Г.Хонгорзулын Товч Намтар, Уран Бүтээл

Г.Хонгорзул 1974 оны 09-р сарын 12-нд Хэнтий аймгийн Баянхутаг суманд малчин ард Ганбаатарын ууган охин болон мэндэлжээ. 1982 онд Баянхутаг сумын 8-н жилийн сургуульд орж, 1992 онд Хэнтий аймгийн 1-р сургуулийг дүүргэсэн. 1993-1994 онд мал маллаж байгаад 1995-1998 онд Хэнтий аймгийн Хан Хэнтий чуулгад дуучнаар, 1998-2003 онд СУИС-д элсэн суралцаж уртын дуучин мэргэжлээр төгссөн. Одоо "Түмэн Эх" чуулгад дуучнаар ажиллаж байна.
1998 оны 06-р сарын 05-нд зохиогдсон Ардын жүжигчин Шархүүхэний нэрэмжит уртын дууны уралдааны тэргүүн дээд "Гран При" шагнал
1999 онд "Морин хуур 98"-д 2-р байрын шагнал
1998-2003 он хүртэл СУИС-ийн уртын дууны ангид суралцах 5 жилийн хугацаанд сургуульдаа 2 удаа бие даасан тайлан тоглолт хийсэн.

2000 онд АНУ-ын урилгаар дэлхийн алдарт хөгжимчин Ёо-Ёо-Ма ахлагчтай олон улсын "Silk road" хөгжмийн хамтлагт тоглогдох дэлхийн олон орны хөгжмийн зохиолчдын сонгодог бүтээлийг шалгаруулах хөгжмийн наадамд монгол улсаас Төрийн соёрхолт Б.Шаравын "Хэрлэнгийн домог" сонгодог бүтээл шалгаран уг хамтлагийн урын санд орж энэ тоглолтонд Г.Хонгорзул "Хэрлэнгийн барьяа" хэмээх уртын дууг дуулахын зэрэгцээ олон сайхан уртын дуу дуулж энэ хамтлагийн дуучин болсноор 6 дахь жилдээ дэлхийн олон орноор аялан тоглож уртын дуугаа өргөж байна. Уг хөгжмийн наадмын шалгаруулалт нь АНУ-ын Бостон хотын зуны хөгжмийн хүрээлэн гэгддэг Тангелвуудын задгай театрын тайзнаа болдог байна.

• 2001 оны 01-р сард 2 дахь удаагаа урилгаар очиж Америкийн муж хотуудаар аялан тоглосон.
• 2001 онд "Морин хуур-2000" зохиолын дууны уралдааны 3-р байрын шагнал
• 2001 оны 04-р сард БНАСУлсад зохиогдсон "Хаврын баяр" наадмаас "Мөнгөн цом"-ын шагнал
• 2001 оны 06-р сард ОХУ-ын Улан-Үд хотноо зохиогдсон "Ардын урлагийн наадам"-д сургуулиа төлөөлөн явж, амжилттай оролцож шагнагдсан.
• 2001 оны 07-р сарын 28-нд АНУ-ын урилгаар 3 дахь удаагаа тус улсад зорчиж Америкийн "Sony" дуу бичлэгийн студид 08-р сарын 1-ээс 4-ны дотор бичлэгт орж, тэндээсээ цааш Герман, Франц улсын урилгаар айлчлан тоглолт хийсэн.
• 2001 оны 10-р сард Голланд, Бельги улсад урилгаар явж тоглолт хийсэн.
• 2002 оны 1,2-р сард Герман, Франц,Америк улсад урилгаар явж Нью-Йорк хотын "Карнеги Холл" театрт тоглосон.
• 2002 оны 05-р сард Монгол улсаа төлөөлөн Америкийн Вашингтон хотод болсон хөгжмийн наадамд амжилттай оролцож, мөн Америкийн "Silk road" хамтлагтай дуулж уг наадамд өндөр амжилт гаргасан.
• 2002 оны 06-р сард Дэлхийн хөл бөмбөгийн аварга шалгаруулах тэмцээнд урилгаар оролцож уртын дуугаар нээсэн.
• 2001 онд Герман улсад зохиогдсон олон улсын "Шлесвиг холстайен" хөгжмийн наадмын 2-р байрын шагналтай
• 2002 оны 09-р сард Голландын хатан хааны төрсөн өдөрт урилгаар дуулсан.
• 2003 онд 10-р сарын 15-нд АНУ-д тоглолт
• 2003 оны 01-р сарын 1-10 хүртэл Канад улсад айлчлан тоглолт
• 2003 оны 06-р сард ОХУ-д зохиогдсон Монголын соёлын өдрүүдэд оролцсон.
• МАСЗХ-оос оны шилдэг оюутны "Алтан од" медиалаар шагнагдаж байсан.
• Хэнтий аймагт анхны бие даасан "Их талын шуранхай" тайлан тоглолтоо хийсэн.
• 2004 онд Монгол Улсын Соёлын Тэргүүний Ажилтан цол тэмдэгээр шагнагдсан.
• АНУ, Их Британи, БНГУ, Франц, Япон, БНАСУ,БНСУ, ОХУ, БНХАУ, Бельги, Голланд, Канад, Швед, Казакстан, Таджикстан, Узбекстан, зэрэг 20 шахам улс орноор айлчлан тоглосноос гадна АНУ-д л гэхэд давтан тоогоор 10 удаа, Голланд, Япон Солонгос, Канад улсуудад давтан тоогоор 3 удаа гэх мэт зарим улс оронд дахин давтан очиж тоглож байсан.
• ОХУ-ын "Большой" театр, Японы нэрт удирдаач Шейзи Озовагийн нэрэмжит театр, Японы Токио хотын "Ochadu hall", Их Британи улсын "Альберт халл", АНУ-ын Лос-Анжелес хотын "Холливуд Боул" зэрэг дэлхийд алдартай театруудад дуулж байсан.
• 2001 онд АНУ-ын Вашингтон хотноо зохиогдсон олон улсын ардын урлаг болон гар урлалын том хэмжээний наадам болох Смитсоны фестивальд оролцож уртын дуугаар нээсэн.
• 2005 оны 12-р сард Шведийн Стоколм хотноо болсон Нобелийн шагнал гардуулах ёслолыг уртын дуугаар нээсэн
• 2005 оны "Монголын Бахархал 2005" өргөмжлөлийн эзэн
• 2005 онд Монголын худалдаа аж үйлдвэрийн тэнхимээс "2005 оны Монголын эрхэм элч" шагналын 5 дахь эзнээр тодорсон.
• 2005 оны "Морин хуур 2005" нийтийн дууны наадамд 1-р байр
• 2005 оны 04-р сард Макаод Азийн спортын бага наадамд оролцсон.
• 2006 оны 04-р сард Австри улсад зохиогдсон Монголын соёлын өдрүүдэд оролцсон.
• 2006 оны 04-р сард "Хэрлэнгийн домог" дан уртын дууны бие даасан тоглолтоо УДБЭТ-т тоглосон.
• 2006 оны 06-р сард БНХАУ-ын Шанхай хотод болсон Шанхайн уулзалтанд Ерөнхийлөгч Намбарын Энхбаярыг дагалдсан урлагийн хэсэгт оролцож уртын дуугаар ая дуугаа өргөсөн.
• 2004 онд өмнөд Солонгост болсон "Sori" фестивальд оролцсон.
• 2006 оны 06-р сарын 22-ноос 07-р сарын 03-н хүртэл Улаанбаатар хотын дарга Ц.Батбаярыг дагалдан Турк болон Унгар улсуудад тоглосон.
• 2006 оны 04-р сарын 27-нд анхны дан уртын дуунаас бүрдсэн бие даасан тоглолтоо хийсэн.

