Check out all the activities for the coming months.
scroll down for full details in English and Chinese.
Live Talk about Latency Project
Saturday October 23, Lin’s Culture Taipei
First presentation of new group YiWoYu (invitation only)
October 30, Beitou
Concerts with Lee Shih-Yang and Arnaud Lechat
November 13, December 15 Taipei
Workshop: Shruti Days
November 20 + 21, Taipei
Shruti Box market
Tuesday November 23, Taipei
Sounding Out! concert
November 27, Taipei
Concert with Hans de Back in Taichung
Monday December 6, 2:30-4:15, Taichung: Social Innovation Unit
Concert: Latency with Oorbeek and Kao Dao Yin
19 december, Wen Shui, Taipei
Postponed: Dulan Voice Yoga Retreat
Due to pandemic. Stay tuned for updates.
THE DETAILS PER EVENT
Live Talk about Latency Project
Saturday October 23, Lin’s Culture Taipei
Presenting the concert with Oorbeek and Ka Dao Yin on December 19.
First presentation of new group YiWoYu (invitation only)
This year saw the founding of a new group around the workshop I have led throughout the years. The first concerts were cancelled due to the pandemic, so on October 3o we will hold a small informal presentation in Beitou of the things we have been working on this year.
Concerts with Lee Shih-Yang and Arnaud Lechat
Two concerts with a jazz trio with Taiwanese pianist Lee Shih-Yang, sax/clarinet player Arnaud Lechat 貓阿諾 and Dutch vocalist Mark Van Tongeren.
2021-11-13(六) 19:30 ~ 21:30
Workshop: Singing and Shruti Days
For those who are busy during the week and prefer weekends, there is a short, two-day workshop
November 20 + 21, Taipei
FB event version: https://www.facebook.com/events/908540519769127/?
(See English version at the bottom.)
第一天 ༝ 14:00-21:00
第二天 ༝ 09:30-16:30
台北 表演36房 4F音樂能量房
firstname.lastname@example.org / Facebook / Phone 09 103 827 49
SHRUTI & SINGING DAYS
Vocals, melodies and drones
* How to use the Shruti box
* How to start exploring your voice, using a drone instrument?
* Working with diffferent timbres and vowels
* What is this kind of singing good for?
* Why reading notes is not necessary to become a good singer
* How to start and develop improvising melodies with a drone?
* Following intuitions. Developing skills
* Seeing through common illusions about music
* Invent new motifs and phrases on the spot
* Where to start when you think you cannot sing?
* How to tap into embodied knowledge that you never use?
* How to become a good listener?
* Develop improvisations together
* Understanding and using basic scales and intervals
– people who feel a lack of creative output
– people looking for a deeper connection with themselves and others
Your own shruti box, or you can borrow one.
Saturday November 20, 14:00-21:00
Sunday November 21, 9:30-16:30
4F Music Energy Room,
Performing Art School 36,
In English: Mark
email@example.com / Facebook / Phone 09 103 827 49
SHRUTI BOX MARKET
After a long wait because of Covid 19, our supplier in India finally sent a new batch of shruti boxes, which has just arrived.
Tuesday November 23, at Canjune, Taipei, 4-6 PM.
We have various shruti boxes tuned on multiple pitches andin two different sizes. Come and check it out.
The shruti box can be used for all kinds of purposes: playing for yourself or with others, learning more about musical structure and harmony, or free play.
The types we mostly have are the first one, the high quality Paloma – others are mostly sold out now.
Sounding Out! 發聲音樂會
November 27, 14:30-16:30, NEIHU, Taipei
A long-cherished plan of mine is becoming reality soon: an event where pro’s and amateurs can share the stage, where inspiration runs freely, where singing meets dancing, where movement meets instruments, where laughter and cries meet silence.
Catching the spirit of the moment, a phrase already in use at my first concert in Taiwan in 2003, remains the best description, but the format is now more refined, more inclusive, and more exciting than ever before. This is not a workshop but a performance that you can enjoy from beginning to end. And yet it is not a normal performance since you can join in at various stages, but only if the spirit of the moment catches you. No obligation to join, but my teammates and I cannot guarantee you keep on sitting still with your mouth shut once you are there.
Come and try this out, we have arranged for a fantastic large space that invites anyone’s inspiration to run free. To turn this into a success we need plenty of creative individuals joining (which has mostly been taken care off) as well as plenty of audience for foot-tapping, humming, applause and sharing that magic silence after an apotheosis.
