Tuva is rich in natural medicinal waters, salt and mud lakes, mineral and freshwater geysers. Many of these geysers and lakes have fascinating properties, being in unique climactic zones, and surrounded by astounding natural beauty. Hundreds of tourists flock to them regularly every year. People come from the far corners of Tuva to the healing waters all year round. In the winter, a meter-thick layer of ice forms around the spring – called Arzhaan in Tuvan – and visitors split off blocks of this ‘sour ice’. During the USSR people came from as far as the Baltic states and Ukraine to bathe here. Azhyg-Sur performed miracles with people for whom doctors ran out of methods.
When I think back to my
time in Tuva, even after much time has passed, I can still barely convince
myself that it actually happened. I was there! The new experiences and feelings
left such impressions, such vivid memories of adventures and tribulations in that
peculiar land called Tuva that they take the foreground among all my various
travels.
The start was typical. An August night spent in the waiting lounge of Sheremetyevo Airport in Moscow. We, members of WWF were siting on our bags waiting for a flight to Abakan – the first stop on our route. We would then go from a nearby village by boat along the Enesei river down to Kyzyl – the capital of Tuva. Then we would traverse this remote Russian region to the Mongolian border. The journey caused a sort of epiphany. We understood ourselves, our friendship, and how fragile the natural order of things are. We saw how radically different cultures can be and be a part of our world’s diverse heritage.
Siberia… much is said
and written about this land, but for every traveller the story is different,
although going back to city life in some concrete mess is equally boring for
all. As soon as one is home, one experiences a strong nostalgia, a despondence
about the city and a vying for the rugged endlessness of the Taiga or the
rushing Enesei. It is the contrast of smells from the rivers or forests and the
almost paranormal way in which a ruckus from your boat’s engine is replaced by
complete silence when you stop. Occasionally you even lose yourself in the
blues-ness that surrounds – the sky mirroring the rive – and it is as if you
are briefly transposed to a timeless dimension.
It is astonishing to think about how hardy our ancestors were, that they managed to make a living in this wild land. This ruggedness can be seen in the village Shushenskoe, where a museum to the settlers, named after Lenin, still stands. You can see the conserved way of life of centuries passed. There are photos of the century old oaks used for the houses, you can see how pristine the nature was and still is – how warm the Russian fireplaces kept the settlers and reinvigorated them for further heroism. Further along are the faces of the settlers, the Tuvans and many others – which all illuminate their welcoming and warm souls which remains so to this day.
Who comes to mind
first? Perhaps the museum volunteers – who recreated the village with their own
hands, conserving tradition for the next generation, learning by heart ancient
Russian songs… and our hosts – the directors of the local national park, whose
diligent labour seems an art in its professionalism, whose humour and wit
inspire, to whom we can rightfully trust the protection of these beautiful
lands to which they are rather evidently devoted to. I remember the Tuvan
nomads, tending to their flocks, returning nightly to their yurts in the
mountain valleys of Tannu-Ol and Sengilen. The days we spent in their yurts
will always remain unforgettable, as unforgettable as the people who invited us
into their home having never met us before, fed us and treated us with ak chem
– the local diary delicacies. They proudly showed us their horses and land –
rain or shine! Can they ever be forgotten?
But most importantly,
we coughed up all the city soot, washed off the dust and re-joined a way of
life that perhaps our ancestors enjoyed. Maybe back when the Earth was loosely
populated by pioneers, our forefathers enjoyed this clean life – both mentally
and physically? They enjoyed true comradeship, mutual care and understanding
amongst disparate human tribes. We revisited something long lost and yet more
worth keeping than anything else. During the journey, the eyes were cameras,
and memory was a tape, vividly stored in the display cabinet of my mind
forevermore.
Author: Peliken Photo: Aidyn Seidyp Translator: Emil Pevcov
Alexander won the New Star singing competition. He was a KVN star – a show where stand-up teams from across the country compete. His concerts are always sold out. A powerful energy resonates from his singing, which captivates audiences. He has his own and music and also reimagines classics in his work. Thankfully, Alexander found the time to give us an interview after one of his recording sessions at Buin Khan studios.
Alexander Kuular
Tyva.me: Why did you decide to play music and what influenced your decision?
