The meaning of the name ‘Khusugtun’
The word khusug mean a cart of pastoral nomads. ‘Khusugtun’ means nomads, or more precisely people who move with carts. Moreover, the word describes the process of moving such as camel, horse and yak caravans, herd of livestock, and people guiding them etc.
Biography of the group
The group was established in March of 2009 with six professional musician, to promote and popularize Mongolian ethnic music. Besides the group, all the members are musicians at the National Song and Dance Academic Ensemble. Their performance usually consists of melodies of folk music instruments such as Grand Fiddle, Horse Head Fiddle, Bagpipe, Zither, Dzimbe (Drum), and Dombor (Stringed Instrument Resembling a Lute) etc, and overtone singing. Five members of the group perform A Cappella with overtone singing.
Since the established they have been very successful and already won several awards.
Grand-Prix Award in class Khoomii Ensemble, The international symposium and festival of the throat singing, Mongolia, May 2009
Gold Medal in the class of A Cappella, The World’s Cultural 3rd Olympic Games, Korea, Sep 2009
Grand-Prix Award, 4th International Throat Singing Festival, Russia, Oct 2009
Sega, a traditional Indian Ocean dance rhythm, is internationally known, but few people outside the island of Reunion have heard of maloya. Maloya is a compound rhythm on which plantation workers have long been singing their joys and woes. It’s a sort of réunionese blues.
http://rwmf.net/performer/
Danyèl Waro, living in the middle of sugarcane fields high up in Saint-Paul, is probably the most famous maloya singer of the island, singing maloya in creole and with traditional instruments : kayanm, flat instrument made from cane flower stems and filled with saffron seeds ; bob (called birimbau in Brazil), a musical bow attached to a calabash for resonance; rouler (literally, “rollers” big drum made from barrels with a cowskin head, in short, all the traditional maloya instruments. «For me, maloya is first of all the word». Indeed, his songs border on poetry. He speaks of love death or politics, using a popular, peasant vocabulary that his urban listeners have often forgotten. He creates unexpected, beautiful and powerful imagery and, most importantly, feels the convergence between words and music that makes great songs.
Philippe Conrath, whose Cobalt label has released Danyèl Waro’s music for the past ten years, writes “If Danyèl Waro always wanted to remain free and to lead his career to his own rhythm – a rhythm embedded in the earth, in the good son of a farmer who knew the work of the fields from a tender age – he has nevertheless, in the course of these last fifteen years, played at the biggest European festivals.”
Danyèl Waro “A part of his professional history begins elsewhere in Berlin, at the Tempodrom in 1996, in the framework of the Heimatklänge festival whose artistic director had discovered him at the festival Africolor in Paris in December 1995. It’s in Berlin where he records a live album “Foutan Fonnkér”, which becomes a revelation in France, a CD which will go on to sell fifteen thousand copies in La Réunion (amongst a population at the time of 750,000 inhabitants!).”
http://rwmf.net/performer/
Danyèl Waro, living in the middle of sugarcane fields high up in Saint-Paul, is probably the most famous maloya singer of the island, singing maloya in creole and with traditional instruments : kayanm, flat instrument made from cane flower stems and filled with saffron seeds ; bob (called birimbau in Brazil), a musical bow attached to a calabash for resonance; rouler (literally, “rollers” big drum made from barrels with a cowskin head, in short, all the traditional maloya instruments. «For me, maloya is first of all the word». Indeed, his songs border on poetry. He speaks of love death or politics, using a popular, peasant vocabulary that his urban listeners have often forgotten. He creates unexpected, beautiful and powerful imagery and, most importantly, feels the convergence between words and music that makes great songs.
Philippe Conrath, whose Cobalt label has released Danyèl Waro’s music for the past ten years, writes “If Danyèl Waro always wanted to remain free and to lead his career to his own rhythm – a rhythm embedded in the earth, in the good son of a farmer who knew the work of the fields from a tender age – he has nevertheless, in the course of these last fifteen years, played at the biggest European festivals.”
Danyèl Waro “A part of his professional history begins elsewhere in Berlin, at the Tempodrom in 1996, in the framework of the Heimatklänge festival whose artistic director had discovered him at the festival Africolor in Paris in December 1995. It’s in Berlin where he records a live album “Foutan Fonnkér”, which becomes a revelation in France, a CD which will go on to sell fifteen thousand copies in La Réunion (amongst a population at the time of 750,000 inhabitants!).”
The group RAIZ DE CAFEZAL was born of the meeting of eight musicians from the Magalhães Barata city (162 km far from the capital City, Belém) where it is the Village of Coffee plantation. Town with about 3 thousand inhabitants, whose cultural landmark is the rhythm of Carimbó.
The founder of the “Raiz do Cafezal” is the composer and musician Flávio Monteiro (57), also known as Cizico. He plays percussion since he was 10 years; he also composes and makes de production of the traditional instruments called Curimbós, maracas and milheiros that pack the carimbó’s beat.
Raiz De Cafezal
The art of confection of Curimbó, made of trunks of trees, is really old and passes from father to son.
HIGHS AND LOWSThe fascinating art of throat singingMusicians of KHUSUGTUN
instrumentsBouzouki - Juan Jose Ochandorena (OREKA TX)
N’goni – Mamadou Diabate & ZakariaKone (MAMADOU DIABATE’S PERCUSSION MANIA)
Ukulele - Rene Senko (CANKISOU)
Mandolin – Martin Krajicek (CANKISOU)
Dombor - Ulambayar Khurelbaatar (KHUSUGTUN)
Sape – Jerry Kamit & Cottrell Tassim (SARAWAK CULTURAL VILLAGE)
Banjos - Claudio Albuquerque & Renato Monteiro (RAIZ DE CAFEZAL)
Oud – Alasgar Abbasov (HATA–THE ONE)
Ouds - Samir, Wissam & Adnan Joubran (LE TRIO JOUBRAN)
Sitar – Samuel J. Dass (HATA – THE ONE)
Mandolin - Rozainie Hashim (RHYTHM OF BORNEO)
instrumentsBouzouki - Juan Jose Ochandorena (OREKA TX)
N’goni – Mamadou Diabate & ZakariaKone (MAMADOU DIABATE’S PERCUSSION MANIA)
Ukulele - Rene Senko (CANKISOU)
Mandolin – Martin Krajicek (CANKISOU)
Dombor - Ulambayar Khurelbaatar (KHUSUGTUN)
Sape – Jerry Kamit & Cottrell Tassim (SARAWAK CULTURAL VILLAGE)
Banjos - Claudio Albuquerque & Renato Monteiro (RAIZ DE CAFEZAL)
Oud – Alasgar Abbasov (HATA–THE ONE)
Ouds - Samir, Wissam & Adnan Joubran (LE TRIO JOUBRAN)
Sitar – Samuel J. Dass (HATA – THE ONE)
Mandolin - Rozainie Hashim (RHYTHM OF BORNEO)
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