November 27, 14:30-16:30, doors open 14:00.
Various ticket prices from 420 to 700 NT$
Location: Hao Hao Shuo Hua, Neihu.
For the full details please go to
GET YOUR TICKETS and SEE ALL INFO ON TIKIPOKI
Mark Van Tongeren長期在心裡醞釀的計畫。
Concert with Hans de Back in Taichung
Date: Dec. 6th (mon)Performance time: 2:30~3:45pm
+ QA and sharing: 3:45~4:15pm (0.5hr)PLACE:Taichung Social Innovation Unit7F., No. 291-3, Jingwu Rd. North Dist., Taichung City, Taiwan
More information and reservations: Una Kao:
Concert #2 with Lee Shih-Yang and Arnaud Lechat
歌謠之外 More Than Songs
Concert: Latency with Oorbeek and Kao Dao Yin
19 december, 8 PM, Wen Shui, Taipei
Postponed: Dulan Voice Yoga Retreat
Possible new date: mid January.
Overtone Singing (2004) is sold out now.
The newly revised, updated and expanded edition, entitled
Overtone Singing. Harmonic Dimensions of the Human Voice
is scheduled to be published in spring 2022 by Terranova / MIT Press.
Read all about the 2004 book and the CD on this page.
Below: the special hardcover edition (pictured with the CD in the back). Both paperback and hardcover are printed with high quality print (paper/binding) that will last another century.
Read all about the book and the CD on this page.
Due to all the uncertainties in Hong Kong, the Soundtherapy Hong Kong team decided it is not a good time to run my regular Hong Kong workshop Outer Voice – Inner Voice. So we cancel the workshop. Here is the original post with announcement and some photos from the workshops 2014-2018.
If you want to learn overtone singing with me but do not need a Chinese translation, then the workshops in Hong Kong may be something for you. Most workshops in Taiwan are with translation, which means we lose some time for interpretation. This November workshop in Hong Kong is the next opportunity to do an English-only workshop, other opportunities in Winter and Spring 2020 will be announced here soon.
(Link to Chinese version)
I have had such fantastic experiences during the Hong Kong workshops over the past six years and would like to look back through some photos. The first workshop I did was during the Umbrella Revolution in 2014 – though the umbrellas you see in the first photo were not related to the protest. The previous visit (late 2018) was just days after a violent typhoon struck Hong Kong, locking people in their homes with the wind bashing on their windows and rains creeping in through the windowposts. On the beach (last photo) we found the remains of shops that were completely destroyed. In between you will find mostly happier moments shared with students and Jennifer and Jasmine. And at the bottom my ‘Courage!’ statement for the many friends in Hong Kong.
The fantastic Soundtherapy Hong Kong team and me have revamped the annual Outer Voice ~ Inner Voice workshop to make it a bit more accessible and diverse. At the same time old students will find some new themes to progress further in their exploration of overtone singing and the endless possibilities of the colours of the human voice.
The general idea is for starters to come to Part One ~ Outer Voice (day one) and from there to continue with Part Two ~ Inner Voice (day two and three). Old students can directly come to Part Two ~ Inner Voice, if they wish. Within these two blocks there are still six themes to chose from – or you can do them all.
PART I ~ OUTER VOICE
THE RESONATING BODY
DAY 1. SOUND IS MOVEMENT
Session 1. Breath, Prana & Movement
Breath is one process in the totality of prana / life force, and the one that drives our vocal sound too. We slowly build up our vocal practise from the breath and from movements. From relaxation we start a journey to learn new ways of sounding and moving. Familiar, everyday patterns become tools for transformation. Plenty of group chanting and toning, too.
Session 2. Sounds and music to lose and find yourself
We continue our exploration by shaking up things a bit more. Going wild and extreme one moment, contemplating sound and self another. Focus and un-focus. By doing less than we normally do, we notice more. We return to a primary knowledge that sits at the centre of the body-mind-division: sonic phenomenology. Musical games/meditations/dances. Serious fun. Anything is possible, and nothing too!
PART II. INNER VOICE
INTO THE HEART OF SOUND
DAY 2. THE HARMONIC UNIVERSE
Session 3. Cosmic Listening
After some energising Voice Yoga we dive into the subtler realms of vowels, resonance and overtones. You take your first steps in The Art of Listening 2.0. Break through your habitual patterns of sounding and hearing. Expand your awareness of voice physiology. Cosmic listening to overtone singing with the sruti box and hear your own harmonics. Getting back to the more vigorous shake-ups of the day before whenever needed.