I started studying music a long time ago, grade one onwards I studied at a music school. Then finished a piano course, and there I became acquainted with the world of real music. Then I played KVN, eventually turning to throat singing.
Tyva.me: What are your favourite genres?
My creativity is a mix of ethnomusic and modern hits, pop-rock. I take inspiration by listening to these directions.
Tyva.me: Why did you choose throat singing?
Firstly, my grandfather and his brother are famous khoomeizhi (throat singers) in the Republic of Tyva. They travelled all over the world, performed throat singing, told people about it, so I continue in their footsteps. I adapt my work to the advent of new technologies, music trends, and so on.
Tyva.me: How hard is throat singing from a technical point of view?
It is not easy – the first steps are accompanied by unpleasant feelings. When playing songs, the throat muscle involved are that usually do not strain in everyday life. The feeling is like when you do a tough session at the gym after a month on the couch.
Tyva.me: What is your favourite performance format and what sort of feedback do you get?
In a club – it allows you to communicate with the audience, to dance. The concert format, where people have to sit, not so much. When the boundaries between the artist and the audience are erased, everyone gets the most possible pleasure.
Tyva.me: Do you find experimenting with different genres easy?
In 2013, I took songs from pop, alternative, rock and started working with them. It was not easy, because nobody had done this yet, I was afraid of the viewer, I did not know how they could react. Now I am working on a new project, because it is necessary to constantly develop my creativity. We also do a joint project with Buin Khan studio. Performing with dancers, even a shaman, produces a global, powerful effect.
Tyva.me: Have you every performed in front of people who have never heard throat singing before?
This happens often. The viewer is always fascinating, many are in a complete daze. These sounds are unusual, but at the same time, it seems subconsciously that you heard them somewhere. Guttural singing is a human imitation of the sounds of nature and animals. Everyone’s genetic memory, somewhere deep down has the sounds of thunder, birds, falling water. Everyone feels these sounds, but they do not understand why they get such sensations. This applies not only to the peoples of Siberia, but pretty much everyone.
Tuva.me: You are a semi-finalist of large-scale television projects, you performed in the KVN programs, so you know how to entertain. How do we increase the interest of young people in folk and national music?
I started with covers of famous songs, the first song “Rolling in the deep” received more than a million views on YouTube. After the release of the video, people from different parts of the world wrote to me and asked to tell about throat singing, and some even set out to visit us in Tyva. All means are good, television projects, singing covers, etc, the key elements are to surprise and attract attention.
Tyva.me: What are your goals? Will you perform in Tyva anytime soon?
Tyva is the place where I was born and raised, I come there every summer. I am happy to go there and speak. It is more difficult to perform in Tuva because the competition from other throat singers is tough – it is more difficult to surprise the viewer.
Tyva.me: How has throat singing changed your life?
At first, I was a screenwriter, I was writing scripts for television, entertainment shows, playing in KVN. When I came out from behind the scenes onto the stage, everything changed.
I have my own online master class, after the launch of which I got letters from people from every corner of our world. I realised that throat singing is a culture not limited to Siberia. I have a friend from Italy who has his own little school of throat singers! The peoples of the Arab countries have their own throat singing different from us: the performers imitate the roar of lions. Tuvans, Mongols imitate the sounds of camels. That is, the fauna they had to deal with. Maybe in the future I will study this question, write an academic paper or book… Who knows?
Tuva’s rising stars, the group Hartyga, are releasing a third album during their tour of Europe. Previously we interviewed the group director, Pavel Stabrov. These Tuvan ‘Falcons’ (rough translation of Hartyga) continue to fly across the world on tour after tour.
The album “AMYRSANAA” is the third produced by Hartyga, a band from Kyzyl, Tuva. In 2016 the band released the album “Agitator”, which featured the world-famous lead singer of the band Yat-Kha Albert Kuvezin and “Fugue for steppe and organ”, a joint project with the organ player Andrey Bardin.
“AMYRSANAA” was recorded in May 2018 in Octopus Studios, Ekaterinburg. We recorded with the help of the sound producer Shamil Gainetdinov (famous for his work with the band “Hallucinations of Meaning” (literal translation)). It is thanks to Shamil that Hartyga sounds so distinctive.
