Early Summer IUooUI was invited to sing for the opening of a new Art Museum in Yingge. A beautiful backdrop for our concert, so we gladly accepted and prepared a special program, since it would be an outdoor stage. Upon arrival on a sunny Saturday morning, it turned out that the museum did not show its beautiful surface, but was clad in scaffolding; it also turned out that the backdrop of our designated spot was not the museum at all, but the main stage for the bands that would be featured later; and if that was not enough, contractors were still busy doing construction work using noisy drills. For us, the performance was a disaster, though some listeners had milder opinions.
Upon arrival I had noticed a fascinating adobe-colored tower on the grasslands surrounding the museum. I had had a quick look and listen but was most eager to explore it more indepth and invited my singers to join me after the concert. It turned out to be a splendid work of art, of architecture, or something in between. A sonorous temple graced with the most intricate light patterns I have ever seen on adobe-like structures (earthy hues have been my favorite at least since the beginning of this millennium). These shifting light rays are the result of several horizontal slits placed in irregular intervals along the body of the tower. We stood in awe, listened in awe, walked around in awe. Notwithstanding the presence of a few other visitors, we began quite naturally to emit our first tones. The resulting resonance was as soft and layered as the plastered walls, which had uneven, undulating surfaces that still showed the signs of paintbrushes. Our voices bounced off the walls in a pleasant, smooth way, not as crystal-like and pure as glass-covered structures, but with a coarser grain of sound.
Walking around, you would hear your own sound, or someone else’s suddenly shifting from one direction to a totally different direction. Or even enveloping you from all sides. It is a familiar but surreal phenomenon in many round, resonant spaces with the wall or ceiling curving inward. In certain spots someone who is standing opposite you talking or singing, sounds as if she is behind you.
I knew already during the first glimpse: this is the kind of place I have been looking for in Taiwan for more than ten years. As time passed I knew I had to temper my expectations. There were occasional resonant places, like the one I had stept into earlier this year, but those were usually not very suitable for performing, or not very pleasant to be in, or too expensive or too inaccessible. This new tower was in fact many times better than what I had ever expected. It was not just a sonic treasure, which I somehow usually imagined to be a white or grey space, or otherwise colourless. This was the most intimate, warm, lush light I had seen in years, if I had ever been in such a building at all. It simply seemed to breath by itself already.
We did some more research and learnt to our astonishment that this treasure was not part of the newly opened museum, but it had been standing there for 14 years. Some months later, Sunny noticed an announcement of an event in the tower with the architect, the next day: the day when IUooUI rehearses! I quickly jotted down a simple idea we could sing and shared it. We rehearsed it in the morning and set out to the museum. Exactly at the designated time, the architect appeared from a hidden door, as if coming from nowhere. In the center of the spiraling form he began to talk casually about the history of his tower, its symbolism, problems he had overcome, adaptations to the original idea and more. The place came alive even stronger with these stories. Pei, as the tower is called, really was opened 14 years ago and virtually nothing happened with it, to the chagrin of the architect, Lin Shuen Long.
During the Q&A we introduced ourselves and asked if we could sing a piece to honour the architect and his creation. We spread out and sang Pi:Ecce (I thought the name of the tower was Pi, not Pei). I then started an improvised piece which IUooUI completed beautifully with several solo parts. The architect was enthusiastic about our musical performances and told me something that moved me to the core: “this tower has been waiting for you for fourteen years”.
This place is a treasure, a multi-faceted gem of a building. Not designed with a 3-D program, but by bare hands with mud or clay, just like all that amazing pottery that the small town of Yingge is famous for. Some pottery shops in Yingge have a history of 500 years behind them, and took their technology with them from the mainland. There is no more suitable architectural tribute to the town then a tower designed like most pottery is designed: from an ancient, artisanal practise. We can be greatful to the decisions-makers who planned to build something like this, for chosing this architect, and for both parties to overcome all the hurdles necessary to complete the project. And what is 14 years in the light of generations of pottery making? Now let’s hope steps are taken soon to celebrate the incredible potential of this tower, both visually and acoustically!