Session 4. Your Voice, Your Resonance, Your life
Overtone singing is not easy and pursuing mere technique in itself can be a burden. Armed with new understandings and experiences of the hidden dimensions of the human voice, we ask ourselves where we want to go with it. How do you resonate? What makes your voice unique? Love it or hate it? Every voice and every path is different. Pushing our vocal limits, we collectively embrace failure. And return to soothing vibrant sonic meditations.
DAY 3. CREATIVE IMAGINATION as a SOURCE OF LIFE
Session 5. Mantras, Chants and Sound poems
In an age of media technologies we have silenced ourselves and forgotten our ancestors’ songs. Mantras are among the most ancient sound tools around and we can still learn from them. The repetitive vibrations of chants also awake slumbering resonances in our body-mind. Add to that 21st century Sound Poems flavored with overtones and we have a complete palette of tools to revive the lost sonic core of our selves.
Session 6. Paraphony
Paraphony means: there is no such thing as objective sounds. Sound is shaped by your ears, your awareness, your mood … always in flux. In our last session, we throw ourselves into the creative process of making music by and for ourselves and each other. The more we live by our creative impulses—be they noisy and chaotic or contemplative and balanced—the deeper we get to know ourselves and the world around is. Resonating together, we attune ourselves to ever subtler sounds of tones, overtones and elusive acoustic realms. Grasping these phenomena, we manifest our own voice, bring it out in its own unique glory.
PART I ~ Session 1 and 2:
Date: 22 Nov 2019 (Fri). Time: 10am – 1pm + 2:30pm – 5:30pm
PART II ~ Session 3 /4 and 5/6: 23-24 Nov 2019 (Sat – Sun), Time: 10am – 5:30pm
To register Session 3-6 (Part II), you’re required to register for either Session 1 or 2 first. Past students can directly register for Part II without taking Session 1 or 2.
Venue (All Sessions): Sound Therapy Hong Kong
For registration go to the Soundtherapy Hong Kong website here and on Facebook.
Awaken your potential:
- – > to listen better
- – > to hear and sing the natural overtones in your voice
- – > to understand your inner drives better
- – > to diversify your voice
After this 3 days workshop, you will go home with a renewed sense of self through a fresh look and ‘a fresh ear’ at your voice. You will have a fuller understanding of its complex vibratory mechanisms, and get many new ideas how these operate at the point where body and mind are merged in a greater whole. You learn techniques to better hear the world around you and inside you. These tools help you to gradually increase your musical/sound awareness, to know what needs to be healed and how to do that.
No previous musical or vocal experience is required. Just bring a healthy dosage of curiosity and willingness to explore. The starting point is your own path as a speaker, as a communicator, as a person who enjoys music. Or simply as a human being. This workshop is beneficial for musicians and artists, for healers and therapists, and for anyone looking for more direction, meaning and depth in their lives.
Courage, Hong Kong!
It is my sincere wish that Hong Kong remains as much as possible as it is now:
- a relatively free space within the larger Chinese boundaries
- a place where Cantonese people with a democratic inclination determine the political, economic, cultural course of their unique region
- a peaceful and culturally diverse hotspot where people from around the world live and work together without an over-active state apparatus encroaching upon their lives
My prayers go out to my Hong Kong friends and everyone else suffering from the human violence and psychological pressure. I pray too for the perpretators because it is, in my point of view, them who need to find peace of mind more than anyone else.
The most prolific researcher in the field of overtone singing is a man with many faces. His name is Tran Quang Hai and you can call him (and all options are correct): Vietnamese or French; a professional musician or a professional musicologist; an instrumentalist or a singer; an improviser or a composer; a traditional, a popular or an experimental musician (all three will do); an expert in Vietnamese traditional musics and an astute chronicler of its year-to-year development in the past decades.* Tran Quang Hai has a new book out celebrating his 50 years of music research in many different areas. We recently met in Paris, where he shared some interesting facts about the Vietnamese Jew’s harp (dan moi) I did not know before. On the trip back to Amsterdam I read most of the articles in his book that I had not seen before, so more on that too. Before talking about our meeting, his book and the origin of the word dan moi (Jew’s harp), some historical background. Since Hai is Tran Quang Hai’s first name I will refer to him as Hai.