The album is named after the song “Amyr Sanaa”, written by the Tuvan rock-bard Alexander Sarzhat-Ool. Amyr Sanaa is both a historical figure and a legend. His name permeates the folk tales of many peoples. Kazakh, Altaics, Kalmyks, Mongols alike tell various versions of his heroic deeds.
During the 17th century he led the rebellion fighting the Manchu Qing for Zhungar independence. Legends say he could carry a red-hot anvil on his back! Once he carved steps out of the rock of a mountain near Chaa-Hol working alone, over the course of a single night, so that there would be a path for his horses. A vein of copper ore was discovered where the hero’s horse lost its horseshoe. One can hear from the lyrics of “Amyr Sanaa” the longing of the people for the nomadic lifestyle and the traditions they lost in the 20th century.
When you return to your homeland In the center of Asia, Amyr-Sanaa? Are not your words of wisdom in the legends of our ancestors? When on the ears of the rabbit The black mark disappears, When the iron birds begin to fly, Will you return to us as promised?
We remember and call you! We bless and glorify you! Come and lead us, Your descendants, Amyr-Sanaa!
We lost our herds Which were always huge. Now we regret that our children Become alienated and foreign. As you promised Inscribed on the Chindilig stone statues. While the arjaan-wells haven’t yet dried out, Come ride with your people!
In the name of a bright future Men forced to cut their braids. Brides ceased to keep virginity Before marriage. Hear the melody of the igil Which calls for the preservation of our roots, Not all traditions are lost. Before it’s too late, come and help!
Alexander Sarzhat-Ool called his rock group “Amyr Sanaa”, which he founded in the late 70s, while still in prison. The lyrics of his songs convey the both a powerful protest against his contemporary challenges and an independent lyrical touch, common to the rock-poets of that period. His songs were very varied, ranging from simple protests against modernity to deep poeticism and even tragedy.
One of his works is “Kyzyl Syldys” – which is blunt in giving the listener an understanding of the poet’s thoughts about eternity and his present.
To live conforming to the rest, It’s a life everywhere in chains. Instead let my withered body Be feasted on by worms.
If I will die — over my grave The red star does will shine! This medal from relatives and friends Not for me, you must know!
And still my soul Flies to his heaven Let my mortal body be beset by the predatory eagles.
While alive I will be on my knees Relentlessly asking God – If my song breaks Send down death to me
He mixed folk tunes together with his social critiques. These ancient Tuvan songs included “Moy Mezhegei” and “Tomzha”.
Kaa-Hem is filled with heat. The shore is wide and steep. Sparks spray on the river Near my Mezhegei valley.
The Great Yenisei is warm under The sun between the river banks. In the great valley Mezhegei The Ulug-Hem is flooded.
“Moy Mezhegei” praises the beauty of the valleys which crisscross the heart of Tyva. And “Tomazha” is from the North-East of Tyva. Todzha – is the only region of Tyva in which there are deer herders. Living in the toughest climate, the people of the area make fun of the other Tuvans, and their ‘first world problems’, jokingly feeling their own superiority in return.
The girl from the Tozhu village is riding a deer Going home in Chazylary. The young guy climbing the bull Looks at her from beyond the hill.
As if on a magic firebird The girl from the Tozhu village flies to her home. The guy from the river valley just remains Riding on the back of a goat.
In March 2018, during one of our rehersals, the lead guitarist, Nachin Choreve, played a cool riff, which the other band members liked. They insisted that Nachin would write lyrics for this music. Thus, “Moy Kargyraa” was born, a song resembling age old Tuvan folk tunes in structure. It contains all the essential elements of a Tuvan folk song – a horse, a beautiful girl and nature.
My trotter-horse is flying ahead, Brisk hoofs the ground. For she whose hair is black, Shall I not sing my kargyraa?
“Collective Farmer” is a song which continues the hardworking tradition of Tuvan Social Realism. Composed in the 30s, it is devoted to heroes of labour. Its lyrics are not pure propaganda but are rather lyrical, poetic and melodic in style. Ancient wisdom and a people confident in their history makes even dry politics into fantastic music:
The song of lark like the khomus Free it pours through the fields. And I live so freely. I am a collective farmer, I am a peasant.
“Song of the Orphan” is the most tragic piece. It was first performed by Hartyga during the “Fugue for steppe and organ” in which it was transformed into a lengthy improvisation. In the current version, it has turned into a wonderful sax solo by Sergek Candyk:
I’ll walk staggering with fatigue. If I fall I will die. Yellow jets of sand, like worms, Will feast upon my body.