Our more or less failed outdoor performance on that early Summer day happened for a good reason. I feel blessed that we ran into something so special.
or how to combine the art of writing meaningful non-sense texts with hypnosis methods
Next week I am teaching a group of hypnosis students in Taipei. They are the students of a man who goes by the nickname of La Mian (ramen, or Japanese thick noodles) who is specialized in hypnosis and teaches and applies it in a wide range of methods. He came to my workshop Ocean of Voicesrecently, a 3-day exploration of the richness of musical traditions around the world (focusing on the voice). We had several amazing sessions where everyone went through his or her own transformations while singing, chanting, drumming, playing, or just listening to everyone else. Paths to change the body, change the mind and empower your creative imagination through the voice: a dynamic key or bridge that sits in between the body and mind, working its logical and illogical ways in both directions.
Photos taken during the Oceaen of Voices of workshop in Nantou, Taiwan. Above, La Mian with the Bunun people from XinYi. Below, session during the workshop.
You could call the logical part the verbal: the voice as speech, as reason and gossip.
You could call the illogical part transverbal: the voice as sound and music, as noise and non-sense.
Transverbal is a term Michael Vetter coined to group together, and give purpose to, his vast corpus of creative work, in music, in visual arts, in writing. It led, among other things, to his writing of okyo’s, which is Japanese for sutras. His sutras were not Buddhist texts, but used the sounds of the Japanese language as a template from which he created ‘texts’ without meaning. It was not merely a capricious thing, a joke, or an anti-religious sentiment. Vetter was serious about it. He had practised chanting and reciting actual sutras for year after year during his 13 year stay in Japan, going about the streets begging for alms or performing ceremonial. But, in a true Zen vein, he would not eschew the occasional humorous twist in his own okyos either.
I got to know Michael Vetter’s okyos in the mid 1990s and was impressed with their form and sound and Vetter’s precise reasoning for why he created them. Later I began to write my own occasional okyos. Last year I decided to write an okyo every day for one year, to commemorate Michael’s birth (in 1943) and passing (in 2013), now eighty and ten years ago. I shape these okyos, naturally, but they also shape me, and invite me or teach me to push for new ideas about sound, language and symbol. Here is one example which I will take to the Hypnokyo workshop:
Here is another one
And here is one that you can listen to in the video, below:
So next week my okyos are going to be tested by students of hypnosis. They learn a range of sounding techniques that could enhance or expand their hypnosis practise. I am really looking forward to see what they will do with it, and hope I can be their guinea pig to test the efficacy of the okyos. Not long ago, hypnosis was regarded as somewhat occult, esoteric and strange. In recent years it has become more widely accepted and it began to loose its strangeness in public opinion. The approach now seems to be more practical: it is yet another way for us – complicated, sensitive and often limited and hyperrational human beings – to understand the mysteries of life and self, and to make sense of the world around us in new, more attuned ways.
You can enjoy listening to one of my okyos in this video (thanks to Sky for editing).
with senior RESONANCE students
Resonance is the sound stuff that lives in you, through you and all around you. Not the words, not the songs or the melodies, but the DNA of music and voice that operates at sub- and supraliminal levels.
In a world where the eye dominates, we have become a bit deaf to the many facets of sound.
In this concert Mark van Tongeren cleans your ears, massages your brain, and shakes up your bones with vibrations across the spectrum.
A journey about and into sound, with special attention to overtones and overtone singing, the technique to make and hear two or more sounds at the some from a single human voice.
R E S O N A N C E is also the title of Mark’s long-running intensive course to learn to sing overtones and open up your ears to the hidden dimensions of the human voice. Old students will join the concert to sing some pieces and you will have a chance to try out some exercises.
