| Description |
The exact origin of the Khöömei art is unknown, but researchers suppose that it could have been developed in connection with argil (a throat timbre) epic telling vocal technique, shamanic calling and the play of the wooden tsuur flute.
The history of Mongolian Khöömei dates back hundreds of years. The popularity of Khöömei among Mongolians has arisen as a result of close interaction between natural environment and human culture. Ethnomusicologists studying Khöömei mark it as an integral part in the ancient pastoralism that is still practiced today. This art has developed to mimic and imitate the sounds of animals, nature, wind and water. The wonder of the Khöömei art is its simultaneous melodies-overtone. In this way the Khöömei is a phenomenon which differentiates from other traditional arts based on human vocal organs. This is the reason of calling the Khöömei performer as “Human-Music” (Khun khugjim) which highlights its specificity from a “normal singer”.
The meaning of Khöömei for its community is enormous. As the traditional art form, Khöömei is in close cohesion with the daily life of the Mongolian nomads. They perform Khöömei in the variety of social occasions ranged widely, from grand state ceremonies to the household festive events, associated with respective rituals, and customs. Khöömei is not only performed in social events, because Khöömei performance is often found during the herding, and even when lulling the baby, as well as in the evenings in the ger (Mongolian traditional yurt) in domestic context. Hence, Khöömei is an essential part of the identity, pride and continuity of Mongolian society.
Therefore, it provides the concerned community with sense of unity and harmony, as well as continuous creativity.
One of Khöömei’s social functions is that, it is used as a traditional pedagogic instrument in the social and art education and upbringing. This is because during the Khöömei transmission, a comprehensive knowledge, philosophy and wisdom on the correlation of human life and nature are transmitted at the same time.
As an art form created and developed by the Mongolians, Tuvinians and other ethnic groups, and regarded as the classic art of nomadic civilization, Khöömei is one of the core performing arts that shape the Mongolian national arts in today’s Mongolia. Thus, it shows great influence on ensuring the visibility and enhancement of the living art of Mongolia.
Khöömei is born by variety of ethnic groups as Khalkh, Bayad, Dörvöd, Uriankhai, Zakhchin, Tuva, Tsaatan in different locations, therefore there are a number of sub-classifications of Khöömei style, reflecting the special features and local flavors. This diversity is what constitutes the richness of Khöömei composition, and thus, each communities concerned are proud of their own unique styles and techniques while expressing themselves with such diversity.
The governments of Mongolia, Russian Federation and PR China have been undertaking variety of measures for the effective enhancement and spread of Khöömei tradition, such as holding international meetings, workshops, competitions and performances on Khöömei. This shows the significance of Khöömei for the bearers and their will to safeguard, transmit and develop it in multinational level, which also promotes international interaction, mutual respect and intercultural dialogue.
Researchers classify Khöömei’s vocalization into 2 styles:
-The Kharkhiraa (deep Khöömei) vocal emission: The singer sings a drone in a normal voice, then he inhales deeply and, simultaneously pressing on his pharynx and abdomen, he produces a deep harmonic sound which vibrates one octave lower than the fundamental note produced. What you hear is in a very low-pitched register. The singer actually vibrates not only his vocal cords but also his arytenoid cartilage. It is this deep harmonic sound that is heard in the foreground and that characterizes the kharkhiraa style, although in some variants a melody of high-pitched harmonics can be heard above the fundamental sound.
-The Isgeree Khöömei (whistled Khöömei) emission: Also called Nariin Khöömei, Uyangiin Khöömei, Altain shingen Khöömei. The singer sings a drone in a normal voice, then he inhales deeply and, still pressing simultaneously on his pharynx and abdomen he produces a harmonic sound, which vibrates several octaves above the fundamental sound. A melody of harmonics with a very high-pitched whistle can then be heard. In both cases, the harmonic melody is sung in the same fashion. The singer modulates his mouth cavity by opening and closing his lips or by moving his tongue backwards, sticking its tip on his palate, or else by moving the central part of his tongue from front to back, its tip against his bottom teeth. To this are added techniques aiming to enrich the tone colour and others of ornamental character. Moreover, all these techniques can be combined. Inside more than 20 techniques, we can find the Bagalzuuriin Khöömei (throat Khöömei) Tsuurai Khöömei (echo Khöömei) Khamriin Khöömei (nasal Khöömei) or Dangildakh Khöömei (syllabial Khöömei). The singers use the Shakhaa vocal emission to sing the magtaal praise songs with a throat timbre as well.
It is necessary to intensifying and deepening the Khöömei research and studies particularly on the originality and authenticity of the heritage in order to identify and reveal the deeper form, techniques and specifications furthermore. |
| Social and cultural significance |
The meaning of Khöömei for its community is enormous. As the traditional art form, Khöömei is in close cohesion with the daily life of the Mongolian nomads. They perform Khöömei in the variety of social occasions ranged widely, from grand state ceremonies to the household festive events, associated with respective rituals, and customs. Khöömei is not only performed in social events, because Khöömei performance is often found during the herding, and even when lulling the baby, as well as in the evenings in the ger (Mongolian traditional yurt) in domestic context.
Hence, Khöömei is an essential part of the identity, pride and continuity of Mongolian society.
Therefore, it provides the concerned community with sense of unity and harmony, as well as continuous creativity.
