THE TWO HORSES OF GENGHIS KHAN

eyes

Byambasuren Davaagiin shine buteel:

THE TWO HORSES OF GENGHIS KHAN

Germany-d amidardag O'MGL emfile:///C:/Users/EcoNet/AppData/Local/Temp/moz-screenshot.pngegtei Urna gol duriig buteev.



file:///C:/Users/EcoNet/AppData/Local/Temp/moz-screenshot-3.png http://www.metacafe.com/watch/35 ... nghis_khan_trailer/
file:///C:/Users/EcoNet/AppData/Local/Temp/moz-screenshot-1.pngfile:///C:/Users/EcoNet/AppData/Local/Temp/moz-screenshot-2.png

0477

摄影很入画，人有种独特的气质。

amber

..............

宝石蓝

乌日娜唱的歌曲也很棒，照片里没穿靴子看起来有点不太协调。

eyes

Synopsis

Unlike almost any other song, the verses of “THE TWO HORSES OF GENGHIS KHAN” embody the history and paradigm change of the Mongolian people. For the singer Urna, too, who was born in Inner Mongolia, the song becomes the touchstone of her cultural identity after she promised her deceased grandmother to bring back the family’s old horse head violin to the homeland, to give the destroyed violin, of which only the head and neck remain intact, a new body. The verses of the folk song were engraved on the neck. During the dark days of the Chinese Cultural Revolution, Urna’s grandmother was unable to save the horse head violin: only a fragment of the instrument and epic song could be rescued from destruction.

Now it is time to fulfil the promise. Urna journeys first to Ulan Bator, to meet a famous horse head violin ensemble. There, she hopes to learn more about the old verse. But her expectation is disappointed.

Afterwards, Urna seeks out the horse head violinmaker Hicheengui, who evaluates the old violin head. He can restore the family heirloom, build the violin a new body. In the meantime, Urna sets off on a journey through Mongolia. She hopes, in the interior, to find the song’s missing verses from the nomads, as a cultural treasure passed on by oral tradition. But the first euphoria quickly gives way to renewed disappointment. The bus, in which she is travelling, gets stuck in mud. There is no properly functioning infrastructure in the countryside.

Finding fortune in misfortune, she is taken in by a horse breeder who gives her horse hair, new strings, for the old-new violin. The horse breeders don’t know the song either, but they have a good idea: tomorrow a large wedding is taking place nearby. Maybe she can find someone there who can help her?

But at the wedding none of the guests knows the folk song “THE TWO HORSES OF GENGHIS KHAN” either. A final lead takes Urna to a shaman, a spiritual medium between this world and the other. Can he show Urna the way to this song, to herself?

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乌仁娜.查哈尔图格旗(Urna Chahar-Tugchi)
蒙古族女歌手，1969年出生于内蒙古自治区的鄂尔多斯草原，现定居德国。幼年即从祖母及双亲身上学会上百首传统蒙古民歌，后在上海音乐学院主修扬琴，并且以蒙古文创作诗词。自1994年起开始巡回世界演出，与各地乐人进行许多有趣的世界音乐实验。并且经常现身世界各地重要音乐节，在欧洲出版多张专辑。乌仁娜除了拥有刚柔并济、上下能跨四个八度的惊人广阔音域，对音乐的态度同样广阔无限，在东方与西方、创新与传统之间，乌仁娜已经寻找出既跨越地域又别具一格的奇妙音乐空间。

迄今为止，乌仁娜获得的最重要的肯定都来自欧洲。一位俄罗斯的乐评人将她和图瓦的珊蔻（Sainkho）并列为两位“亚洲歌后”（Two AsianDivas）；捷克的乐评人Petr Doruzka曾这样形容她的歌声：“就像是在沙漠里观赏即将绽放的花朵，或是发现一个别人还没发现的美女，或是在原野中看到瞪羚纵身一跃，却不知它将落在多远的地方。”2003年夏，乌仁娜因为对欧洲世界音乐的贡献被德国授予RUTH最佳国际艺术家大奖。登上舞台的乌仁娜没有穿蒙古袍子，对于一个歌者来说，她的身躯真是瘦小。她的乐手也没有怀抱马头琴，舞台左手边是来自匈牙利的提琴手Zoltan Lantos，右手边是来自法国的伊朗裔鼓手Chemirani父子，他们的手指舞动，敲击出陌生的节奏；弦子跳跃，提琴开始唱歌，乌仁娜随即吟诵蒙语的诗，然后，她开始唱了，干净的声音像是草原上的飞鸟，时而在野花上歇脚，时而在天空上飞翔，飞到目力不及的最高远处，又贴近地面带着疾风。很少有歌手，能在温柔处如此温柔，在暴烈处如此暴烈，就像是草原上的黄鹂和骏马。