Mark van Tongeren is a Dutch sound explorer with a deep interest in the synergy of arts, sciences and contemplative traditions. Mark has 25 years of experience in theatre, music and dance productions and holds a PhD from Leiden University’s Academy of Creative of Performing Arts.
Pre-sale : 250 NT$
At the door: 300 NT$
Old R E S O N A N C E students: free
CONTACT & INFO
In English: email@example.com / Facebook / Phone 09 103 827 49
“The grandmaster and unprecedented phenomenon in the Dutch impro-scene” (according to “Turn Om Je Oren”) travels for concerts all over the world. His legendary solo performances are a compelling trip to a very own universe of a visionary. With breathtaking virtuosity and fantasy, Lotz creates a crushing sound architecture. A jazz and avant-garde artist who can also embrace the pure beauty of music. Worked with, among others, the Chris Potter tentett, Don Byron, Indian Underground star Najma Akthar, David Haney Thomas Strønen, David Tronzo, electronic music pioneer Bob Ostertag, han bennink, Ernst Reijseger or conga legend Miguel ‚Anga‘ Diaz.
“The word of the new worlds of sound” usually picked up in the context of contemporary music is quite worn out, but with Lotz it is entitled.“ (Neue Zeitschrift für Musik, Germany)
The Scottish Alan Purves is one of the most remarkable drummers of today. He calls himself “Squeakologist”, which means something like “pieologist” or “squeezeologist”. Surrounded by a whole battery of rubber ducks and other pinch animals and musical children’s toys, he does incredible things at once (whistling in nostrils and mouth, squeaky under the armpits and in the hands, and in the meantime drumming with the feet) and thus creating an absurd sound festival of a visual nature. His fantasy seems boundless and his sounds are often simply magical. It’s not for nothing that Alan also makes music for director Werner Herzog with Ernst Reijseger and has worked with Valentin Clastrier and John Zorn, among others.
馬克．范．湯格鄰 Mark van Tongeren
是一個充滿熱情的聲音探索者。具備完整專業的聲樂學術背景及豐富的國際演出經驗，在音樂、聲音、與人聲方面有25年的研究經驗。畢業於阿姆斯特丹大學 (University of Amsterdam) 的民族音樂學碩士，並取得荷蘭萊登大學 (Leiden University, the Netherlands) 之表演藝術博士學位。
Mark van Tongeren is a Dutch sound explorer and artistic
researcher with a deep interest in the synergy of arts, sciences
and contemplative traditions. He primarily improvises using voice,
overtone singing, Jew’s harps, and an array of sound objects,
sometimes with electronics. In the 1990s, he started his artistic
output as a musician and bricolateur in object theatre in the
Netherlands. In the 2000s he moved into improv, with Amsterdam-
based collective Oorbeek and many international collaborations
and founded Parafonia. In the ‘10s, he began exploring the
embodied performer more deeply, mainly in a series of dance
pieces in Taiwan, where he lives. He also obtained a PhD in
Artistic Research at Leiden University/Orpheus Institute. He is best
known for his work in the experimental voice, especially overtone
singing, which he has steadily explored in every traditional,
contemporary and experimental context for almost three decades,
as a performer and musicologist.