I learned of Hai’s work on overtone singing in the early 1990s. When I got to know him personally, I was astounded and (I will admit) a bit intimidated by his unbridled energy. He loves to share what he does, and he is in fact overflowing with enthusiasm: for overtone singing, for Vietnamese music, for playing the Jew’s harp and spoons, for ethnomusicology, for his constant travels as a performer and teacher. After my visits I was usually exhilirated (about all the new things I had learned or shared with him) and at the same time exhausted (feeling my life was a mess with no progress at all).
In fact, going to Paris has been almost synonymous with visiting Hai and his lovely wife Bach Yen (whose singing carreer goes way way back). And these visits became almost synonymous with absolutely great Vietnamese food. Bach Yen often spent hours and hours to buy fine ingredients like all kinds of fresh leaves, vegetables, seafood and meat and prepare them the Vietnamese way. We would have excellent diners, drank nice wine, as the couple made an annual ‘pilgrimage’ to different regions in France to stock up on boxes of quality wine to share with friends at home.
After moving to Taiwan, my encounters with Tran Quang Hai were scarce, and visits to both of them even more. In 2019, it has been around ten years since we last met in Paris. So I was delighted to see them again some weeks ago. Tran Quang Hai retired a decade ago from the ethnomusicology department at the Musée de L’Homme in Paris, but has remained an active performer and workshop leader for all these years. Bach Yen is a famous singer of popular songs and entertainment music, as well as a singer of many different genres of traditional music. Together they have given hundreds of concerts in Europe and elsewhere, and they continue to do so. Here is a photo of their appearance in Genoa, Italy, a week or so after I met them.
Late August, when I walked down the platform of Gare de Lyon, Hai and Bach Yen were waiting for me. Once again I was overwhelmed to be in their buzzing, energetic presence. The first thing they did, was to get out their cameras and make many photos together. Then we strolled to their car, and their warm hands and arms embraced my arms. I sometimes think of myself as someone who easily touches people, but this time I thought I am quite distant compared to them. It was really (excusez le mot) touching to stroll down the platform chatting and to be ‘wrapped’ by their tender hands and arms on both sides. Hai told me once about using his hands to heal people and showed me some methods. But it seems the couple just radiates warmth and energy naturally, even without using a special method.
For our Vietnamese food, this time we drove to a place called Pho Bida, pronounced Fo Beeyaa. Pho is the famous Vietnamese noodle soup, but what about Bida? It turns out to be derived from ‘billiard’, as the former location of this restaurant housed a popular billiard room as well. The place is not very spacious but we were early and could chose any seat. By the time we left lots of people waited outside. The food was great and loved by Vietnamese and non-Vietnamese alike: highly recommended! (Pho Bida Vietnam, 36 rue Nationale, 75013 Paris)
Tran Quang Hai’s New Book
When we sat down, Hai gave me his new book, a thick volume with many of his articles and listst of all his achievements, titles, appearances, etc. organized in a single volume. Some articles I have known for a long time. So I particularly enjoyed reading those things I did not know in detail.
First, an article about Vietnamese music and its historical background, very helpful for understanding the relationship to Chinese music and culture. It also covers many of the recent developments in Vietnamese music, making it in effect a kind of encyclopaedic entry into Vietnam and all its music. With this work Hai most clearly follows in the footsteps of his late father Tran Van Khe, also a well-known musician and musicologist.
“Tran Quang Hai. 50 Years of Research in Vietnamese Traditional Music and Overtone Singing.”
Second, an article that accompanied a double CD issued in France in 1997, dedicated to the absolutely fascinating world of mountain tribe musics in Vietnam. There is a dazzling array of types of instruments and ways of playing, and these liner notes give a good overview of this field.
If you are interested in overtone singing and still love printed matter, as I do myself, then this is a good way to get your (physical) hands on several key articles on this technique by Dr. Tran Quang Hai and understand the background of his research. (Note for academic readers: for research purposes it is better to consult online pdfs of the articles in their original format). Available here.
Tran Quang Hai and the Dan Moi
During our lunch I also learned where the common name of the Vietnamese brass Jew’s harp comes from. It is usually referred to as dan moi, which is a Vietnamese word (compare for example dan tranh/đàn tranh, the plucked zither, or the unique one-string zither dan bau/đàn bầu). However, the thin, finely crafted Jew’s harp, probably smaller than any other type of Jew’s harp, originates from the mountain tribes who live close to Yunnan in South China. The Hmong’s native language and culture has little to do with that of the dominant Viet or Kinh ethnic group, who are historically tied to China. When travelling in the mountains in North Vietnam (around Sapa), I encountered the Hmong people who play this instrument and managed to get one made locally by their craftsmen. They referred to it as gya, phonetically speaking, though in writing it is referred to as djam. A personal note from Tran Quang Hai shortly after publishing this post: the Hmong name of the Jew’s harp is ncas (pronounced ncha).
