Tag: Beijing

 

Beijing flyer design by Susi

 

 

Shenzhen flyer design by 魏籽

 

Sainkho photo by Dmitry Konradt

Sainkho photo by Valery Silajev

Shinetsog  photo by Dickson Dee

Dickson photo by Priman Lee

 
Sainkho-voice 人声
Dickson Dee-electronics 电子
Shinetsog-Khoomii & Morinhuur (Ulan Bator) 喉音,马头琴

date:27th July

venue: New Get Luckey Bar -Beijing

location:In Nuren Jie area, inside Oriental Qicai World, Beijing

 

date 28th July

venue: Base Bar – Shenzhen

location: Shangbu Location: No. 1019 South Shangbu Rd.
(0755) 8363-3533

www.sainkho.net

www.myspace.com/dicksondee 

www.myspace.com/shinetsoggeyni/ 

www.myspace.com/hkdjdee/ 

Sainkho Namchylak

extraordinary and totally unique artist from Tuva. During her professionalsinging career which started in 1986 with folk songs of Siberia, she covered almost every imaginable aspect of singing ‹ from traditional to folklore toimprovised to jazz to avant-garde. She performed with incredible amount ofmusicians as diverse as bass players Peter Kowald, William Parker and JoelleLeandre, drummers Hamid Drake and Vladimir Tarasov, saxophonists Evan Parkerand Ned Rothenberg, the duduk master Djivan Gasparyan, the Russian group TRI-O, Sergey Kuryokhin¹s Pop-Mechanics and The Moscow Composers Orchestra.Her singing technique is truly unprecedented – from khoomei (overtonesinging practised in her native Tuva) to the dizzying vocal extensions from the lowest to the highest possible notes. During her remarkable artistic journey she performed music for films, free improvisations, shamanistic and Buddhist rituals, electronica, dance and word music. In a way, she has become a cult artist throughout the world.

   I met Sainkho in 1989 in Moscow and since that time there was one thingthat bothered me from time to time. Her world music audience had no ideaabout her jazz singing, and her folk music audience knew very little abouther free improvisations. I have been asking myself whether it is possible to reconcile all these different approaches to singing within one CD. It was obvious to me that Sainkho herself did not see all these different disciplines as something separate. For her it was one undivided, natural and organic whole. It explains why during her performances she could move within a fraction of a second from jazz to experimental or traditional ways of singing.
   Is it possible to introduce one¹s mistress to one¹s wife and make everybody happy? Is it possible to get away with it? This CD is an attempt to present Sainkho in different contexts, to put many different musical styles in one basket. Shall I be able to get away with putting songs and free improvisations next to each other? Will it work musically? Will it be natural and organic? Is it  possible to make all her followers happy? In the past I tried to resist all sorts of eclecticism, for I understood all these dangers. Yet, I felt very strongly that sooner or later this should be done and Sainkho¹s 50th anniversary is a jolly good reason for doing it.
Leo Feigin

关于Sainkho Namtchylak：
Sainkho Namtchylak生于图瓦共和国，祖先是游牧民族，自小学习歌唱，曾组过民谣摇滚乐团。长大后到莫斯科学习声乐，除学习图瓦传统的双声唱法（Throat singing／khoomei），也包括喇嘛与萨满巫教的传统声乐技巧（图瓦的传统信仰是萨满教，后来因为曾被蒙古统治过，所以国教改为藏传佛教）。从1989年起，Sainkho开始跨足欧洲前卫即兴乐界，学习更多元化的发声技巧，并致力挖掘双声唱法与其它音乐风格融合的能性，同年并与苏联前卫爵士乐团Tri-O首次合作。之后即以欧洲作为发展重镇，展开她漫长而精彩的世界巡回演出，并且有机会与各地杰出音乐／表演团体合作，当中包括Peter Kowald、Buch Morris、Ned Rothenberg、Evan Parker、William Parker、Hamid Drake、DjivanGasparian、Hector Zazou、Otomo Yoshihide、Hakutobo （白桃房）Butoh Dance Theatre等等，并先后出版近三十张专辑，音乐之外，Sainkho也参与许多电影、剧场与多媒体演出。

虽然大部分时间在世界各地流浪，Sainkho从未忘记自己的家乡，每年她都带着西方乐手到图瓦的首都基吉（Kyzyl）表演，希望西方乐手认识的国家、文化与音乐。虽然她是图瓦文化的最佳代言人，但并非所有图瓦人都愿意拥抱她，一方面因为她打破“女人不得喉唱”传统禁忌，另一方面许多人认为她长年居住在西方世界，就是背叛自己的国家，拥抱了腐化的西方思想。1997年，她在自己四十岁生日前于莫斯科遭到暴徒攻击，身受重创，治疗了两星期才出院。之后沈寂了一段时间才继续演唱创作。

2002年由德国女导演Erika von Moeller执导的纪录片《Sainkho》正式面世，让世人对Sainkho的生活有更深层的了解，同年获家乡图瓦颁“二十世纪图瓦最具创意成就奖”。

Sainkho的音乐：
Sainkho那出神入化的演唱技巧固然让人惊艳，结合图瓦传统双声唱法、喇嘛与萨满巫教的传统声乐与当代发声技巧，时而像歌剧男高音般清亮，时而像鸟鸣、孩童撒娇、深沉的低吟，人们不免拿她跟Bjork、Zap Mama、Patti Smith、Nina Hagen或者Maja Ratkje相提并论，但其实奠定她在当今乐坛的特殊地位以及赋予她的音乐跨乐种、跨文化吸引力的，却是她一直坚持的实验精神。从她每张专辑都试图破格，把别具一格的演结合西方前卫爵士、即兴音乐、各地传统乐以致电子乐，加上诗化歌词，Sainkho成功塑造出一种特别强调声音技巧表现、而兼具许多不同国家传统的世界音乐。著名音乐杂志《The Wire》这样形容Sainkho的音乐：运用打击效果的喘息、啧舌声与高音域尖叫作为表情，在流行与传统音乐之外独树一帜，立足于完全不同的境界：一个纯人类、受此纪律驱动而超凡的境界。其它如《Jazz Review》以“她歌唱
的核心普世性与人性几乎有种大自然元素般的魅力&rdq
uo;，以及芝加哥世界音乐节的“令人惊叹的即兴家、声乐极端份子”等词表扬Sainkho在世界音乐圈的地位。