musical gift exchanges. I foreground envoicement (ünneshtirer) and attunement (khöönnei) as central aspects of the khöömeizhi's sonic-musical craft and explore the responsibilities entailed in using and sharing melodies for particular purposes. In so doing, I offer a reparative approach to reconciling disjunctures in historic consciousness and traumatic heritage across shared homelands in postsocialist Inner Asia and beyond.Abstract:Ук ажыл Тыва Республикада хөөмей, каргыраа, болгаш сыгыттың камгалапкадагалаттынып турарынын болгаш Хөөмей Оваазының дагылгазы-биле холбашкан, аңаа бараалгаар сорулгалыг аян-чорукту шинчилеп турар. Саян-Алтай девискээринниң чоннарынга төөгүден улуг салдарлыг чер, төрел болгаш хей-аът деп чүүлдерниң аразында харылзаазын, аңаа хамаарышкан чаяалга биле сартык бээр ужурну шинчилеп турар. Көшкүн чоннуң чуртталгазынга улуг ужур-уткалыг чылгы-малдың баглаажын үлегер кылдыр ап, хөгжүмнү кадагалаар соруктуг хемчээлдерни аңаа дөмейлеп турар мен. Хөөмей Оваазы, ону каастаан баглааштар аалчыларны чалап, оларга турлаг бооп, хөөмейниң үнген дөзүнге бараалгаар арганы берип турар. Хөөмейжиниң чаяалгазы биле мергежилиниң кол даяныр чүүлдери кылдыр үннештирерин болгаш хөөннээрин көрбүшаан, хөөмей болгаш аялгаларны үлежири-биле холбашкан харыысалганы шинчилеп турар мен.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43750453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Map A. Research Focus Areas of Inner and Central Asia","authors":"","doi":"10.1353/amu.2021.0011","DOIUrl":"https://doi.org/10.1353/amu.2021.0011","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66188978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Map B. The Greater Altai-Sayan Mountain Region","authors":"","doi":"10.1353/amu.2021.0012","DOIUrl":"https://doi.org/10.1353/amu.2021.0012","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66189039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this article, I discuss the emergence of modal analysis of Coptic hymns by Coptic Egyptian scholars beginning in the 1970s. I then provide a brief history of maqām theory and discuss the subtopics of intonation and tetrachordal analysis as they apply to Coptic chant. Finally, I present a modal analysis of the festal version of the Coptic laḥn "Epouro" by Coptic Egyptian scholar Nabīl Kamāl Buṭrus along with my own annotation and critique. I argue that this historical review and musical analysis demonstrate a degree of potential affinity between at least some Coptic hymnody and this regional musical tradition.
{"title":"Coptic Chant and Maqām: The Modal Heritage of a Liturgical Tradition","authors":"Nicholas Ragheb","doi":"10.1353/amu.2021.0007","DOIUrl":"https://doi.org/10.1353/amu.2021.0007","url":null,"abstract":"Abstract:In this article, I discuss the emergence of modal analysis of Coptic hymns by Coptic Egyptian scholars beginning in the 1970s. I then provide a brief history of maqām theory and discuss the subtopics of intonation and tetrachordal analysis as they apply to Coptic chant. Finally, I present a modal analysis of the festal version of the Coptic laḥn \"Epouro\" by Coptic Egyptian scholar Nabīl Kamāl Buṭrus along with my own annotation and critique. I argue that this historical review and musical analysis demonstrate a degree of potential affinity between at least some Coptic hymnody and this regional musical tradition.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/amu.2021.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42822335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article addresses a new stage in the transnationalism of South Indian Carnatic music, focusing on second-generation diasporic musicians in the United States. With expanded youth music scenes, an increasing number of acclaimed diasporic professional musicians who take the music back to India, and a broad network of students and teachers in the United States, Carnatic music has been firmly established in the diaspora. I argue that the decentralization of Carnatic music and persistent interactions built around its aesthetic mark the emergence of a Carnatic ecumene. I draw from interviews with musicians and personal experiences as a Carnatic musician.
{"title":"Emergence of an Ecumene: Transnational Encounters in South Indian Carnatic Music","authors":"R. Ranganathan","doi":"10.1353/amu.2021.0000","DOIUrl":"https://doi.org/10.1353/amu.2021.0000","url":null,"abstract":"Abstract:This article addresses a new stage in the transnationalism of South Indian Carnatic music, focusing on second-generation diasporic musicians in the United States. With expanded youth music scenes, an increasing number of acclaimed diasporic professional musicians who take the music back to India, and a broad network of students and teachers in the United States, Carnatic music has been firmly established in the diaspora. I argue that the decentralization of Carnatic music and persistent interactions built around its aesthetic mark the emergence of a Carnatic ecumene. I draw from interviews with musicians and personal experiences as a Carnatic musician.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/amu.2021.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45277589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Hindustani khayal music is a prominent vocal classical genre in northern India. Scholarship on khayal, which focuses on its construction as national and classical, has often rendered its social experiences in ways that suggest homogeneity across regions and quasi-autonomy from popular music. Elaborating on a contemporary instance—a television show that features Marathi popular songs—this article unpacks the relationship of khayal with popular music in the state of Maharashtra. In the process, the article reflects on the meanings that khayal has accrued in a regional context as well as on the nature of music categories and genres and their calibration.
{"title":"The Classical Khayal and Marathi Popular Music: Unpacking Music Genres and Categories in Maharashtra, India","authors":"Aditi Deo","doi":"10.1353/amu.2021.0008","DOIUrl":"https://doi.org/10.1353/amu.2021.0008","url":null,"abstract":"Abstract:Hindustani khayal music is a prominent vocal classical genre in northern India. Scholarship on khayal, which focuses on its construction as national and classical, has often rendered its social experiences in ways that suggest homogeneity across regions and quasi-autonomy from popular music. Elaborating on a contemporary instance—a television show that features Marathi popular songs—this article unpacks the relationship of khayal with popular music in the state of Maharashtra. In the process, the article reflects on the meanings that khayal has accrued in a regional context as well as on the nature of music categories and genres and their calibration.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/amu.2021.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41807456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：