The djam I bought in Sapa from girls who played the instrument along the mountain road. (photo by the author).
So I asked Hai how the name dan moi came about. He explained: there is no Jew’s harp in the music of the ethnic Vietnamese. So when he learned about the traditions of the mountain people around 50 years ago, he had to make up a new name himself in order to accommodate the minorities’ instrument in the system and language of Vietnam. To use ‘dan’ (meaning ‘instrument’) was an obvious beginning point. Hai decided to add ‘moi’ for lips, to designate it is played between the lips. Most brass or metal Jew’s harps are held against the teeth, with the lamella vibrating between the teeth; the dan moi is held between the lips and vibrates there. In this sense it is more like a type of wooden or bamboo Jew’s harp, particularly the ones vibrated by a string attached to one side.
A Hmong girl playing the djam for me in 2003 (photo by the author).
The dan moi went on to become a very popular instrument around the world once non-Vietnamese musicians discovered them, at the turn of the millenium. Many people asked me for it when I brought them back in 2003. I remember giving one to Tuvan throat singer Sainkho around 2004. She immediately fell for its bright sound and expressive qualities, and asked for more several times after (and so did other people). At the same time, a German company saw the potential of this cheap instrument to reach a huge audience and set up (web)shop, calling it www.danmoi.com. It has a become a one-stop shop to buy all kinds of Jew’s harps. So dan moi, Hai’s new name for the djham, a minority instrument, and for Jew’s harps in general, now has become sort of a symbol of 21st century global Jew’s harp culture. And it seems to be growing year by year: here in Taiwan I have seen many new Jew’s harp enthusiasts taking the stages recently, often sporting a collection of world Jew’s harps, including, of course, the dan moi.
Here is a video where you see the movement of the dan moi lamella in slow motion, played by Hai’s student Dang Khai Nguyen.
Learn more about Tran Quang Hai
Hai is still actively teaching, find out where his next workshops are by going to his blog:
(the blog itself amounts to a ‘wikipedia’ of sorts for throat/overtone singing, where you will find a huge amount o copies of scientific and popular articles, videos, and indeed copies of wikipedia entries, as well as some original posts about Hai’s workshops and travels).
Go here to find more entries in English and in Vietnamese:
And for more news from Fusica and Mark van Tongeren subscribe to these blogposts here.
Finally, back to some Asian flavour, but East-Asian instead of the South-East Asian of Hai’s origins. Here is a hilarious video from the time Hai was flown into Japan to demonstrate overtone/throat singing in a hypertheatrical popular entertainment program.
TRAN QUANG HAI on JAPANESE TELEVISION, part 2, December 26, 2012
* OK, for this one I have no way to tell if it is true, but Hai does mention in his new book (page 32) that he wrote “more than 500 articles in Vietnamese for 30 Vietnamese magazines in America, Europe, Asia and Australia.”
Today I tried out something I do a few times a year: take a deep breath and see how long I can sing. Well, this time I just tried to sing for one minute, not as long as possible. The best technique to use for this is either khöömei or sygyt as it automatically constricts the throat and inhibits the airflow.
It is trivial, I know, but it is a good exercise for the lungs, diaphragm and the entire respiratory system. The other challenge is to make some musical sense. The throat singing is far from perfect (some of the overtones should not be there) but I decided to share it anyway as an example of some of the things I practise.
Voor nederlands even naar beneden skrollen.
Here is a letter I wrote earlier this year when I was about to turn 50 (want to get on the mailinglist too? let me know!):
I love the number 49 and its symbolism. Much better than 50. So I prefer to send out a shout to everyone on the last day of my 49th year in which I am walking on this strange and wonderful place called earth, rather than on the first day of the 50th year. My dear sister Daphne somehow knew I wanted to celebrate while I was still 49, when she organised a surprise party for me several months ago. I completely and totally bought it, even after my mom and two friends showed up in a park where you would not expect that. What a great present!