Where is the place where my body Will lie in eternal peace? On which day my voice as soft as khomus Will be silenced and interrupted?
The album “AMYRSANAA” is the third step in the development of our Tuvan rock group, which in recent times has become a legend in those parts, having travelled the world by popular demand. Hartyga has successfully performed in many clubs across Europe. Its distinctive style mixes folk tradition, with classic art-rock, neo-progressivism and hard-rock. The band intertwines ancient national instruments (igil, doshtsuluur, vargan etc) with standard rock instruments (guitar, bass and drums) and the saxophone.
As documentaries go, this one aged pretty well. Between pictures of unimaginable natural beauty, the film tells the stories of several foreigners from countries as far as the USA and Australia have found themselves and a new home in Tuva. Much has changed since 2012, Tuva has grown and developed, but its nature is pristine and it will always be welcoming to all newcomers!
The Tuvan Society in Moscow is a young NGO and yet it is an exemplar of the ‘civil society’ we are used to hearing so much about. Russia unites almost two hundred peoples and many of them set up societies in the various regions of Russia to which they move. The Tuvan Society in Moscow is interesting as an example because of its fast growth and far reaching plans. It is only three years old, at first starting as a university society, only then moving into registering itself as a full NGO. Its mission is to bring all things Tuvan and more generally far eastern to light. To find out more we asked its director – Lodoi Homushku.
About the Society’s foundation and current activities
Could you please give a brief history of you NGO?
The society existed as a university student-led organisation for a while until we matured enough to reach out beyond student life. Similar societies of other regions of Russia exist alongside us too. In 2015, we decided to register as a full NGO and grow out our society outside university. Everything started with the concentrated effort of a small group of individuals. Two years later we were already in good relations with the government of Tuva and the government of Russia as a whole, and hosting increasingly large-scale events. Gathering hundreds of attendees considering there are only a thousand Tuvan students is Moscow is pretty good going in my opinion.
What do your day to day activities entail?
We spend most of our time planning and organising cultural events. We raise awareness of Tuva and Tuvan issues on social media and try to raise the profile of the Russian Far East as a whole too. Beyond these ‘soft’ activities, we organise seminars and lectures aimed at educating our listeners and giving them new ideas, but these initiatives are still young. We also run a song and dance ensemble called “Tandy-Uula”, which constantly tours various cultural events.
What are your plans going forward?
We get a lot of demand for Tuvan language professors. I think that will be our next service – a ‘Tuvan corner’ if you will. Eventually we will provide Tuvan music classes, which will work well with the rest of what we do.
What is your mission as a society, any political goals?
Not really political, but our mission is something we crave to publicise – that Tuva is a land of opportunity! Let me explain. We have a problem in Tuva that many talented young people don’t see their future in their homeland and move out. They often think that there is not much to do in Tuva. That is not the case. Those who want to go back often don’t know where to start either. [The same I guess goes for foreigners – Ed.] Our society acts as a bridge. We are close to the inner workings of Tuva and essentially make the endless opportunity of our native land known. Why is Tuva the land of opportunity? Well, in Moscow and other commercial centres the competition even for menial jobs is huge and the market is oversaturated. In Tuva, a young professional who studied well will be worth more than his weight in gold. Secondly, Tuva is rapidly developing and as in all ‘Wild West’ cases, there is a serious first mover advantage to be gained. We are about to get a huge infrastructure boost, a railroad is being built, more flights to the airport being scheduled etc. Russia is slowly turning East, and with this rotation, Tuva is about to get a whole lot more attention. So I think you’re either there or you’re square! And also, all that aside, look at five photos of Tuva and they will be beautiful enough to capture you forever! Where else can you find such natural beauty?
About interest towards the Society
Who usually comes to your events?
There isn’t really an answer I can give here. Our audience really depends on the nature of the event at hand. Usually young Tuvans come to the events. But over time we notice that we get more and more diverse support and interest. People from different parts of the country increasingly come to our events. We closely cooperate with other similar Societies and often pool resources together. Thus, we share our audience with say the Buryatian Society.
Do you find that foreigners ever visit?