Дуучин Г.Хонгорзул гадаадын улс орон Нийслэл хотод уран бүтээлээ танилцуулахаас гадна Монголынхоо бүх аймаг, хот зуу гаруй сумдаар орж ард түмэндээ уртын дуугаар ая өргөхийн хамт нутаг орны уртын дууч уран бүтээлчтэй танилцан туршлага солилцон урын сангаа баяжуулж байгаа ба "Хэрлэнгийн домог" дан уртын дууны тоглолтоо хөдөө орон нутагт тоглож эхлээд байгаа болно.

FAMED CELLIST YO-YO MA BRINGS ACCLAIMED SILK ROAD ENSEMBLE TO HOLLYWOOD BOWL

Ma Leads Musical Journey Along Ancient Trade Route
KCRW's Tom Schnabel Hosts
KCRW'S WORLD FESTIVAL
SUNDAY, AUGUST 7, 2005 AT 7 PM

Sponsored by Pasadena Showcase House for the Arts

Internationally renowned cellist Yo-Yo Ma returns to the Hollywood Bowl with the Silk Road Ensemble as part of KCRW's World Festival on Sunday, August 7, at 7 p.m. Now in the fifth year of their internationally acclaimed collaboration, Yo-Yo Ma and the Silk Road Ensemble continue to explore the musical cultures that flourished along the Silk Road - the ancient trade route between China and the West - with their latest recording for Sony Classical, entitled Silk Road Journeys: Beyond the Horizon, which spent 12 weeks at #1 on the Billboard's charts.

Silk Road Journeys: Beyond the Horizon features 15 new works - one is an ensemble improvisation - that encompass the full scope of the Silk Road Project, founded in 1998 by Yo-Yo Ma, who is also its artistic director. "By listening to and learning from the voices of an authentic musical tradition we become increasingly able to advocate for the worlds they represent," says Ma. The Silk Road is the name for the trade route that, for centuries, linked Europe and the Eastern world. Travel along the Silk Road resulted in a complex web of interconnections between cultures that affected not only formal aesthetic expression but folk expression as well in a vast array of cultures.
KCRW's World Festival continues with the popular Reggae Night IV on August 28, featuring Culture, Maxi Priest, Hepcat and Israel Vibration, and Destination Hawaii on September 11, featuring Keali'i Reichel, Na Leo, Hula Halau Keali'i O Nalani and Hula Halau O Kamuela 'Elua.

YO-YO MA is the founder and Artistic Director of The Silk Road Project.
His many-faceted career is a testament to his continual search for new ways to communicate with audiences. Whether performing a new concerto, coming together with colleagues for chamber music, reaching out to young audiences and student musicians or exploring cultures and musical forms outside of the Western classical tradition, Ma strives to find connections that stimulate the imagination. One of his goals is to explore music as a means of communication and as a vehicle for the migration of ideas across cultures. To that end, he has taken time to immerse himself in subjects as diverse as native Chinese music and its distinctive instruments and the music of the Kalahari people in Africa.Ma is an exclusive Sony Classical artist, and his discography of over 50 albums (including 16 Grammy winners) reflects his wide-ranging interests. Mr. Ma's most recent releases include Silk Road Journeys: Beyond the Horizon, with the Silk Road Ensemble, Yo-Yo Ma Plays Ennio Morricone, Vivaldi's Cello with Ton Koopman and the Amsterdam Baroque Orchestra, Paris: La Belle Époque, with pianist Kathryn Stott, and two Grammy-winning tributes to the music of Brazil, Obrigado Brazil and Obrigado Brazil - Live in Concert. Yo-Yo Ma was born to Chinese parents living in Paris. He began to study the cello with his father at age four, and soon after came with his family to New York, where he enrolled in the Juilliard School. He sought out a traditional liberal arts education to build on his conservatory training, and graduated from Harvard University in 1976.