And then the Tuvans, for whom 49 is a special number, play their magic on me too. Tuva and its inhabitants have shaped my life in many ways. When I was halfway on to this point of my life and getting close to 25 years old, I first visited Tuva and fell in love with the place forever. 12 Years later I visited Tuva with June Wen, and it was then and there that we found out that we are destined for each other. That led to our marriage, to our kids, to me moving to Taiwan. Life-changing experiences in which Tuva seemed to play a role.
And right now, guess what? Earlier this year I began organising several Tuvan concerts here in Taiwan, and I was asked to curate two different acts for the Asian Pacific Traditional Arts Festival. And today (last day of 49) the first Tuvan group, a young quartet called Ezengi, has just finished their job (which they did very well) and returns to Tuva. And tomorrow (first day of 50) four fine senior musicians arrive from Tuva to Taiwan for this weekend’s performances: Shonchalai and Nachyn Choodu, Andrei Öpei and Valerii Mongush. Coincidence?
And then, there was this other coincidence this year. When I fist visited Tuva I learned about a Scythian ornament found during archaeological excavations, consisting of a panther biting its own tail. A wonderful symbol of infinity and the ever-repeating cycles of events. “Ma fin est mon commencement” (“my end is my beginning’) as mediaeval poets and musicians such as Guillaume de Machaut knew so well. This spring a very noble and inspiring friend, the philosopher Fons Elders, sent around a message with his view about this symbol, which is known as the ouroboros in the western world. A little later I performed in the Oosterkerk in Amsterdam with the wonderful Turkish ney player Sinan Arat, a concert I had arranged to be filmed so that I could share it with everybody. In the background of our stage happened to be . . . an ouroboros. So a few days ago, while working on the video I decided to call it “The Ouroboros Concert”. The next day I took the Tuvans to the Pacific Ocean – Tuva being very far removed from any sea or ocean. They decided to try surfing and that’s how I noticed the Scythian ouroboros tattooed on the arm of Anchy Damdyn. What a great idea! The first time ever I imagined I could have a tattoo too.
So by way of celebration and to express the gratitude I feel for being a human amidst so many wonderful human beings I share this Ouroboros concert video with you.
Hier is een brief die ik onlangs rondstuurde, toen ik op het punt stond 49 te worden (ook op de mailinglijst? laat het weten!):
49 Is een prachtig getal met een prachtige symboliek. Veel beter dan 50. Dus stuur ik een groet aan iedereen op de laatste dag van de 49 jaar dat ik op deze vreemde, wonderlijke planeet rondloop, in plaats van de eerste dag van mijn 50e. Mijn lieve zus Daphne voelde kennelijk al aan dat ik liever even stil sta bij mijn leven op mijn 49e, toen ze een surprise party voor me oganiseerde enkele maanden geleden. Ik stonk er totaal in, zelfs nadat mijn moeder en enkele vrienden spontaan opdoken in een park waar je hen toch niet 1-2-3 samen verwacht. Wat een geweldig cadeau!
En de Toevanen, voor wie het getal 49 ook speciale betekenis heeft, duiken ook weer op haast magische wijze op. Zoals jullie weten hebben Toeva en haar inwoners mijn leven op allerlei manieren vorm gegeven. Toen ik halverwege het punt was waar ik nu ben, dus bijna 25 jaar oud, bezocht ik Toeva voor het eerst en raakte voorgoed verslingerd aan deze plek. 12 Jaar later ging ik naar Toeva met June en we ontdekten, toen en daar, dat we voorbestemd waren voor elkaar. Dat leidde dus tot ons huwelijk, kinderen en tenslotte mijn verhuizing naar Taiwan. Nog een levenswending waar Toeva haast een sturende hand in leek te hebben.
En wat is er nu aan de hand? Ik begon eerder dit jaar een aantal Toevaanse concerten te organiseren hier in Taiwan, en werd onder andere verzocht twee programma’s in te vullen voor het Asian Pacific Traditional Arts Festival. En vandaag (de laatste dag dat ik 49 ben) vertrekt de eerste Toevaanse groep, een jong kwartet genaamd Ezengi (nadat ze zich trouwens uitstekend gekweten hebben van hun taak). En morgen (de eerste dag dat ik 50 ben) arriveren er vier geweldige senior musici uit Toeva: Shonchalai en Nachyn Choodu, Andrei Öpei en Valerii Mongush. Toeval?