A BBC crew came to film our dance ensemble for their upcoming film about Russia, being prepared for the world cup. Watch out for our wonderful dancers when the documentary comes out!
Could you give me a few returnee success stories?
Many former exec of the Society have found themselves growing rapidly in the Tuvinian hierarchy. The first director of the Society – Artysh Minchei, got the post of Junior Minister for Young People in Tuva. Ayas Ondar – a graduate of a Moscow medical school was briefly in the exec and then moved back to run his own medical centre. There is a myriad of examples. I shouldn’t monopolise our interview with a list, as it goes on and on! But I should add that our society gives everyone a chance to grow their personal potential, and these efforts, as we see, do not go to waste!
Conclusion
The example of Lodoi and his Tuvan Society gives us a broader picture of success in an area which is still a kind of terra incognita. The Society, in turn, fulfils the important function of a bridge across various regions of our huge country. It rightfully promotes the uniqueness of Tuva. Often, we think of a region as quite empty not because it is empty but because there isn’t enough coverage of it in daily media. NGOs such as the Tuvan Society work to fill this vacuum. Their rapid growth is a testament to their activities being demanded and going down the right path. We wish every success to Lodoi and his team!
Recently, we chatted with Pavel Stabrov, director of Hartyga – a leading Tuvan rock band. Pavel is extremely experienced in Tuvan folk musical management and has been with Hartyga from their inception, leading them onto the international stage.
The band name, “Hartyga” means “Hawks”, and that they are! In a very short time the band has performed across Russia and beyond, touring European countries from Hungary to Norway. They have also released several albums, the latest of which, “Agitator” is an expert blend of the roaring 30s jazz with Tuvan tradition and elements of modern rock. Other experimental albums included blending throat singing with the Church organ and separately with jazz. Hartyga gives us a glimpse of history in a new and exciting form.
About Hartyga’s Performing Experience
How are you usually greeted by international audiences?
We enjoy touring abroad very much and intend on forming new routes for tours. Recently, we went to a music festival in Finland and found that Finish folk music has something familiar to it. The most popular elements were the same as in Russia – the curious hybrid of the igil string instrument, saxophone and throat singing captured the audience. Towards the end of the concert we heard confident calls for “encore!” Other places were all interesting in their own right, not one being the same as another. Once we performed in a little church, which fit no more than 100 people, so we only used calm acoustic instruments. Our audience was of the older generation who would presumably enjoy more classical performances. We gave them this, blending Tuvan music with the organ. They loved it and drowned us in applause.
How would you describe your average fan or concert attendee?
I don’t think there is an average. I’ve seen all ages and individuals from all walks of life at our concerts. That being said, there is a trend I can describe. We seem to take a bit of the fanbase from all the other genres. Jazz fans like our saxophone fusion, rockers like the electric elements, classical fans like our use of the organ. For example, if we are at a concert with songs predominantly being improvised and deploy the saxophone, we see that a lot of our audience are there for the jazzy element. On large festival stages we usually play old fashioned honest rock. No matter the audience and the genre – our listeners are always impressed with the Tuvan igil. It looks like two strings and a stick, but the range and variety of sounds it can give out is huge. Sometimes listeners ask, who was on the cello or violin! I would also add that so far, we have sold out all our concerts!
What advice would you to those trying to grow folk culture across the world and in Russia?
It is imperative to work with young people. I always found it strange when students of musical colleges, even in nearby cities like Irkutsk or Krasnoyarsk haven’t heard of folk musical instruments like igil (a two-stringed violin-like instrument, also referred to as the morrin huur). I am certain that if you give the right information to musicians and their audiences, folk music will be much more popular than it is. That being said, it may not survive without being part of musical education. Children will form the future and they are as important to folk culture as it is for them. The growing generation will need to carry folk traditions forward, also our old songs tend to transmit good and kind values. We must work in this direction!
Hartyga often performs in kindergartens or schools for free. The band and I enjoy these concerts greatly. We give children their ancestors’ culture face to face, just like it would happen in old times. It feels like living through history itself or through a fairy tale. And you should see the reaction of the children. If they hear a song about a horse or a great hero, they instinctively start galloping around, as if connected to the music. After our performances, we let them try the instruments, to get them used to them and get them interested in folk music. One little boy enjoyed our concert so much that he now drags his mother along to all our concerts in his area and has started learning igil! These are the stories which keep us going!