THE SILK ROAD ENSEMBLE is not a fixed collective, but rather a group of like-minded musicians dedicated to exploring the relationship between tradition and innovation in music from the East and West. Each musician's career illustrates a unique response to what is arguably the paramount artistic challenge of our times: nourishing global connections while maintaining the integrity of art rooted in an authentic tradition. Most of the Ensemble musicians first came together at a Silk Road Project workshop at the Tanglewood Music Center in Lenox, Massachusetts in July 2000 under the artistic direction of Yo-Yo Ma. During last five years, various combinations of these artists, whose diverse careers encompass and often intermingle Western and non-Western classical, folk and popular music, have performed a variety of programs, both with and without Mr. Ma, in Silk Road Project concerts and festivals in Europe, Asia and North America.

THE SILK ROAD PROJECT, INC., a not-for-profit arts organization, was founded in 1998 by cellist Yo-Yo Ma, who serves as its Artistic Director. The Project's purpose is to illuminate the Silk Road region's historical contribution to the cross-cultural diffusion of arts, technologies and musical traditions, identify the voices that best represent its cultural legacy today, and support innovative collaborations among outstanding artists from the lands of the Silk Road and the West.

At the center of the Silk Road Project are a series of interdisciplinary festivals and residencies in North America, Europe, Central Asia, China and Japan, which began in summer 2001. Co-produced with major presenting organizations, museums and cultural institutions worldwide, the festivals will draw upon a new body of chamber works commissioned by The Silk Road Project as well as on traditional music from the lands of the Silk Road and existing works by Western composers who were profoundly influenced by Eastern traditions such as Ravel and Debussy. In fall 2004, the Silk Road Project co-produced a special professional training workshop in partnership with the Weill Institute of Music at Carnegie Hall in New York and the Boston Symphony at the Tanglewood Music Center in Lenox, Massachusetts. In July 2005, Yo-Yo Ma and the Silk Road Ensemble will perform at the World Expo in Nagoya, Japan, followed by performances at LaJolla SummerFest and the Hollywood Bowl.

In addition to live performance events, the Project has co-produced three recordings: Silk Road Journeys: Beyond the Horizon (Sony Classical 2005); The Silk Road: A Musical Caravan (Smithsonian Folkways 2002); and Silk Road Journeys: When Strangers Meet (Sony Classical 2001). Additional works include Along the Silk Road, a volume of essays and discussions of the present-day and historical Silk Road. Co-published by the Project, the Smithsonian Institution and the University of Washington Press, its topics include composition and ethnomusicology, art history and archaeology, science, photography and film. In yet another significant partnership with Ford Motor Company and The Asia Society, the Project has produced a comprehensive multimedia educational kit, "Silk Road Encounters." Supplementing traditional classroom materials, the kit includes a sourcebook, activity plans, audio and visual samplers as well as reference materials. Two films, "Beginnings: Silk Road Journeys" and "Silk Road Encounters," complement the Project's educational programs. For more information, please visit the Silk Road Project web site www.silkroadproject.org.

The HOLLYWOOD BOWL, one of the largest natural amphitheaters in the world, with a seating capacity of nearly 18,000, has been the summer home of the Los Angeles Philharmonic since its official opening in 1922, and in 1991 gave its name to the Hollywood Bowl Orchestra, a resident ensemble that has filled a special niche in the musical life of Southern California. The 2004 season introduced audiences to a revitalized Hollywood Bowl, featuring a newly-constructed shell and stage and the addition of four stadium screens enhancing stage views in the venue. To this day, $1 buys a seat at the top of the Bowl for many of the Los Angeles Philharmonic's concerts. While the Bowl is best known for its sizzling summer nights, during the day California's youngest patrons enjoy "SummerSounds: Music for Kids at the Hollywood Bowl," the Southland's most popular summer arts festival for children, now in its 37th season. Attendance figures over the past several decades have soared: in 1980 the Bowl first topped the half-million mark and close to one million admissions have been recorded. In February 2005, the Hollywood Bowl was named Best Major Outdoor Concert Venue at the 16th Annual Pollstar Concert Industry Awards; it is no wonder that the Bowl's summer music festival has become as much a part of a Southern California summer as beaches and barbecues, the Dodgers, and Disneyland.

EDITORS PLEASE NOTE:
SUNDAY, AUGUST 7 AT 7 PM
HOLLYWOOD BOWL, 2301 N. Highland Ave. in Hollywood

Yo-Yo Ma and the Silk Road Ensemble
Siamak Aghaei, santur
Mike Block, cello
Nicholas Cords, viola
Sandeep Das, tabla
Joel Fan, piano
Ganbaatar Khongorzul, long song
Jonathan Gandelsman, violin
Joseph Gramley, percussion
Colin Jacobsen, violin
Siamak Jahangiry, ney
Kayhan Kalhor, kamanche
Liu Lin, sanxian
Max Mandel, viola
Shane Shanahan, percussion
Mark Suter, percussion
Wu Man, pipa
Wu Tong, sheng
DaXun Zhang, bass

Sponsored by Pasadena Showcase House for the Arts

We Are The World (Cellist Yo-Yo Ma)

January 30, 2005. By Gerri Hirshey
I think one of the best lessons that I received from my parents is to have the ability to understand the world beyond yourself,” says Yo-Yo Ma. “Since my parents were immigrants, they knew a number of different worlds. There’s always an awareness that you’re a part of things much bigger than yourself.”At 49, Ma—ceaseless world traveler, musical ambassador and the greatest cellist on Earth—has been called “the Marco Polo of music.” He has played for bushmen in the Kalahari Desert, for Carnegie Hall connoisseurs and with indigenous artists from Iran, Mongolia, South Korea, China and Azerbaijan. He has recorded albums with Appalachian fiddlers, an Argentinian tango guitarist and a tabla drummer from India.