長笛演奏家、作曲家、和自由即興音樂演出者。自幼學習古典音樂、鋼琴以及長笛。大學時期在英國專攻當代音樂和實驗音樂演奏，2012年獲得英國皇家音樂學院聯合委員會的長笛演奏認證，2015畢業於英國曼徹斯特大學，主修長笛。2017獲得作曲碩士文憑。參加過的音樂節包括Vaganza New Music Festival、New Music Northwest,、SICK!、和 ~exchangeMcr，並於英國的 Royal Northern College of Music、Contact Theatre、Manchester Art Gallery、和 International Anthony Burgess Foundation等地發表演出。最近演出的曲目多為開放結構(open form)作品，包括英國作曲家Matthew Shlomowitz, Nina Whiteman, 和 Gavin Osborn等等。Ditmanson最近的作品專注於探索圖像記譜與多媒體作曲，及自由即興與實驗作曲的關係，並演出自己的原創作品以及於其他藝術家合作的作品，包括樂器與電聲、多媒體裝置的結合。
Bamboo flute virtuoso / soloist / improviser / Lin’s Cultur Artistic Director
Lin Hsiao-Feng was born in Taipei, Taiwan. Lin is an active Bamboo flute virtuoso, soloist and improviser. Lin plays Chinese Traditional Music, world music, free improvisation and experimental avant-garde in the contemporary music world. In recent years, Lin is committed to a variety of artistic collaboration including poetry, calligraphy, painting, dance, performance art, Chinese martial arts, rock, electronic music, experimental music as well as free improvisation.
In addition to performing numerous worldwide traditional wind instruments, Lin often participates in all kinds of arts and cultural activities.
Since 2011, Lin has organized events and invited artists from a wide range of genres.
In 2014, Lin has established the instrumental brand “Wu-Wei Chinese Bamboo Flute Series” with aesthetics from Oriental Minimalism. In 2015, Lin was invited to “1st Taiwan International Improvisation Music Festival” and “1st Chinese Bamboo Flute Festival.”
In 2016, Lin curated and performed the National Recital Hall interdisciplinary program “Zhuang Zhou Butterly Dream” with multimedia installation, improvised music, experimental sound, dance and performance art.
In 2017, Lin was selected as “New Taipei City Music Star” with the program “Jiang-Hu Forgetfulness, Lin Hsiao-Feng Bamboo flute Concert.” Lin was also the director of “Taiwan & Malaysia Collaborative Art Crossover Exchange Project – About Human, Sound and Ocean.”In 2019, Lin was selected as “O-Bank Tiding Music Star”.
At the end of 2019, in fact around the Winter Solstice on December 21, we did the first Voice Yoga Retreat here in Taiwan. A wonderful recollection of the best stuff I have done during my 7 seven years of weekly Voice Yoga classes. It was beyond expectation: fantastic weather, great location, wonderful students, and a great three-person-strong core team (Sunny Chen, Jackal Mei, me) to take care of everything.
Most of all, we all experienced a nice flow between yogic and other exercises, sound and body improvisations, eating cakes and drinking Jackal’s homebrewn coffee, meditating, listening, chanting, learning about my methods and ‘vision.’ People came from all over the place and all walks of life, and most were new to Voice Yoga.
One student, Guang Guang, wrote an excellent report in Chinese about everything we did, in Chinese. I reproduce it here, with an autotranslation at the bottom of this page. Jackal Mei made some great photos, and there’s a couple of myself too. Many thanks to Guang Guang and Jackal for the words and images, and to Sunny !
We’ll do another Voice Yoga Retreat later this year on the beautiful, relaxed East Coast of Taiwan, where the pace is slow, weather seems to be nearly always good, birds sing loudly and the ocean is never far away. Get on the maillinglist for updates.
Because there are always many good friends around me, then put into a path. at the beginning, the leaves share the voice with me, and let me plant seeds in my heart…
So recently, I went to experience a sound yoga,
The teacher who taught is the mark of the pan-Yin.
I love his selfless and loving sharing
And take care and feel every one of us
When the first class said
The voices made here are all about the moment.
There is no bad right or wrong, every voice is right…
Let me feel free to feel at ease
Mark is very natural to mix everyone’s voices together in space, let each other’s strange partner, quickly flowing, just two hours, my whole body is dancing.
/ breathing practice
A lot of things to feel in this practice,
I am also practicing to practice the feeling
Where to breathe, where to go, expand or shrink…
Never thought about what happened so naturally,
But these two recent courses are reminding this thing, that is the moment.
