Journey In Diphonia - Call for participation in crowdfunding
Dear Everyone,
After "Masters of overtone singing" (2010),
Les Films du Rocher & Routes Nomades
are preparing a new movie :
Journey In Diphonia (Voyage en Diphonie in french)
For that we start a crowdfunding until the 31 of March 2017.
We need your help!
Discover the movie project on the website:
Follow us on Facebook: https://fr-fr.facebook.com/Voyage-en-Diphonie/
Teaser on YouTube:
| Another fine CD by one of the current batch of groups from Mongolia. It features the marvellous khöömii of Amra (Amartuwshin Baasadorj) on at least five of the pieces. Finely recorded the Cd is a mix of traditional arrangements and contemporary compositions performed by Tume (Tumenbayar Migdory) on Morin Khuur & vocals, Tunuruu (Tumursaihan Yanlav) Morin khuur, aman khuur & vocals, Uugan (Uuganbaatar Tsend-Ochir) Ih Khuur, Boogi (Batbold Wandansenge) percussion, denshig, vocals and Saran (Sarangerel Tserevsamba) yoochin & vocals. | ZAZAL ~ music by Egschiglen |
| 1. Hartai sarlag Traditional - arranged by Tumenbayar Migdori - solo khöömii vocals by Amra and solo vocals by Boogi This song is inspired by an old melody of Durvud minority from the western region of Mongolia. It's used on the pastures as a calming song for yaks. 2. Uils dundaa sain Traditional - text and arrangement by Tumenbayar Migdorj - solo vocals by Amra, Boogi, Saran and Tummu This is a folk song about the risks of alcohol. When alcohol remains in the bottle, there is calm, but when it is out of the bottle, there is a fiestiness. It is heard in toasts: Alcohol should only be used for the good things in life! 3. Yamaanii boodog Composed by Hangal - text by Amartuwshin Baasandorj - arranged by Uuganbaatar Tsend-Ochir - solo khöömii vocals by Amra The “goat stone roast” is a Mongolian meat dish prepared for special occasions such as celebrations and long trips through the nature. During one such trip, the composer Hangal had the idea for this music. How to prepare “Yamaanii boodog”: The goat will be slaughtered, the head cut off, the innards will be taken out through the neck and seasoned with salt, onions and herbs. The goat will then be stuffed with this mixture and hot stones and grilled. Enjoy! 4. Han huhiin uuland Composed by Sharav and Mend-Amar - text and.arrangement by Tumenboyar Migdorj solo khöömii vocals by Amra and solo vocals by Boogi This song is about Han Huhii mountains extend in the eastern area of Mongolia. The first part of this song, an instrumental by Mongolian composers Sharav and Mend-Amar, was originally written for flute. Egschiglen has re-arranged this song for traditional Mongolian instruments and the flute has been replaced by the khöömii. 5. Talin salhi Composed by Isao Tomita - text by Choinom - arranged by Tumenbayar Migdorj - solo khöömii vocals by Amra and solo female vocals by Saran Egschiglen improvises from a Japanese melody with poems by a Mongolian poet. The song tells about several incidents in the 12th and 13th centuries during the period of Gengis Khans, who drastically altered the world of that time. 6. Mandluhai Composed by Janzannorov - text and arrangement by Tumenboyar Migdorj solo vocals by Amra, Boogi and Tummu. This melody goes back to the Mongolian composer Janzannorov who studied in Kiev and Ulaan Bataar. Janzannorov is one of the most famous exponents of' Mongolian contemporary music. To date, he has composed more than 200 pieces for theatre and cinema. He is a contemporary and teacher of Egschiglen. 7. Herlengiin barya Traditional - arranged by Tumursahain solo morfin khuur by Tumruu. This piece is inspired by the traditional “Long songs” (urtyn duu) known throughout Central Asia. These songs are extremley slow, serious and sad. Tumruu follows with his morin khuur the endless streaming river Herlen in the central east part of Mongolia. 8. Haramgui Composed, text and arrangement, solo khöömii vocals and moriin khuur by Amartuwshin Baasandorj This song is a khöömii vocal improvisation. It's vocal style also called throat singing of diphonic singing. The vocalist Amra modulates between different techniques of this style requiring a complex interplay of abdominal breast and body breathing, of vocal cords, glottis and throat, of tongue, lips and oral cavity. 9. Setgeliin egshig Composed by Sharav - arranged by Uunganbaatar Tsend-Ochir. This instrumental piece goes back to the early 1970 and is one of the first compositions of Mongolian modern classic music. 