While he has hardly turned his back on classical music—Ma has recorded more than 50 albums, which have garnered 16 Grammys—for the last four decades, raging curiosity and a deep sense of musical mission have propelled him far from the cosseted atmosphere of a classical conservatory. When asked what sends him out there, he explains: “So much of human expression is longing. You’re trying to go toward something—some sort of vision. As parents, as human beings, as citizens, we’re always trying to think, ‘Where is our country? Where is the world? What could it be? What are the little things we can do that could actually move things in a good way?’”I caught up with him in a concert hall at the University of Southern California in L.A., where students have created short films inspired by Ma’s recordings of movie music by Italian composer Ennio Morricone. One selection is “Ecstasy of Gold” from The Good, The Bad and the Ugly. A spaghetti Western? Ma smiles and insists: “Playing what you want, where and when you want, is what being a musician is about. It’s trying to do things that are meaningful.”For Ma, this also can mean helping Elmo with a tough violin note on Sesame Street. As a tireless advocate of children’s involvement with music, he says he also loved wearing a bunny suit to josh with kid-lit favorite Arthur the aardvark. And he admits, “I’ve always had mischief in my soul.”His is a vastly different temperament from that of his serious, scholarly father. Dr. Hiao-Tsiun Ma, a classical music teacher, escaped political and cultural unrest in China by emigrating to Paris in 1936. There, he married another émigré, Marina Ma, born Ya-Wen Lo, a mezzo-soprano. “My father was in Paris when the Nazis marched in,” says Ma. “My parents went through huge swaths of unstable times, both in China and in Europe. So I think I was always aware of how fragile things were and how easily things were destroyed.” The family, which also included Ma’s older sister, Yeou-Cheng, was traditional and close-knit; the children were home-schooled—in music, French, Chinese and piano. Yo-Yo (whose name means “friendship” ) was provided with a child-sized cello at age 4 and learned difficult pieces with his father’s innovative techniques. “With the Bach suites, I was asked to learn two measures a day, which is doable,” he says. “After a month you do know the whole thing—without huge pain.”Yet Yo-Yo’s natural abilities stunned his successive cello teachers. In 1961, when Dr. Ma moved his family to New York City, the music world embraced his two prodigies. Yo-Yo was only 7 when he stood before 5000 people in Washington, D.C., in 1962 with Yeou-Cheng on piano and played for President Kennedy and the First Lady; in 1964, the Ma children played Carnegie Hall. In New York, Ma also went to school for the first time and began to question the “normalcy” of his childhood. Inevitably, there came a time when he had to break with Dr. Ma’s strict orthodoxy. In his mid-teens, he had a difficult conversation with his father. “You know, in the traditional Asian way, you’re supposed to be very obedient and not talk back,” Ma explains. “Monologue vs. dialogue. I said, ‘If you want me to be really obedient, I can do that, but it means absolutely not finding my own voice. If you want me to be a good musician, it means I have to go deeply into myself to find out.’”He got his chance in 1971, when he was 15 and away from home for the first time at Meadowmount music camp in upstate New York. Wendy Rose, now a violinist with the Toronto Symphony, was a fellow camper. She recalls a moment when Yo-Yo did begin to find his own voice: “I heard Yo-Yo playing the Franck sonata, and I burst into tears. The sheer beauty of his playing was totally overwhelming. I just couldn’t stop crying.”Ma remembers it as a turning point too. “I just started playing my heart out,” he says. “You’re 15. You’ve got a lot of feelings inside. From that moment on, it’s been a continuing process.”For Ma, this meant engaging with life beyond the concert hall; rather than turn professional at 17, he went to Harvard. “I just wanted to experience life,” he says. “I knew that the cello that I played was totally and intimately connected to life. It’s not like you get better just by practicing. You can get better by knowing the world better, figuring things out. And then having something to say.” At 23, Ma married Jill Hornor, a Harvard instructor he’d met at a summer music festival when he was 16. The future should have been bright. Instead, recalls Ma, “Jill signed on to a wreck.”In 1980, doctors told Ma that the surgery required to correct his severe scoliosis (a sideways curvature of the spine) might result in nerve damage that would leave him unable to play the cello. The sense of life’s fragility had never been more overwhelming, but he met it head-on. “I remember thinking, ‘OK, if I never play the cello again, I’m fine,’” he says. “In some ways, it was freeing. Because you kind of say, ‘Well, OK, done that,’ and move on.” Ma was in a cast for six months after the surgery. He emerged intact—and two inches taller.As his performances made him a world traveler, Ma indulged his curiosity about other cultures and nonclassical music. And in 1998 he founded the Silk Road Project, dedicated to preserving and performing music from peoples along the ancient “Silk Road” route that spanned from Asia to the Roman Empire. Ma calls it “the Internet of Antiquity,” since the trade route sent silk, spices, jade, art, music—even some of the first stringed instruments—between East and West. He chose the project’s slogan: “When strangers meet.” Meet they did—in worldwide symposiums, concerts and festivals. But since 9/11, Ma’s cultural diplomacy has been fighting for its soul. “Almost the next month after September 11th, the ensemble was asked to go to Syria to play,” recalls Ma. “And we went. Have I thought about giving it up? Absolutely. Just the fund-raising, the visas. Some days it seems impossible.” Yet, concert by concert, he persists. “It’s a recommitment every day,” Ma says. “Is it worth it? Can we do it?”In the end, he answers the big questions with the smaller, human stories. “We have a Mongolian singer, Zola [Khongorzul Ganbaatar], who sings long songs,” he says. “A long song is this incredible vocal style, really loud and spectacular. She’s the eldest of many children. There had been a huge drought in Mongolia, where over a million herd of cattle died, followed by a horrible winter. We knew how important Zola’s music was to the whole support of her family. We know that while these awful things are happening, people are trying to live their lives and do—of all things—music.”So they went on tour. Zola’s long songs electrified American audiences. In such moments, says Ma, the visa problems, the terrorist threats, the security issues fade. And the dividends are priceless. “If we find a way to make it happen, we all go back to our profession much better musicians. And better human beings. We’re stronger for acknowledging that we’re interdependent. By sharing what you know with me, you’re not less. You’re more.”As global tensions increase, Ma still finds inspiration in his parents’ lesson. “Everything is fragile,” he says. “I think you hope that we all want to go toward a bigger place than self-interest. Being self-centered goes against the flow of natural human activity, which is trying to understand the larger world.” So when strangers meet, it’s bound to be a good thing? The beatific Ma grin reappears. “I have yet to meet a tradition that wasn’t enhanced by interacting with others.”