En dan was er nog iets dit jaar. Toen ik Toeva voor het eerst bezocht leerde ik een Scythisch ornament kennen, dat bij archeologische opgravingen gevonden was en dat bestaat uit een panter die in zijn staart bijt. Een prachtig symbool van oneindigheid en de eeuwigdurende cycli van gebeurtenissen. “Ma fin est mon commencement” zoals middeleeuwse dichters en musici als Guillaume de Machaut heel goed wisten. Dit voorjaar stuurde vriend en inspiratiebron Fons Elders een bericht rond met daarin zijn visie op dit symbool, dat bekend staat als oeroboros in de westerse wereld. Iets later trad ik op in de Oosterkerk in Amsterdam met een geweldige Turkse ney-speler, Sinan Arat, een concert dat ik liet opnemen op video (en waarvoor je de link onderaan vindt). Juist achter ons podium bevond zich . . . een mooie uit hout gesneden oeroboros. En dus besloot ik een aantal dagen geleden toen ik met de video bezig was om ons optreden Het Oeroboros Concert te noemen. De volgende dag (afgelopen zaterdag) nam ik de Toevaanse musici mee naar de oceaan (waar de Toevanen verder van verwijderd zijn dan zo’n beetje wie dan ook ter wereld). Ze wilden graag gaan surfen en zo ontdekte ik de tatoeage van zo’n Scytische oeroboros op de arm van Anchy Damdyn. Wat een geweldig idee! Nooit eerder had ik ook maar een seconde de gedachte gekoesterd dat een tatoeage voor mij zelf ook best interessant kon zijn.
Dus om even stil te staan bij dit bijzondere moment in mijn leven en uitdrukking te geven aan de dankbaarheid om een mens te zijn te midden van allerlei fantastische mensen met wie ik mij omringd weet, deel ik nu deze Oeroboros concertvideo met jullie.
Over enkele weken doe ik een dubbelconcert met Sinan Arat in de Oosterkerk in amsterdam. Hij is vooral bekend van zijn ney spel, zijn hoofdinstrument. Ik heb hem nog niet ontmoet maar we hebben wel overlegd hoe we het willen gaan doen. Vanwege ons beider voorliefde voor improvisatie hebben we besloten te proberen om niet twee solo-blokken te spelen met een beetje overlap, maar de uitwisseling aan te gaan. Ik ben al langer op zoek naar samenwerking met een goede fluitspeler. In Taiwan zijn die dun gezaaid, zeker spelers die een dergelijke rijke, luchtige klank produceren. Dat heb je natuurlijk in Japan met de shakuhachi en in India met de bansuri (die Sinan ook bespeelt). Maar ik werd helemaal stil van het spel van Sinan toen ik gisteren onderstaande video van hem bekeek. Van die prachtige, lange, rustige tonen, waarin de adem steeds doorklinkt, en daarmee de ziel van de speler – of van de muziek zelf zo je wilt.
Sinan bespeelt naast de ney rietfluit ook lijsttrommels en zingt, en hij heeft Indiase muziek bestudeerd. En aangezien ik de laatste jaren ook experimenteer met fluiten en met de Marrokaanse bendir lijsttrommel én omdat ik ook al jaren met Indiase muziek bezig ben, hebben we aardig wat overlap. Ik ben heel benieuwd hoe dat gaat uitpakken, zijn voornamelijk traditionele spel met mijn meer experimentele benadering.
Het concert is op zondag 15 juli en begint om 12:00
Gratis toegankelijk (donaties welkom).
Adres: Oosterkerk, Kleine Wittenburgerstraat 1, Amsterdam.
De dag ervoor doe ik een eendaagse workshop boventoonzang, ook in de Oosterkerk in Amsterdam, voor wie wil kennismaken met deze techniek.
Beluister ook het mooie interview met Sinan rondom de VPRO sessie.
“Sinan Arat uit Turkije speelt en improviseert op de ney (Turkse fluit) en laat zich inspireren door de Ottomaanse en Anatolische traditie. Hij wordt begeleid door Alper Kekeç op percussie. In het interview met Giovanca vertelt Sinan hoe hij kennis leerde maken met de ney.”
For English scroll down, or ask for digital brochure by mailing us.
2017 – 2018
要如何找到自己的聲音? 要怎麼做自己? 要如何不再做自己，而成為另一個人? 另一個你想成為的人?
在德蘇(Mark van Tongeren)的聲音的【共鳴】課程中，音樂—特別
時間： 2017年12月 ~ 2018年4月
每月間的星期六10:00 am~17:00 pm，共十堂課。
中文報名請洽： firstname.lastname@example.org / 0912-024-285 陳亮伃
英文報名請洽： email@example.com / 0910-382-749 Mark van Tongeren
德蘇（Mark van Tongeren）是一位聲音探險家，長期關注藝術與科
Explore the hidden dimensions of the human voice.