10. Morin khuur konzert Composed by Hangal - arranged by Tumenbayar Migdorj - solo moin khuur by Tume. In the 1980's compositions for morin khuur and classical western instruments were written for the first time. Mongolian composer Hangal contributed many works during that time renewal, for the first time since the time of Gengis Khan, classical Mongolian music. Hangal studied at the music conservatory of Alma Ata and Svedolovsk. He received the most honoured and important art award of the Mongolian republic, the “Turin soerhol". His “Moriin khuur konzert" marked one of the most important turning points in Mongolian music history. This work has been re-arranged by Egschiglen for exclusivley traditional Mongolian instruments (morin khuur solo, morin khuur, yoochin, percussion, ih khuur). 11. Elstiin ganga Traditional - text and arrangements by Tumenboyar Migdorj - solo vocals by Amra, Boogi, Tume and Tummu This melody is inspired by a folk song from the Darhad minority from the northern part of Mongolia. 12. Yan Tai Wan Göögöö Traditional - arranged by Tumenbayar Migdori - solo vocals by Saran This love song is dedicated to a man called Yan Tai Wan Göögöö. 13. Builgan shar Traditional - arranged by Tumenbayar Migdorj This composition is an allusion to the endless width of the landscapes of the Gobi desert and the camel herds which cross it. It is based on the traditional folk music the Gobi, homeland of the musicians Saran and Uugan. |
I am pleased to announce the publication of a special issue entirely dedicated to khöömii of the "Asian Music" journal, in which I participated:
Transregional Politics of Throat-Singing as Cultural Heritage in Inner and Central Asia, a special issue
ASIAN MUSIC, Volume 52, Number 2, Summer/Fall 2021
Charlotte D’Evelyn, Guest Editor
Robert O. Beahrs, Andrew Colwell, Associate Guest Editors
Johanni Curtet, Assistant Guest Editor
Table of Contents
Grounding Heritage
Transregional Responses
Afterword
Informations, order: https://muse.jhu.edu/issue/45261
Release of the record An Anthology of Mongolian Khöömii
A Buda Musique Label Double CD, 47 p. booklet (in French/English/Mongol)
Through 43 tracks, including 28 previously unreleased, this double disc gathers the essentials of Mongolian khöömii, from early sound archives to the present day, to show the history and evolution of the art over sixty years (1954- 2016) and three generations.
The Anthology continues by the end of January with many textual and audiovisual supplements (12 videos), commentaries on the tracks, musicians’ biographies, and the “Making Of” the record. See the PDF or online at www.routesnomades.fr/en/anthology.
Artistic direction and executive production: Johanni Curtet & Nomindari Shagdarsuren
contact@routesnomades.fr / www.routesnomades.fr
With the support of the French Society for Ethnomusicology and the Unit of History and Arts Criticism (EA 1279), University of Rennes 2.
Order the CD online: www.budamusique.com
In memoriam Papizan Badar
(1957-2016)
English (french below)
On the evening of Wednesday, August 3nd 2016, the master of Tuvan khöömii Papizan Badar passed away from liver cancer...
Born in 1957 in Tsengel county, Bayan-Ölgii province in Mongolia, he self-learned khöömii, inspired by Baldan, an elder of his community. In his village, Papizan was the main transmitter of khöömii, as well as other instruments and Tuvan songs. Beyond the music he knew deeply his culture of which he was one of the living emblems in Tsengel. He was decorated for it - alas late - as the best worker of culture (MUSTA) by the Mongolian State.
He mastered several techniques of khöömii: uulyn kargyraa (deep khöömii mountain), khöömii (pressed overtone singing), sygyt (whistled khöömii), ayany khöömii (travel khöömii), golyn khöömii (river khöömii); the play of shuur flute, toshpuluur lute, igil fiddle and khomus jew’s harp. He also played the nose flute (Western style). Luthier and sculptor, Papizan was a complete artist. Tuvan khöömii representative in Mongolia, he taught many students: the children of the secondary school in his village and adults, nomads or villagers in his community. He was invited several times in the National Festival of Traditional Arts in Mongolia and at khöömii competitions at national and regional levels. Nephew of the famous author Galsan Tschinag, his name appears in some of his works, such as The caravan (translated French version) and Mein Altai (original version in German).