Give a Child a "Voice"

Yo-Yo Ma’s children—Nicholas, 21, and Emily, 19—are both musical. “Both play piano,” he says. “My daughter also plays violin, my son sings.” He was thrilled when Emily discovered his beloved Dvorak and Brahms. But he cautions parents against pushing too hard. “Music was always around our children, but it wasn’t force-fed,” he says. “They had to own it. For them it will always be their own discoveries.” At a time when many public schools are cutting back on music education, I ask Ma about the benefits of being involved with music at a young age. He directs his answer to an awestruck 12-year-old cellist sitting nearby—my daughter. And it contains the secret of his own inner peace: “If you love some instrument, if you like the sound of it, it’s like no other sound. It’s really yours. It comes from deep within, and it’s something you can always connect with inside. How good can that be? Your music, your sound—it’s your friend for life. You can express how you feel, send your self into the larger world. You will always have that voice. That’s a pretty powerful thing.”

Silk Road Folklife Festival

EXPLORATIONS – May 29, 2002

This year, the Smithsonian Folklife Festival is celebrating the living traditions of the Silk Road, the evidence of the centuries of exchange. It will also show the influence of these cultures on American life today. The festival will be held for ten days beginning June twenty-sixth on the grassy Mall area in the center of Washington. The festival is called “The Silk Road: Connecting Cultures, Creating Trust.”

VOICE ONE:
This is Mary Tillotson.

VOICE TWO:
And this is Steve Ember with the VOA Special English program, EXPLORATIONS. Today we tell about plans for the thirty-sixth yearly Smithsonian Folklife Festival in Washington, D.C. It will be the first Folklife Festival that honors only one subject – the ancient Silk Road.

((THEME))

VOICE ONE:
Yo-yo-ma
About two-thousand-five-hundred years ago, Asia and Europe were linked by trade paths. Much later, these paths became known as the Silk Road, named for the most famous trade product, silk material from China. The series of paths that made up the Silk Road stretched through Central Asia from Japan to Italy. Goods, ideas, art and music were exchanged along this road for about two-thousand years.

This year, the Smithsonian Folklife Festival is celebrating the living traditions of the Silk Road, the evidence of the centuries of exchange. It will also show the influence of these cultures on American life today. The festival will be held for ten days beginning June twenty-sixth on the grassy Mall area in the center of Washington. The festival is called “The Silk Road: Connecting Cultures, Creating Trust.”

VOICE TWO:
Richard Kennedy is one of the main organizers of this year’s Folklife Festival. He says planning began almost four years ago for what is the most complex and costly festival yet. About four-hundred people will take part in the festival. They are coming from more than twenty countries that reach from the Pacific Ocean to the Mediterranean Sea and from the United States. They include musicians, artists, cooks, storytellers, dancers and presenters. For most of them, this will be the first time outside their countries.

The yearly Folklife Festival was started in the nineteen-sixties. Mister Kennedy says it was a new way of considering what museums should be. The Folklife Festival used the model of the museum exhibit, but centered on living people rather than objects. It also was a way to try to increase the numbers and kinds of people who visit the Smithsonian and take part in its activities.

VOICE ONE:
Mister Kennedy says the kinds of arts included in the Folklife Festival are not the kinds of arts shown in national museums. Yet, he says many of the skills and arts of the people at the festival are worthy of the same kind of respect as the art that hangs in a museum.

Mister Kennedy says that organizing a Folklife Festival generally begins with identifying artists who represent community traditions. Arts and traditions help hold a community together. Mister Kennedy says the feeling is that when these traditions and arts disappear, then the communities disappear. The Smithsonian Folklife Festivals are a way to honor and support the surviving traditions, music and arts of different communities.

((MUSIC BRIDGE))

VOICE TWO:
Visitors to this year’s Folklife Festival will be transported to the ancient Silk Road. They will experience the sounds, sights and smells of many different cultures. And they will see how East and West were brought closer together through the exchange of culture, goods and religions.

What will this festival look like? Visitors will not see the white cloth tents that seem to appear each June like huge mushrooms rising from the green grass of the Mall. Instead, the major performance areas will be covered with beautiful cloth made in India.

Rajeev Sethi and the Asian Heritage Foundation designed this year’s festival. It will include five performance centers that represent important stops on the Silk Road. Near each center will be areas where people demonstrate the creation of some of the major products exchanged along the trade road.

VOICE ONE:
Visitors can begin to follow the Silk Road from either Italy or Japan. They will travel through five major structures that have been designed to look as though they belong on the Silk Road.