Make music with overtones and new timbres.
Listen to the world and to yourself with new ears.
Learn how to use your voice as a powerful tool for transformation and better communication.
By taking time to breathe and to listen to all the ways in which the body and the world resonates, we open up an amazing path of discovery and creative, therapeutic learning. – Mark van Tongeren
What impressed us is the way of your teaching … subtle, perceptual, respective, creative, fun and updated. Thank you sincerely. – Una Kao
YOU, YOUR VOICE, AND YOUR BEING
How to find your own voice? How to be who you are? How not to be who you are, but to become someone else? Someone you wish to be?
How to feel your whole being resonating, alive, complete …. to feel at ease with yourself, and to be completely YOU while in the presence of others? To meet others around you who can also be themselves, without acting nicely, or keeping up appearances?
In Mark van Tongeren’s R E S O N A N C E course, music, and most of all, the human voice, is the foremost instrument to achieve precisely that goal. To reach into the greatest depths of your soul, to stir your mind and your thinking, even to change your physical body. To bring all these disparate ‘parts’ of ‘a single self’ together in a fully resonating whole, a symphony of vibrations, pulses, frequencies.
The backbone of this training program is the overtone singing technique. Overtones are like a world of their own residing within the timbres of your voice. You will deeply immerse yourself in the fundamental harmonic laws of musical sound We will come back again and again to change the way we listen and vocalise, opening up to the hidden dimension of overtones, the harmonics that our voices and ears know well but our minds know not. In an experiential and personalised way you will learn to express yourself better, using a fuller range and spectrum of your voice.
We have welcomed all kinds of people in the R e s o n a n c e course, from white-collar workers and school teachers to art students and creative professionals, from computer experts to yoga teachers and people with voice problems, from male afficionadoes of Mongolian and Tuvan khöömei to classically trained soprano’s.
This course is aimed at anyone with an interest in or sensitivity for sound as a creative principle. and those seeking more balance in their live.
No previous musical experience is required. For students who have already done one or more workshops of overtone singing there will still be plenty to learn. If you are in doubt, contact us with your questions.
The course will be mostly conducted in English. Your interpreter Sunny Chen will summarise or translate entire parts of the course into Mandarin, depending on the needs.
PRICES, DISCOUNTS and BENEFITS
The price per participant is 17.500 NT$ for ten classes. The following discounts apply (only one per person):
* Students and seniors with valid identity cards for the duration of the course: 25 %.
* Early birds: 15 % if you register before October 20. Extended to November 5!
* Payment in smaller increments is possible.
So much happiness and joy of being with you.
And it’s where I find ME.
I should sing it. Sing it for you.
To let you know how much you give me.
Sky from Hsinchu
I really enjoy sound flowing out freely and impulsively. Although I am the singer, I am also the listener, I hear sound coming out of my mouth, naturally flowing.
I feel sound is the language of the soul, something language cannot express.
I really wish to learn overtone singing.
I feel overtone singing opens up some unknown and unfathomable territories.
Amano from Hsinchu
Mark van Tongeren is a vocal performer working at the intersection of art and science. He has 25 years of experience in music and intermedial performance and holds a PhD in artistic research. He has traveled to the Altai, Mediterranean isles and Tibetan monasteries to learn from established masters. He is an international authority on the technique of overtone singing, both as a performer and author. He has taught at TNUA’s Music and Theatre Departments (2003-2004), National Chengchi University’s X-Lab (2012 – now) and at Canjune. He frequently collaborates with composers, improvisers, musicians and dancers in and outside Taiwan. He teaches and co-leads tours for Canjune and will lead the second musical tour to Tuva (Siberia) in Summer 2018.
Full biography: www.fusica.nl/biography
10 days from December 24, 2017 to April 2018
10 AM – 17:30 PM.
Place: CanJune Training Centre, Daan Area.
4F, #3 , Lane 151, Fuxing S Rd. Sec. 2.
Registrations for the course or requests for the digital brochure:
In Chinese: firstname.lastname@example.org/ 0912-024-285 CHEN Sunny
In English: email@example.com / 0910 382 749 Mark van Tongeren
Photo credit: Yi Ching Juan, Mark van Tongeren, Jiji Liu