The idea on the origin of khöömii from the imitation and dialogue with nature is often limited - alas – by the discourse of musicians. Among the many khöömii singers whom I met in Mongolia, Papizan was certainly the most connected to nature with his music as with his daily life. Hunter, fisherman and gatherer, environmental protector, he perfectly knew the flora and fauna of his region, as well as traditional medicine associated with plant and animal matters.
Longtime unknown for his talent at the national and international scales, Papizan has been much aided by the ethnologist Amelie Schenk on enhancing his transmission of Tuvan culture in Tsengel. Performing abroad and living off the khöömii was one of the dreams of Papizan. For the first time, he had been invited by Routes Nomades to participate in the disc (recorded in summer 2015) and The Anthology of Mongolian Khöömii tour from March to May 2016, with concerts in France and Switzerland. His success and the public attention paid to the quality of his teachings made us considering future collaborations. All these effort would also, we hoped, enhance his khöömii practice and transmission of his knowledge, as well as raise his social value when he gets back home. But the disease would have decided it otherwise. Papizan quickly joined his wife who also died of cancer in March the same year.
The funeral took place at Tsengel on Friday, August 5th 2016.
Mongolia and in particular Tsengel lost one more treasure... His khöömii and his music were recorded and filmed several times but still widely unknown. The film Bi Mongol Hun by a Mongolian director B. Bayar, produced by Amelie Schenk (translated into German Von Bergen und den reichen armen meinem Leben) offers the opportunity to learn about this extraordinary, funny and fascinating man through a moving portrait at the heart of his environment, the High Altai. He will also appear in the upcoming film of J.-F. Castell Voyage en diphonie, the next part of Masters of overtone singing (2010) in which some pictures were already devoted to him.
During the interview we had on the future of khöömii recorded at his home in summer 2015, Papizan recalled that: "If a people loses its art and language, it is no longer a people. Keeping khöömii is to maintain the cultural identity of Tuvans of Tsengel." He leaves behind a piece of this culture that we hope will be inherited in his memory. In obedience shamanic, Papizan joined the wind spirit. May it continue to blow long to keep his knowledge and tribute.
Johanni Curtet
Français
Le soir du mercredi 3 août 2016, le maître de khöömii touva Papizan Badar nous a quitté suite à un cancer du foie…
Né en 1957 sur la commune de Tsengel dans la province de Bayan-Ölgii (Mongolie), il apprit le khöömii en autodidacte, inspiré par Baldan, un doyen de sa communauté. Dans son village, Papizan était le principal transmetteur du khöömii, ainsi que des instruments et autres répertoires chantés touvas. Au-delà de la musique il connaissait finement sa culture dont il était l’un des emblèmes vivants à Tsengel. Il fut pour cela décoré – tardivement hélas – comme meilleur travailleur de la culture (MUSTA) par l’État Mongol.
Il maîtrisait plusieurs techniques de khöömii : uulyn kargyraa (khöömii profond de montagne), khöömii (chant diphonique pressé), sygyt (khöömii sifflé), ayany khöömii (khöömii de voyage), golyn khöömii (khöömii de rivière) ; le jeu de la flûte shuur, du luth toshpuluur, de la vièle igil et des guimbardes khomus. Il jouait aussi de la flûte nasale (modèle occidental). Luthier et sculpteur, Papizan était un artiste complet. Représentant du khöömii touva en Mongolie, il l’a enseigné à de nombreux élèves : aux enfants de l’école secondaire de son village et aux adultes, nomades ou villageois de sa région. Il a été remarqué à plusieurs reprises dans les éditions du Festival national des arts traditionnels en Mongolie et lors des concours de khöömii au niveau national et régional. Neveu du célèbre auteur Galsan Tschinag, son nom apparaît dans quelques un de ses ouvrages, comme La caravane (version française) et Mein Altai (en allemand).
Si l’origine du khöömii prend ses sources dans l’imitation et le dialogue avec la nature, cela s’arrête hélas souvent au discours chez les musiciens. Parmi les nombreux diphoneurs rencontrés en Mongolie, Papizan était sans doute le plus connecté avec la nature, dans sa musique comme sa vie quotidienne. Chasseur, pêcheur et cueilleur, protecteur écologiste de la nature, il connaissait parfaitement la faune et la flore de sa région, ainsi que la médecine traditionnelle associée aux plantes et matières animales.