/ vowel triangle
Love to play with the vowel triangle
But I will find myself very short in this,
Will also want to work with other people
Make your own rhythm between perfection and coordination
Oh ~ suck ~
Oh ~ Ah ~ one
/ the ocean of sound
With the imitation of a natural voice,
Let your voice be thrown into the ocean
The Forest, the pond, the water, the swamp, the swamp, the sky, everything, the sound of the earth.
Who likes to share quietly, she feels like she’s shiny, so let the voice come out on her own…
So conscious body, I’m still on my way to practice
/ deep listening
Voice together in the outdoors,
Listen to the sound of the space and follow
Listen to the sound of not, create
In the way.
Made a contemporary music
I love this fusion melody.
Surround a circle and make a few voices with Mark,
Close your eyes and close your eyes
A few sounds without rules
Mark puts the nissan into the circle
Close your eyes in the circle and enjoy the melody
Mark is singing faster and faster
Getting more and more specific
Starting to find something wrong
Open your eyes and look at mark
He smiled at me
She has already learned it early.
Yes, it’s really what I thought
The students laugh at one after one.
Mulberry finally realized the chú le of this party
I am in tears to accept everyone’s singing
This moment is so touching
So beautiful ~ so beautiful ~
/ Winter Solstice Lights out
Surround the candles with a peaceful night, close your eyes with the feeling of stars, the sound of nature that surround us, like the stars that have fallen in the grass, the sound of everything.
/ sana ceremony
Classmate Blues on the night for you all the night
First experience ceremony, the sana drum burst out my whole body current, under the protection of the guardian spirit, I felt the process, the jungle, the speed, the dark spin, then the snake that came out, finally let myself slowly pull away, see one Deer stop
Lithuania was called by the drum of the drum to run
It also dance, the whole field, sitting or moving.
Every world, fantasy world ~
I am deeply aware of my voice.
Where did the sound go in the resonance body?
Where the body and the sound will be resonance
Ideas can also let the voice go where you want him to go
At the end everyone’s voice shakes,
All have different discoveries
This makes me think the voice is so funny
Everyone’s body feels so unique
/ breathing rhythm
The difference in the length of breathing,
Can also be a beautiful song
I’m enjoying this chapter too
The sum of each instrument
It’s a movement of life.
/ Pan-voice solo
One afternoon mark singing for everyone
Sitting and lying free
It was a cloudy afternoon.
While a pan-Tone Melody keeps on the these
All I hear is the voice of an angel
The Golden sunshine outside the window goes through the pink curtains
Angel Light gentle on mark
I didn’t have time to take pictures of that one
But in my mind
My whole body is dancing
/ eight sound
Everyone’s voice is so unique and nice
There is the singing of the old soul in the voice of the old soul
Thinking of her guardian spirit grandma and love
It’s my turn to kick the card.
Is the flower God singing!!!
Clear and beautiful, so touching
When it was my turn, my head wanted to work
Later I told myself to forget it
What makes the voice is what is
Even though I know my voice is not even where I’m going
My Voice God is helping me find the level
Went for a couple of semitone
I just went to the place where I should go.
I can say too
That’s my precision in control of my semitone (allocated ~
After three days of playing
Very Loose, slow and amazing body all kinds of sour
I didn’t expect it. It was just a voice.
The body has all kinds of pull
But remember that Xin Xin said very well
(but I forgot what she said XD)
But after she said, I just had a moment.
Lala also shared mark in mechanical noise
Find out the rhythm of its regular rhythm
Make noise not just noise
Harvest a lot in three days,
Maybe I’m still in the aftershocks and feel slowly
The only part that knows what I know most
Probably I’m not that relaxing myself yet
The voice is too strange to me after all
But after these process
It’s better to lose the established impression of the voice in my childhood
The Color of the voice is so wide and infinite
Tell yourself, it’s just to play, go play!