At the east end of the Mall, toward the Capitol building, will be a copy of the Nara Gate in Japan. At the west end, near the Washington Monument, will be a structure that looks like Saint Mark’s Square in Venice, Italy. In between, visitors will move through the bell tower of Chang’un, now Xi’an, China; Registan Square in Samarkand, now Uzbekistan; and Hagia Sophia, a religious building in Istanbul, Turkey. Near each area, people from many countries will demonstrate the making of some of the major products exchanged along the Silk Road.

VOICE TWO:
What will visitors see and hear in each area? Music, art and handmade crafts made in Central Asia are the main themes of the festival. There will be musical instrument players, wandering storytellers, puppet shows and Sufi dancers known as whirling dervishes. There will be weavers of silk, clothing designers and stone carvers.

At each of the five main areas, there will be demonstrations by artists and craftsmen throughout the day.

Visitors will be able to see how arts and skills that began in one area changed as they moved to other areas. For example, papermaking started in China and moved through Japan to Italy. Paper was made in a different way in each country because of local materials and local needs. At the festival, papermakers from Fabriano, Italy, will demonstrate how they make handmade paper with special marks on it.

VOICE ONE:
For hundreds of years, traders who moved along the Silk Road carried cloth, jewelry, paper and woven rugs. Glass and stone beads worn by women were always popular and were easy to transport. Festival visitors will be able to see jewelers from Syria, Turkey and India and bead makers from Pakistan and Europe demonstrate the ancient traditions.

Tribal nomads from Iran to Mongolia provided supplies and transportation for the Silk Road traders. Nomads do not live in settlements. They move from place to place with their animals. On the Mall next month, camels will carry nomad houses called yurts which are easily transported from place to place. And a Pakistani truck painted in bright colors will demonstrate that travel continues along the Silk Road today.

((MUSIC BRIDGE))

VOICE TWO:
This year, the Smithsonian Folklife Festival is being produced in cooperation with the Silk Road Project. The world famous cello player, Yo-Yo Ma, started the Silk Road Project in nineteen-ninety-eight. It is providing music concerts, cultural activities and educational programs across the United States, Europe and Asia.

The Silk Road Project has several purposes. It shows how the Silk Road led to a mixing of arts, technologies and musical traditions. It identifies the people that best represent those cultural traditions today. And it supports cooperation among musicians and artists from the Silk Road countries and the West. The Silk Road Project is supported by the Aga Khan Trust for Culture, Ford Motor Company and the German company Siemens.

Yo-Yo Ma says he hopes that the Folklife Festival will help develop a sense of community among artists, musicians and visitors from different areas. And he hopes it will create a strong interest in the cultures of the Silk Road.

VOICE ONE:
Music is always an important part of the Smithsonian’s Folklife Festival. But this year it is even more so, partly because of the help of Yo-Yo Ma and his Silk Road Project.

Richard Kennedy says there are two different music traditions in most of the Silk Road countries. Courtly music is the traditional music of cities and settlements. It is called maqam (MAH-cahm). Groups from Azerbaijan, Uzbekistan, Turkey, China and Iran will perform different forms of maqam music.

Another kind of music in the Silk Road countries is called Aitys (EYE-tis). Musicians compete in storytelling, singing and playing of instruments. Eighteen singing storytellers will perform Aitys music from nomadic groups along the Silk Road.

((MUSIC BRIDGE))

VOICE TWO:
Children’s activities are a very important part of the Silk Road Folklife Festival. Learning while having fun is the goal. All during the festival, the family activity shelter will provide children’s activities. Children can try Chinese writing called calligraphy, watch Indian magicians and puppeteers, or make their own musical instruments from re-used materials.

Special passports will be given to young visitors. The passports will include a map and interesting facts. Children can get a special mark on their passports at each performance area.

Richard Kennedy says that this year’s Smithsonian Folklife Festival will be a chance to celebrate the historic links between East and West. It will show that the exchange that began centuries ago along the Silk Road still continues today.

((MUSIC))

VOICE ONE:
This Special English program was written by Marilyn Christiano and directed by Paul Thompson. Our studio engineer was Keith Holmes. This is Mary Tillotson.

VOICE TWO:
And this is Steve Ember. Join us again next week for another EXPLORATIONS program on the Voice of America.

Мэргэн Гүнгийн Их Лувсанбалдан

Алдарт Уртын дуучин Лувсанбалдан 1855 хуучин Цэцэнхан аймгийн Мэргэн Гүнгийн хошуу одоогийн Хэнтий аймгийн Өмнөдэлгэр сумын нутагт мэндэлжээ. Лувсанбалдан нь уулаас төрийн хар хүн байсан учир бага наснаасаа дуу хуурийн мөр хөөж хуучин шүхэрт засгын хошуу одоогийн Төв аймгын Мөнгөнморьт сумын нэрт дуучин Амбаатай дуу нийлж боржигоны найранд дуулж тэр үеийн сайн дуучдын арга барил нутгын аялгууг сурчээ.

Мөн То-Вангийн хошуу, Одоогийн Халх гол сумын нутагт очиж То-Вангийн их амт Жүрмэдээр дуу заалгаж байжээ. Лувсанбалдан гуай их сайхан зан ааштай найрч наргианч хүн байж. Нaйрaн дээр мэндийн дaрaa дуулдaг хүн бaйв. Лувсанбалдан гуaйг бусaд хoшууны нaaдaмд дуулж явaaд ирэхээр нь өөрийнх нь хoшуу нaaдмaa хийдэг бaйж гэнэ. Хуурч нь Нaмсрaйгaрaв гэж хүн бaйжээ. Нaaдмaa эхлүүлэхдээ гoл aсрын өмнө "Түмэн Эх"-ийн 3 түрлэг, aсрын өмнө мөн 3 түрлэг зүүн aсрын өмнө "Хэрлэнгийн Бaръяa"-ийн 3 түрлэг бүгд нийт 9 түрлэг aйзaм дуу дуулж бaйсaн тухaй нутгийн 80 нaстaй Сoвoд хэмээх өвгөн өөрийнх нь 30 шaхaж явaх үеийн aлдaрт дуучны тухaй дурсaмж ярьсaн бaйнa.