About Hartyga and their album Agitator
Please describe how the group was formed.
I’ve been in the music industry for a while, and worked with many Tuvan musicians including the Tuvan University of Arts in Kyzyl. One sunny day in 2012 my phone buzzes with the name of the Tuvan State Philharmonic’s director shining brightly. He told me he had some guys who were ready to get onto bigger stages. And that’s how I was introduced to the very talented group who formed Hartyga. We started regionally, in Krasnoyarsk and other Siberian cities. We played a bunch of concerts under the brand “Music of the Great Steppe”. We shared the stage with heavyweights like Yat-Ha and Huun Huur Tu. The band thus gained character and experience, then together with the famous Albert Kuvezin we conquered stages far and wide. With some shuffling around of the musicians, I think we have Hartyga’s membership set for the long term and we have a bright future ahead!
Why did you name your new album “Agitator” and how did the music for it come about?
We thought hard about how to call it. We needed a name universally understood at home and abroad. I had my Newton-and-Apple moment when I was listening to the Tuvan state orchestra performing the song Agitator. It was in the festival Ustuu-Huree in Tuva. The crowd suddenly lit up and the energy in the air was palpable. Thus, we called it Agitator, the context of which may be missed by some of the audience, but luckily it is a word and concept we share. We mixed age old songs with newly written ones and recent classics. The modern rock pieces included in the album were written by the Tuvan legend Alexander Sarzhat-Ool in the 1990s. The majority of the songs originate in bygone eras, some even hundreds of years ago. Two songs are from the 30s of the previous century however, they are Agitator and Chavydak, if you listen to them you can hear the roar of industrialisation! The album cover resembles the straightforward social-realist forms of the contemporary propaganda posters. And another cool aspect of the album is that if you play it start to finish, it forms a coherent line, in that we adapted the all the songs from different periods into mutually compatible forms.
What plans are in store for the band going forward?
In August we are going to Hungary for a music festival, then to Serbia. Between our main fixtures we have a plethora of small concerts and shows. We will see Prague this year too, and weirdly enough play in a zoo! They have a stage there just like in Krasnoyarsk and actually we got invited after being spotted playing in Krasnoyarsk. So all in all, this year is pretty much fully booked.
What else would you like to tell our readers?
We are always happy to meet new people and are open to be contacted! We will continue flying around Russia and the world, bringing a bit of Tuva with us. Watch out for our concerts in your city, wherever you may be, dear reader!
Conclusion
I hope that after reading this interview you are as optimistic about folk culture in Russia and Tuva as Hartyga are! So, let us re-examine the songs in Agitator. We can take Chavydak as an example.
The song Chavydak originates in the early period of the 20th century. It is about a tractor driver called Chavydak himself. He was a hero-worker, constantly raising up his native land’s agriculture. He was so revered that his memory was forever inset into an amazingly energetic song. This all happened during a period when new genres like jazz were slowly seeping into Tuva, and contributed to making it a unique piece, mixing the marching sound of the red revolution with lighter notes of the exciting jazzy saxophone. Have a listen of it from Hartyga and then a rendition of the song in traditional Tuvan style from the National Orchestra of Tuva. Full lyrics in English can be requested from the band directly or from our website’s team.
We wish Hartyga every success and to always fly higher!
This article continues our series of “Travel Notes” by the folk musician and journalist Maria Kirilova. Maria kindly suggested writing travel notes for tyva.me during a trip to Tuva this year for the celebration of Shagaa – the Tuvan New Year. Maria will share her insights about the sternly beautiful winter of Tuva, how the Tuvinians survive in the -40 degree frosts, how the Shagaa is celebrated, and what is sung in the winter folk songs.
Author: Maria Kirilova
The 17 February continued to feel celebratory. At midday we again came to the Centre of Asia monument to take part in filming the video for Shagaa, which is for everyone in the world celebrating the Lunar New Year. This time, instead of Vivaldi and Rossini, one could hear Tuvan music and people came in Tuvan national costumes. Some rented their clothes from the nearby tourist centre, but many came in their own wear. Seeing the vibrantly colourful dresses on the background of reflective white snow made me want to greet to the whole world over with this wonderful celebration. We assembled on the steps leading to the monument, and after some minor practice, having heard the official part of the greeting in two languages, we managed to shout “Kurai Kurai Kurai!” in sync. Kurai can be translated as “let all things be good, lucky, happy and anyway in just the way we want to them to!”