One of Khöömei’s social functions is that, it is used as a traditional pedagogic instrument in the social and art education and upbringing. This is because during the Khöömei transmission, a comprehensive knowledge, philosophy and wisdom on the correlation of human life and nature are transmitted at the same time.
As an art form created and developed by the Mongolians, Tuvinians and other ethnic groups, and regarded as the classic art of nomadic civilization, Khöömei is one of the core performing arts that shape the Mongolian national arts in today’s Mongolia. Thus, it shows great influence on ensuring the visibility and enhancement of the living art of Mongolia.
Khöömei is born by variety of ethnic groups as Khalkh, Bayad, Dörvöd, Uriankhai, Zakhchin, Tuva, Tsaatan in different locations, therefore there are a number of sub-classifications of Khöömei style, reflecting the special features and local flavors. This diversity is what constitutes the richness of Khöömei composition, and thus, each communities concerned are proud of their own unique styles and techniques while expressing themselves with such diversity. |
| Transmission method |
Current mode of transmission of the Khöömei is as follows:
Apprenticeship training - Traditionally, Khöömei has been handed down from the bearer to the learner, or master-to-apprentice way. It has still been practiced especially in the rural areas of Western Mongolia. Key practitioners maintaining the diversity of apprenticeship training by oral way, include state honoured artists, such as Tserendavaa, Sengedorj, Davaajav, Toivgoo,
Ganbold and Bapizan. The Khöömei practitioners engaged to the apprenticeship training often find themselves in a family chain and broadened relatives, as well as neighbourhood area.
Classroom training – This type of training was started in 1992 by the concerned practitioners, bearers and the researchers of Khöömei. It has been developed with various types of courses,
and even integrated to the formal educational system such as the University of Culture and Arts, National University of Mongolia, Music and Dance College and also through theatres in rural areas in the city of Khovd, Ulaangom in Uvs aimag and the school of Tsengel soum in Bayan-Ölgii aimag.
A number of institutes, public organizations and NGOs, such as ""Association of Mongol Khöömei"", “Foundation for the Studies on the Throat Singing Art and Heritage, ”Blue spot”
Khöömei training centre, “Khöömei and Morin khuur training centre”, and “Khuurchiinkhan” are engaged in transmitting the Khöömei art with classroom training in cooperation with the State Morin Khuur Ensemble, and other public and private ensembles. More recently the Cultural Centre of Chandmani soum is becoming a Khöömei international centre to teach Khöömei to its residents and foreigners. |
| Community |
Identification of the Khöömei performers and practitioners in the territory of Mongolia from ancient to present times is as follows:
In Khovd aimag (province): In Chandmani soum (county), Chuluun, Dagva (1929-1978), Derem (1931-1980), transmitted the Khöömei to Tsedee B. (1935-1987), Chimeddorj, Sundui D. (1938-2002), Darjaa, Namjil, Ganbold T., Gereltsogt T., Sengedorj N., Tserendavaa D., Davaajav R., Baatarjav, Tsogdelger Ya., and the next generation inherited from them, such as Khosbayar (living in Germany), Amartuvshin B. (living in Germany), and many others who are the successors of the well-known Khöömei masters mainly among the Khalkh ethnic group, and in other soums of Khovd aimag.
In Uvs aimag: Among the Bayad, Dörvöd and some Khalkh, the Khöömei has been transmitted through the outstanding skills of masters as Toivgoo E. to Lxagva, Otgonkhuu and others.
In Bayan-Ölgii aimag: Among the Tuvanians, Khöömei is mainly transmitted by Bapizan in Tsengel soum.
In Zavkhan aimag: The son of Geser nobleman, a well-known shaman Undur Kharchuu, who lived in the Bayankhairkhan soum in the area of Lake Oigon nuur and Mogoin gol river basin, was a prominent Khöömei practitioner. One of his descendants, Renchin Yo., called as 'Flute voice' (1885-1948) inherited his skills and transmitted it to Jigmed U. (1901-1999). Jigmed U. handed down the Khöömei to his children, Khurelbaatar.J (1940-2000), Tsend-Ayush J. (1940-1995), as well as to the local fellows Danaajav.G and Gongorjav.B and his grandson Sandagjav.E, who is currently living in Ulaanbaatar.
Gaanjuur.B (1908-1965), the eminent Khöömei singer from Bayantes soum transmitted his skills and knowledge of Khöömei to Tserendorj P. (1931-2007), Namjilsuren Ts., Davaa D. from Tessoum, Chimeddorj G., Gantulga S., Yavgaan B. from Aldarkhaan soum and Odsuren B. from Ulaanbaatar, respectively.
In Ulaanbaatar:
More recently, since less than 40 years, some singers out of the western provinces inherited the Khöömei from Khöömei masters from the Altai Mountains region, such as Davaanyam D. from Tsagaan uul soum of Khuvsgul aimag, Ganzorig N. from Zuunkharaa in Selenge aimag, Bayarbaatar D. from Gobi-Altai aimag, Gantulga D. and Ashid N. from Ulaanbaatar and many others.
Other parts of Mongolia:
The Khöömei heritage has been transmitted through the outstanding skills of other masters, such as Purev (1936-1975) in Bayanbulag soum of Bayankhongor aimag, Buyandelger S. in Övörkhangai aimag, to the famous practitioners, including Bazarvaani and Zulsar S. who both live in Ulaanbaatar today. |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2010 |