Балингийн Лувсангомпил 1879-1969

Б.Лувсангомпил нь урьдын Цэцэнхан аймаг, сүжигт бэйсийн хошуу одоогийн Хэнтий аймгийн Идэрмэг сумын нутаг Хүрээгийн уул хэмээх газар 1879 онд малчин ард Балин гэгч хүний охин болон мэндэлжээ. Эцэг Балин нь моринд дуртай хурд их сойдог байсан тул охиноо 7, 8 настайгаас нь морь унуулж сургаж хурдан морины "Гийнгоо" зааж өгч Лувсангомпил охин нь эвлэг намбатай аялдаг байсан тул хүмүүс дуучин болно гэдэг байжээ. Мөн түүний эх Чимэдцэен муугүй дууч байжээ.

Лувсангомпил нь арваад наснаасаа эхэлж ойр зуурын найр наадамд өөрийн үеийн залуу Дашринчинтэй хамтран дуулдаг болсон ба Дашринчин нь хожим нь сайн дууч, мэргэн харваач, аварга цолтой бөх болсон байна.

Лувсангомпил нь тэр үеийн шүхэрт засгийн хошууны хазгар Амбаа гэдэг төрийн их дууч гэж алдаршиж байсан хүнээр уртын дуу заалгаж эхэлсэн нь сайн дууч болох замд хөтөлжээ. Лувсангомпил нь цэвэрхэн хийцтэй дуулдгаараа алдаршжээ. Түүний дуулах нь тогтмол аязтай, элдэв маяггүй тэгэхдээ маш уран дуулдаг, дууг эхлэхдээ маш дороос авч зөөлөн өгсөөж, хоолойндоо эвийг тааруулан ноёлж дуулдаг байсан гэж түүний багын танил нь ярьжээ.

Лувсангомпил нь 1930 аад оны үед улсын төв театрт уригдан ирж алдарт дууч М.Дугаржав, Ж.Дорждагва, Ц.Төмөр, Ичинхорлоо, Нацаг зэрэг алдартай хүмүүсийг дуулахын ухаанд сургасан гавъяатай багш хүн билээ. МУГЖ Ж.Дорждагва ярихдаа: Миний бие 1932оны үед Төв театрт дуучнаар ороод нарийн хоолой хэмээх Нацаг дуучийг дагаад удаагүй байтал Дугаржав багш уулзаж би чамайг нэгэн сайн дуучтай танилцуулна гээд нэг айлд дагуулж очин нэгэн эмгэнтэй уулзуулав. Тэр хүнийг Дугаржав багш маань ярихдаа ихэд хүндэтгэн: Миний багш Лувсангомпил намайг дуунд сургасан хүндээ гэж миний биеийг зааж намайг багшдаа шавь оруулахаар ирсэн тухай хэлэв. Тэгээд намайг хэд дуулуулж үзээд сурах л хүүхэд юм гээд намайг 3 жил дагуулан сургаж олон зуун дуу сургасан ачтай багш минь юм. Багш минь нэг өдөр миний шавь одоо л дууч болж байна, харин чавганцын нь авдар хоосорлоо. Өөр хүнээс дуу гуйж сур гэж тоглон хэлсэнсэн. Би 60 гартлаа ийм олон дуу мэддэг хүн эмгэн багшаас минь өөр хэн ч дайралдсангүй хэмээн ярьсан байна.

Лувсангомпил гуайн олон дуун дотроос "Алиа саарал", "Мандалжуужаа", "Дүүжий хуар", "Ноёлон харагдах" зэрэг дууг гойд намбалаг дуулдаг байжээ. Лувсангомпил багш өөрийн шавь нараас дуучин Төмөрийг ихэд үнэлж "Манай Төмөр хашгиралгүй зөөлөн эвлэг дуулах талаар миний намбыг авсан. Бүсгүйчүүдээс ховор дуучиндаа" гэж ярьсан байна. Энэ алдарт дуучин маань 1969 онд 90 насандаа өөд болжээ.

Сэсэржаагийн Дамчаа

Алдарт дууч С.Дамчаа нь 1899 онд хуучин Цэцэнхан аймаг одоогийн Дорнод аймгийн Халх гол сумын нутагт төржээ. Эцэг Сэсэржаа нь тэр үеийн То вангийн хөгжмийн сургуульд дуу хөгжмийн багш, уг сургууль нь жилд 1 удаа зуны дэлгэр цагийн эцсээр болдог хошуу найранд дуулж хөгжимдөх 12-14 насны 8 дууч 8 хөгжимчин хүүхдийг найр болох өдрөөс 45 хоногийн өмнөөс бэлтгүүлдэг.

Сэсэржаа нь нутаг хошуундаа нэр хүндтэй нэгэн. Тэднийх "Үүлэн бор" нэртэй сайн морьтой юмсанж. Гэтэл тэр морийг нь сумын занги Арслан хүнд, Тамгын түшмэл Намсрайшүрэн нар арга сүвэгчлэн гуйхад өгөөгүй учир тэр өс хонзонгоор Сэсэржаа нь өртөөнд хөөгдөж Цагаан нуур, Таван овоо, Түгээмэл, Чоно гол, Цоргодол, Цагаан зэрэг газруудад удаа дараа өртөө залгуулж Арслан, Намсрайшүр 2-ыг амьд байгаа цагт нутагтаа буцаж очихгүй хэмээн тангараг өгөн нутгаасаа гарч өөр хошуунд нутгалсаар хожим одоогийн Хэнтий аймгийн нутагт суурьшсан ажгуу.