While my photographer Julia Kuskova was taking 3D panorama shots, some national dresses freed up and we were offered to try them on. This was a bullet point on my list, and I was delighted to cross it off. For the first time, we saw people in a hurry in Tuva, but we were here taking photos and trying on costumes for as long as we wanted to. We looked incredible in dresses elaborately embroidered with all sorts of colours and decorations. It was a shame to dress down, but we had to go forth on our mission to buy souvenirs for our friends! Having filled our bags with all that we needed, I finally met my pen pal! My friend was extremely helpful in the run up to the trip, answering all my questions and finding everything out, I felt rather indebted. We went to a really cool live music place, the very atmospheric “Tuvan Rock Club”, which did not have a sign above the door, but a very steep spiral staircase, which led to a basement room with a performance area like you’d see in a jazz bar. It is here that “Hotel Kal” from Krasnoyarsk played, accompanied by the local band “Malyshok”, whose sax player I will never forget. Apart from jazz classics, Hotel Kal performed their own songs but both sets, it seemed, were awaited by the audience. Hotel Kal is a distinguished band in Krasnoyarsk.
After the concert, we had a sit down with the musicians, which was certainly my cup of tea! The drummer from Hartyga, Naiys Dulush, joined us there. He must have lost count of how many times he had performed at this bar.
A taxi drove us away from the place I have grown to call home during my short stay. These days passed like the ones in all our lives, when it feels like we’ve arrived at the family abode and we don’t want the day to end, trying to stop time with every thought… I am completely enamoured by the hospitality of Tuva.
This article continues our series of “Travel Notes” by the folk musician and journalist Maria Kirilova. Maria kindly suggested writing travel notes for tyva.me during a trip to Tuva this year for the celebration of Shagaa – the Tuvan New Year. Maria will share her insights about the sternly beautiful winter of Tuva, how the Tuvinians survive in the -40 degree frosts, how the Shagaa is celebrated, and what is sung in the winter folk songs.
Author: Maria Kirilova
My day before Shagaa itself was meticulously planned, but the National Museum surpassed all expectations, and I forgot all about the overall plan. I did not manage to visit the exposition “Gold of the Scythians”, but thanks to the photographer Julia Kuksova, the museum will soon have a virtual 3D tour with an overview of most halls. Unlike Julia, who was forced to resign to filming during her whole visit, I could quietly go through the exhibitions. Since it was Shagaa, when it is customary to wear national dress, traditional and more modern national costumes were displayed on the ground floor. To me and the hosts of the program “Running on Tuva”, the guide said that recently the tradition of wearing national clothes began to revive not only on holidays, but also in everyday life. I saw both the wardrobe of the 19th century, and clothes designed by modern designers with the preservation of Tuvan style. And in the building of the museum I was most impressed with the giant paintings spanning three floors. The whole space looked excellently grand. I hope we didn’t annoy the staff too much – staying to the last minute of opening hours.
And after that, we absolutely had to rest a little before the night of Shagaa. We were so tired that we slept through the concert, which we planned to attend, but we were still sleepy. Meanwhile, the Shagaa was inevitably approaching, for the sake of which I planned this whole trip. We had an approximate route and a wish to visit a Buddhist prayer service. Having reached the temple, we took a forty-minute break, which lasted an hour. With the risk of being late for the conduct of the shamanic ritual, we hurried to where it was supposed to be. Here it is necessary to mention the main difficulty that has haunted me for more than a month: I could not figure out where women could and could not go. The fact is that the main rite is held on the mountain Dogee, where men must meet the sun. Women are forbidden to climb the mountain, otherwise natural disasters and other adversities are made possible. However, some wrote to me that as a journalist it is still possible, but I firmly decided not to break the tradition and not cause discontent.
I think, if it were not for the employees of the “Tuvinskaya Pravda”, who recognised me and took us to the ceremony, we would have been wondering around for a while. We arrive ten minutes late. The fire was already started, and a huge mountainous shaman, with an extending headdress was already beginning the ritual. His actions made me realise he was working the with fire spirits.