这场演出的名字叫做《生命：Amilal》。美丽的原声对于这个出生在鄂尔多斯，在草原、沙丘和羊群之间学会歌唱的蒙古族女子来说，她的歌唱从来就没有离开过“生命”，她只出版过四张专辑，分别是《Tal Nutag》（1995，意为蒙古草原之歌），《Hödööd》（1999，中译《蓝色草原》） ，《 Jamar（》2000，中译《在路上》），《Amilal》（2005，中译《生命》。四张专辑里的每一首歌，不论是传统民歌，还是创作歌曲，无一不以草原作为母题。从发声方法上，乌仁娜与我们习惯的美声化的蒙古族民歌很不同。她更尖利，也更不驯服。但如果与上世纪60年代民族音乐学者在田野采集的蒙古族民歌录音做对比，会发现她的发声方法与这些原始录音非常相似。事实上乌仁娜所有歌唱学习都来自外祖母和父母亲。她常常说“鄂尔多斯是歌的海洋”，“我们学会说话就学会唱歌”，“在蒙古，唱歌就是这么自然而然学来的。人们总先聚着喝茶，过会儿再喝点酒，就开始唱起来了。

当我到欧洲时感觉非常怪异，我所能看到的都是讲话的人”。她说自己从不练歌，随时随地都可以唱，因为歌唱就是生活本身。乌仁娜对于传统文化有一种高度自觉，这大概得益于19年的草原生活，也与她在异文化中感受的强烈冲击无不相关。她离开草原的契机源于上海音乐学院一位教授扬琴的教授，在跟随他习艺之后，乌仁娜在几乎完全不会说汉语的情况下登上去上海的火车，考入上海音乐学院。与对于“说”的羞赧相比，她对于“听”有一种迷恋，她说：“我去听提琴的考试，去听钢琴的考试，去看篮球比赛，我什么都听，朋友们都说，乌仁娜，你是个疯子。”从“听”中，她学会了很多，甚至从“不好”的音乐中比从“好”的音乐中学习更容易。正是在上海，她发现了许多具有“纯真嗓音”的同学们，在程式化的学院派训练之下，都用同样的方法歌唱，只是语言不同而已，“这真是一种羞耻啊。”

毕业后她曾在内蒙管弦乐团担任扬琴手，不久就辞职来到北京，与德国巴伐利亚筝的演奏者Robert Zollitsch组成“高山流水”乐团，在一些酒吧演奏。就是在流浪的巡演生涯里，乌仁娜第一次在公开场合歌唱了，原本她神奇的嗓音是局限在好友范围内的机密。她说话的声音是那么轻，人又那么安静，谁会想到她能在歌唱时的震撼呢？

独特的演绎
在1994年移居德国之后，她差不多每年都会回一次鄂尔多斯。1997年她曾在那里进行过一次传统民歌的搜集工作，这工作现在看来是具有标志性的，此后掌握传统民歌的老歌者纷纷凋零，“歌的海洋”也悄然发生着变化。虽然所有的创作都植根于传统民歌，乌仁娜却并不是一个单纯的“传统艺术传承者”，从一开始，她的歌唱就是更自由与现代的，她所有的专辑都是与不同国家和民族的音乐家合作，赋予了蒙古歌谣一种超出想象的可能性。她先后合作过的乐手除了Robert Zollitsch，还包括现在欧洲声誉极高的笙演奏家吴巍，来自印度的打击乐手Ramesh Shotham， 马头琴演奏家张全胜等。在乌仁娜的前三张专辑中，改编传统音乐的歌曲都占有数量上的优势。即便是那些传统民歌，譬如《成吉思汗的两匹骏马》这首广泛流传于蒙古的著名长调也呈现出不同的样貌。在乌仁娜的版本里（收入《Jamar》），同样使用了马头琴，但她的演唱仍然是独特的，内向而轻柔，音句末梢处像消失的云朵，有一种冥想的性质。我总认为她是把声音作为一种多变的乐器—是的，她的音域跨越四个八度，允许她与伴奏者促膝低语或者热烈交谈，有一种高度的和谐与即兴，甚至器乐并不处于从属的地位，它们有时会走向前台成为主角。