Sound Yoga is yoga and impromptu
He is more than a voice,
Is the one that makes the heart, spirit and body
Thank you Yu Chih Lin for taking me on the pool
Thank you Xiaoying Ye for the link
Thank you Jackal Mei for the invitation XD
Thanks Mark Van Tongeren
Leading the experience of my experience
Had me so much fun on this sound tour…
I began a new class: Shruti Nights, and ran No. I-VIII throughout the year, each with a different theme.
Listen to a nice duet I did with Sunny, translator, co-producer of many of my events, and talented singing student.
MUSHIMARU’s PHYSICAL POETS
I joined a Butoh workshop and performance by the huge family of Butoh dancer Mushimaru Fujieda and his regular students and collaborators, twenty in total. They came flying in to Taiwan from Japan, Hong Kong and other places, paying from their own pockets. Very dedicated and truly inspiring!
With Hiroyuki Matsuhisa (moham-veena), Shree Katsura (voice and suwarmandar), Mikio Kawasaki (photographer); Sogyu Fukumura, a very famous monk who quit Buddhism decades ago and became activist; Himeko Narumi, whom I visited in her bar in Kyoto a few weeks later; Vinci Mok from Hong Kong, not to mention lots of interesting old and new friends from Taiwan. Our performance UNDER THE TREE OF LIFE is on Youtube, beginning here with the entry of Mushimaru himself.
Recently many Taiwanese repaid the visit to Japan to collaborate with the same people, and one commented that the same performance turned into a rather hard-edged, noisy, radical performance, completely different from the soft version here in Taiwan. More true to the Butoh spirit, for sure, but I was still impressed with Mushimaru and all the kids who joined the event in Taiwan as very narural, innocent performers.
SANGPUY live IN TAIPEI
LUGANG and its AUTOMATED SONIC SURPRISES
Trip to Lugang, where we were deeply impressed by the Longshan Temple. It is not as famous as some other old temples in Lugang, which are more centra. But by far our favorite. Major reasons: little modernization, no entertainment, quite silent (no tourgroups with amplified guides). However, in both temples I encountered automated percussion devices. There was a procession leading to the very noisy and central Mazu Temple or Tian Hou Temple. I had to get away at some point because of the incredibly loud firecrackers, which I found unbearable, and our dog really got shocked from it.
There was no smoke anywhere, and it turned out the noise was produced by a firecracker machine, which you see at the end of this video.
A little later, in Lungshan Temple, I noticed a drum was playing all the time but I saw no one beating it. It turned out to be another automatic device producing percussive sounds, just like the firecracking machine.
PULI, CENTRAL TAIWAN: WORKSHOP
In April I was off to Puli, central Taiwan, for a workshop and another one with Canjune, exploring herbs and plants in the forests. From the roof of a cinnamon producer, a panorama of Puli’s iconic Chung Tai Chan (= Zen) Temple.
After the workshop, re-connect with a nun I got to know in 2004, with a fantastic voice: Guanzu Shi. For all these years she is studying the performance of a specific song in the Huayen Buddhist tradition, for which the way to pronounce many syllables is not exactly known.
SAINKHO and KAZHUHISA ICHIHASHI in JAPAN
First trip to Japan. Too many impression so share, but here’s a few. Basically a family tour but, lucky me, I ran into Sainkho one or two days before she launched her new CD with Kazuhisa Uchihashi in Beijing. Great show together!
What a lovely guy, and what a great show he pulled off. The most astounding thing was that after the ‘normal’ stage show, which already featured lots of people from his village Jrben, some girls began singing and dancing in the lobby. The men joined and sure enough hundreds of people began to join the line after a while. The whole thing lasted at least another 45 minutes, with the last part (not in this video) some very high-energy indigenous male dancers/singers promoting their upcoming hot dance show.
TAIWAN EASTCOAST TOUR
To Mud Studio in Yilan, Zhishan for workshop in Poco a Poco, my first houseconcert in Taiwan, near Hualien, and another concert in Hualien. See my special blogpost.
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.
TESTIMONIALS 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.