Сэсэржаа хааяа Богдын ордонд уригдан ирж их хурим, төрийн найранд хөгжим дуу үүсгэх чуулганд хааяа оролцдог байжээ. Харин Дамчааг 7 настайгаас нь сахил хүртээж хийдэд суулгажээ. Иймд хэдийгээр ааваа дагаж хөгжмийн сургуулийнхан дээр очиж дуулж хөгжимдөхийг сонсох боловч тэр үед нь "Хувраг хүн дуулбал хувхайрахын дохио, Хув ямаа майлбал үхэхийн дохио" гэж сургаж байсан тул сонирховч сурах боломж хомс байжээ. Дамчаа То вангийн хошууны хийд тартал төдий л дуу сурсангүй. Багш ламаасаа нууж "Тохой зандан мод", "Гунан хар" зэрэг богино дуунуудыг сэм сурч хааяа нууж аялна. Харин 1917онд 18 насандаа Цэцэнханы Ахай Гүнгийн хошуунд ирж Донойн Омбонэрэн, зэнэ Дамдин нартай танилцан дуу хөгжмийн сонирхолыг хөгжөөжээ. Омбонэрэнгээр "Цэвцгэр хурдан шарга" Зэнэ Дамдингаар "Эр бор харцага", "Дөрвөн цагт" зэрэг дууг заалгажээ. 1934 онд анх Улаанбаатар хотод ирээд Улсын театрт концерт үзэж сэтгэл нь ихэд сэргэсэн тул ийм сайхан газар орж дуулахсан гэсэн хүслийг төрүүлжээ. Тэр концертонд "Уяхан замба тив"-ийг Түдэв хуурдаж Төмөр дуулж байсан ба Дорждагва "Тунгалаг тамир" гэдэг дууг дуулж байжээ. Ингээд сонирхолоо дагаж 1938 онд дуучин Дугаржавд шалгуулан театрт дагалдан дуучин болов.

Энэ үеэс л дуучин Самын Гомбо, М.Дугаржав нараар дуу заалгаж улмаар театрын жинхэнэ дууч болж бие даан концертонд орж эхэлжээ. Дамчаа гуай газар газрын дуучдын янз янзын аяыг тэр хэвээр нь сурч дууг аль сонгодог түгээмэл аялгуугаар дуулахыг хичээдэг дууч юм. Дамчаа гуай ардын дууг сайхан дуулахаас гадна уртын дууны сайхан аялгууг дуурайлгаж шинэ аялгуу зохиодог хүн байж. Түүний зохиосон "Хэрлэн баян улаан" хэмээх дууны аяыг "Их сайхан халиун" гэдэг дууны хэлбэрийг авч эхлээд өргөн тэнүүн байдалтай гаргаж байгаль нутгийн сайхныг бахдан харуулахыг хичээсэн гэж дуучин өөрөө хэлсэн байна. Лувсанжамц үгийг зохиосон энэ дуу нь 3-н мөр шүлгээс бүрдсэн 4-н бадаг бөгөөд :

Тунгалаг агаарын уудамд
Туяаран цэнхэрлэн харагдагч
Номин хангайн үзэсгэлэн
Дүнхийн харагдагч Баян-Улаан
Сайхан хангай минь
Бахдам дэлгэр баялаг даа
хэмээн дуулдаг байна
Дамчаа гуай дуулах арга барил, дууч хүний онцлог аливаа дууг өөрийн болгож эзэмших талаар ярихдаа:

Дууч хүний анхаарах зүйл:
Ер нь сайн дууч гэдэг маань сайн хоолойтой байхаас гадна бодол ухаан, уран сайхны намба, ялангуяа дууг эхлэх аяыг зөв хуваарилах, жолоодох, өргөлт даралт, шуранхайг аль үед яаж хийхийг мэдэж байх нь нэн чухал хүчээр чанга хашхирсан хүн олон жил дуулж чадахгүй арга эвийг зөв олж хоолойныхоо хүчийг сайн мэдэж амьсгааг ямагт дор авч намуухан тавиу эхлэж, араа төвөнх, түүшинг чөлөөтэй авч чадаж гэмээ нь дуу төдий чинээ аятайхан хир чинээгээрээ гарах ёстой. Уртын сайн дууч миний багш Самын Гомбо, Зэнэ Дамдин нар тийм л дуучид байсан. Их дуучдыг харж байхад сэтгэл амьсгаа хоёрыг тун их барьж доороос өгсүүлэн дээд цэгт хүргэхийн завсар олон янзын хийц үйлдэж нөөцлөж байсан дуугаа хэрэгтэй газар нь нэмж өгдөг бололтой. Дуучин хүн эгшиг авиаг өргөдөг юм. Эгшиг дотроос А, Э, И эгшгийг ямар ч байдлаар эргүүлж болдог. Ө ,Ү, У нэг л яву муутай дууг чөлөөтэй гаргахыг хаах янзтай тул аль болох тойрч ухаандаа Ө, Ү,У эгшгийг сав гэж бодвол уруу харсан юм шиг санагддаг. Тэгэхээр учрыг сайн тунгаах хэрэгтэй. Уртын дуу уламжлагдах тавилантай сайхан урлаг сэтгэл булаам дуучид төрөхдөө л төрнө гэж хэлж байжээ.