自由的歌唱
在第四张专辑《Amilal》里，乌仁娜组成现在的乐队：Zoltan Lantos在布达佩斯获得提琴演奏的学位之后，曾有9年的时间在印度学习传统音乐的经历；Djamchid Chemirani被称作“伊朗鼓王”，这位现年67岁的宗师出生于德黑兰，在伊斯兰革命之后移居法国。他与两个儿子组成的Chemirani三人组在某种程度上改变了法国当代音乐的面貌。单从履历表上看这个组合都是富有想象力的。不无巧合，他们与乌仁娜一样都有着跨越不同文化的背景，音乐的即兴程度很高，都将传统的音乐推向超越传统范式的层面。在这张专辑中，仅有两首传统改编的歌曲，乌仁娜的演唱与创作都到达一个新的高度，用她自己的话说是“更有智慧”了；或者是，她的歌声更为自由。整张专辑听上去并不那么“蒙古”，因为鄂尔多斯歌谣传统上较少使用诺古拉（颤音），乌仁娜少量使用的诺古拉并不算精彩，令人印象最为深刻的倒是她的呼吸。在《生命》演唱会上，她用一首《献礼》为我们示范了一个神奇的节奏，11拍、11拍、12拍、4拍……这个既不整齐也不规律的节拍是乌仁娜歌声的众多秘密之一。“有很多音乐家总是数不好我的节拍，我有时候会说没关系你走你的节拍，我走我的，我可能会绕一下路，但我还会回来的。”她用手比划着，就像是为了看风景故意多走了一程路，她说自己并不特别在意节奏，她的节奏来源于“脉搏”。我相信，这些秘密和乌仁娜所有智慧一样，就来源于蒙古音乐的传统。就像蒙语本身的吐字发音赋予音节神奇的蜷曲与起伏；蒙族音乐强烈的旋律感让乌仁娜的歌曲从来都不缺乏优美。在海外“游牧”多年，她依旧保留着从大自然和朴实生活习来的特质，她说父母从小就教她“我的孩子，你不要怕与别人分享”。她说蒙古人不会教小孩子做什么，小孩子从小伏在父母背上，看父母做事，自然而然就学会了。她说姥姥曾跟她说，要想很大声地唱歌，必须学会用很小很小的声音唱歌……但从没有一个蒙古人，在被传统充分滋养之后，在音乐的旅途上依然能走得那么远，为她的听众开辟出一个那么广阔的听觉世界。

原载：时代周报 2009年11月16日 星期一 农历九月三十第52期 共32版 广东省出版集团主管

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New film of Davaagiin Byambasuren:

My films, THE CAVE OF THE YELLOW DOG and THE STORY OF THE WEEPING CAMEL have
brought the life of the Mongolian nomads closer to an international audience. I am often asked about the fascinating music of my homeland. In my new film, THE TWO HORSES OF GENGHIS KHAN, my protagonist, the singer URNA, leads the viewer on a journey of musical initiation through Outer Mongolia. She has come to have her grandmother’s old horse head violin repaired and to find the verses of an old song – THE TWO HORSES OF GENGHIS KHAN. The horse head violin, the morin khuur, embodies like no other instrument the Mongols’ national identity. Through the rapid pace of development today, which is causing the world to mutate into a large village, cultural identity and diversity have receded. In the same way Urna searches for the song believed lost, she is also searching vicariously for her people’s lost customs and traditions. By collecting the old songs, they will be saved from being forgotten forever. Symbolically, the broken violin stands also for the broken, divided Mongolian land, the separated brothers of Inner and Outer Mongolia, which today are slowly drawing near to each other again.

Byambasuren Davaa
(Script, Director, Producer)
Byambasuren Davaa was born in 1971 in Ulan Bator, Mongolia.
From 1989 to 1994 she worked as a presenter and assistant director at Mongolian state television while also studying law. In 1998, Davaa started to study at the High School for Film. In 2000, she moved to Germany to continue her studies at Munich’s Hochschule für Film und Fernsehen (HFF) in the documentary film department, graduating in 2005. Davaa’s first feature-length film at the HFF was “THE STORY OF THE WEEPING CAMEL”, which she directed together with Luigi Falorni. The film won many accolades, among them the Bavarian Film Award, and was nominated in 2005 for an Oscar in the category of Best Documentary. The film was sold to more than 60 countries. That same year, Davaa’s graduation film, “THE CAVE OF THE YELLOW DOG”, was released in cinemas in Germany and other countries. For this film, Davaa received numerous national (German Film Award, “Best Children’s – Young Person’s Film) and international awards. In 2008, filming began on Byambasuren Davaa’s new feature-length documentary, “THE TWO HORSES OF GENGHIS KHAN” with the Mongolian singer Urna.

Filmography
Script, Direction, Producer
2009 THE TWO HORSES OF GENGHIS KHAN
2004/2005 THE CAVE OF THE YELLOW DOG, (35 mm, 89 min).
2003 Buddha Knows the Way , Girl Portrait (30 min. for 3SAT / ZDF)
2003 THE STORY OF THE WEEPING CAMEL (35 mm, 91 min)
2001 The Wish, (10 min., 16 mm)
1999 THE ORANGE HORSE, (45 min, Video)
1993 One World, Two Economies (Mongolian TV, Video 2x45 min)

Awards (Selection )
Nominated in 2005 for the Academy Awards in the category of “Best Documentary” for “THE STORYOF THE WEEPING CAMEL” as well as the Newcomer’s Award of the Hypo-Vereinsbank, Munich. FederalFilm Award for “THE CAVE OF THE YELLOW DOG” as well as many other national and international accolades.

0477

上传两首歌吧。我都想听了。

ezoe

成名专辑《听风的歌》1995，附详细介绍 http://www.verycd.com/topics185442
用人名搜歌，Urna Chahar-Tugchi ，也行

盗版万岁~~~

wulancha