Longtemps méconnu pour son talent à l’échelle nationale comme internationale, Papizan a beaucoup été aidé par l’ethnologue Amélie Schenk pour valoriser sa transmission de la culture touva à Tsengel. Jouer à l’étranger et vivre du khöömii a été l’un des rêves de Papizan. Pour la première fois, il venait d’être invité par Routes Nomades à participer au disque (enregistré en été 2015) et à la tournée d’Anthologie du khöömii mongol de mars à mai 2016, avec une série de concerts en France et en Suisse. Le succès rencontré et l’attention particulière du public portée sur la qualité de ses enseignements laissaient envisager de futures collaborations. Cela allait, nous l’espérions, valoriser sa pratique et la transmission de son savoir à son retour au niveau local. Mais la maladie en aura décidé autrement. Papizan a rejoint rapidement son épouse, décédée elle aussi d’un cancer en mars dernier.
Les obsèques ont eu lieu à Tsengel, le vendredi 5 août 2016.
La Mongolie et Tsengel en particulier viennent de perdre un trésor de plus... Son khöömii et sa musique ont été enregistrés et filmés à plusieurs reprises mais restent à découvrir. Le film Bi Mongol Hun du réalisateur mongol B. Bayar produit par Amelie Schenk (traduit en allemand Von den reichen Bergen und meinem armen Leben) offre la possibilité de mieux connaître cet homme extraordinaire, drôle et passionnant à travers un portrait émouvant au cœur de son environnement, le Haut-Altaï. Il apparaîtra aussi dans le prochain film de J.-F. Castell Voyage en diphonie, suite de Maîtres de chant diphonique (2010) dans lequel quelques images lui étaient déjà consacrées.
Au cours d’un témoignage sur le devenir du khöömii enregistré chez lui l’été 2015, Papizan rappelait que : « Si un peuple perd son art et sa langue, ce n’est plus un peuple. Conserver le khöömii c’est maintenir l’identité culturelle des Touvas de Tsengel. » Il laisse derrière lui un pan de cette culture qui nous l’espérons sera transmise en sa mémoire.
D’obédience chamanique, Papizan a rejoint l’esprit du vent. Puisse ce dernier continuer à souffler longtemps pour conserver son savoir et son souvenir.
Johanni Curtet
Some references on Papizan / Quelques références où retrouver Papizan
Writings / Écrits
Curtet Johanni & Nomindari Shagdarsuren, 2014. « Le PCI de Mongolie sur les listes de l’Unesco : traditions musicales et enjeux de sauvegarde », Actes des Rencontres internationales du patrimoine culturel immatériel en Bretagne, Dastum/Bretagne Culture Diversité, p. 51-61.
Curtet Johanni, 2013. La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol, thèse de doctorat en musicologie, sous la dir. d’H. Lacombe et A. Desjacques, Université Rennes 2, 613 p. et 1 CD.
Curtet Johanni, 2013. « Une première approche sur la transmission du chant diphonique en Mongolie », Études mongoles et sibériennes, centrasiatiques et tibétaines, 43-44, en ligne, mis en ligne le 20 septembre 2013, URL : http://emscat.revues.org/2123, 22 p.
Jundenbat Sonom-Ishijn (éd.), 2011. Important Intangible Cultural Heritage of the Mongols, Ulaanbaatar : Center of Cultural Heritage, 67 p.
Tschinag Galsan, 2006. La caravane, L’esprit des péninsules (traduction française).
Tschinag Galsan, 2005. Mein Altai, A1 Verlag, München (version allemande).
Music / Musique
Anthologie du khöömii mongol, (septembre 2016, Buda Musique/Routes Nomades).
Uuls tuulisiin oron, shildeg buteeliin tsomog (2011, Amelie Schenk).
Films
Bayar B., 2012. Bi mongol hun.
Teaser : www.youtube.com/watch?v=nbTjG-XoGRE
Castell Jean-François, 2010. Maîtres de chant diphonique.
Teaser : www.youtube.com/watch?v=nCnmrOsPfb4
Online videos / Vidéos sur internet
Papizan & Batsükh / Папизан, Батсүх хоёр / TEASER
www.youtube.com/watch?v=v6cmOG5W-1s
Papizan & Batsükh / Папизан, Батсүх хоёр / Festival Les Détours de Babel
www.youtube.com/watch?v=k5GyEUTCahk
MASTER CLASS KHÖÖMII - PAPIZAN BADAR & JOHANNI CURTET
www.youtube.com/watch?v=bFRKk50cWLs