A few words about daily life: as the shaman used to tell us on the previous day, lighting was organised and supplies of tea with milk were frozen beforehand.
In the darkness there was a huge “hut” made of firewood much higher than human height (even taller than that shaman). When the drum was played, the fire lit up. Quite soon the heat near me forced me to move further back. Tuva IS a country of contrasts, where your back can be cold, and your face – hot! I felt many intricately interesting emotions over the course of the night. I certainly discovered much about myself. I am planning to explore my feelings in a big article on my return.
As the sun began to peek over the earth once more, we took a sigh of relief, knowing that now celebrations were to begin in earnest. It is quite easy to believe in magic when a man of sage like age, explains that such a sun rises only once a year and in five minutes it will become another, ordinary sunrise…
And then we greeted everyone for the new year of the Yellow Dog. “Shagaa bile!” – “Kurai, Kurai” – we exchanged common greetings. The air filled with happiness. A couple of coals from a sacred fire are taken by each visitor, upon the advice of the shaman.
After sleeping fifty minutes, I went to the Centre of Tuvan Culture, where I heard a beautiful legend about the origins of the igil (bow instrument) and learned how to weave whips. After some problems with Google Maps, which messed up the numbers of the houses again, I still came to the television centre, where I gave an interview for 105.5FM. I remind you that you can tune in at 6:10 Moscow time and at 10:10 am Siberian time. Having had a rest in our rented apartment, we decided to take advantage of the hospitality of the “Nomads of Asia”, the Tuvan bike club – we thus the reception of these wonderful people as our base until the end of our stay in Tuva.
And if you want to repeat my trip and participate in the meeting of the sun, do not repeat the mistakes of my friends, and wear felt boots and woollen socks!
This article continues our series of “Travel Notes” by the folk musician and journalist Maria Kirilova. Maria kindly suggested writing travel notes for tyva.me during a trip to Tuva this year for the celebration of Shagaa – the Tuvan New Year. Maria will share her insights about the sternly beautiful winter of Tuva, how the Tuvinians survive in the -40 degree frosts, how the Shagaa is celebrated, and what is sung in the winter folk songs.
Author: Maria Kirilova
I was inspired by the feedback that my travel notes were too optimistic and selling. Perhaps I was overly emotional about some positive things, such as the beauty of nature, and other such. Of course, we saw soot, poverty and rudeness. I like to remember the good, not devoid of reality, but devoid of vulgarity. I think that a lot depends on what expectations are set up initially, which events you visit and who you spend time with. On the streets of Kyzyl I found interesting and hospitable Tuvans. Since I did not live here, I didn’t have the opportunity to completely immerse myself in local realities, but I could communicate with people. Many locals made me really proud. We, the inhabitants of megacities or more developed regions, often complain about the conditions of life and we say that we do not like Moscow.
In spite of hardships, Tuvans love their land. Yes, many Tuvans emigrate, but those who remain speak so sincerely of their love towards their home, that they cannot be not believed. I wish for Tuva to find a path of development, which would alleviate the condition of the people and also preserve their culture and traditions.
As for today, it began with a visit to a shaman yurt in Dalniy Kaa-Khem. The driver could not find the address we needed for a long time, after driving through the whole village. When we found the place, we were invited into a yurt standing proudly in the courtyard of a home. We were told the Shaman was currently out, at a government meeting, and would be with us soon. While we were talking with the host, we were offered tea with milk, boorzak (fried dough pieces) and traditional cake. During our tea drinking, we learnt that one should never pour tea in the direction of the door, lest all the good that is in the house leaves it, but is rather stored and accumulated. Talking with a shaman is always a unique event. Our quiet conversation flowed effortlessly. Hanging on the opposite wall, the sacrifices for Shagaa were already prepared. We also brought cookies, sweets and milk, because it refers to sacred white food. I think I will dedicate a separate article about this Shaman when I can, perhaps when I get back home. For now I just want to say thank you to everyone who helped organise this meeting, who was in this yurt and personally Elena Khuler-Oolovna Otsur for her attention and detailed answers.
After lunch, we planned a visit to the National Museum. At the time when we left a shaman house, there was only an hour left before closing, and we decided to postpone it the next day, which promises to be one of the most saturated. We went for a walk that day instead of rushing to the museum. Now, since Shagaa is tomorrow, further notes will likely have to wait a little while.
