Ujeed: Hochin monggul üligertü daguu (Horchin Mongolian Narrative Songs): Bayasgulang, Nam-un achi (Favour of the Party)

Duration: 5 mins 4 secs

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Ujeed: Hochin monggul üligertü daguu (Horchin Mongolian Narrative Songs): Bayasgulang, Nam-un achi (Favour of the Party)'s image

Description:	Bayasgualng, an amateur bard who has a passion for singing by playing the instrument called dörben utasutu hugur (four stringed fiddle). This is another unique genre of Horchin folk art called holbuga, a kind of alliterative musical poetry. Bayasgulang says he compiled this holbuga.

Created:

2012-11-05 12:14

Collection:

World Oral Literature Project Collections

Publisher:

University of Cambridge

World Oral Literature Project

Language:

mon (Mongolian)

Keywords:

horchin mongol; Horchin Mongolian; oral literature; narrative song; four stringed fiddle; bard;

Credits:

Director:	Uranchimeg Ujeed
Actor:	Bayasgulang


Abstract:	In this collection, there are 40 video recordings of Horchin Mongolian songs made during fieldwork in 2010 and 2011 respectively. The collection contains songs by bards and amateur singers as well as ordinary people. Although most of them are narrative songs, only a few of them are sung in the proper manner as they were in the past. Most of them are sung in fractions. There are also interviews about local knowledge of the narrative songs, the historical facts the songs are based on, the song characters, the occasions the songs are sung, different people’s attitudes towards the different style of singing, their ideas about the present endangered state of the songs, their longing to and difficulty of maintaining the tradition etc.

Abstract:

In this collection, there are 40 video recordings of Horchin Mongolian songs made during fieldwork in 2010 and 2011 respectively. The collection contains songs by bards and amateur singers as well as ordinary people. Although most of them are narrative songs, only a few of them are sung in the proper manner as they were in the past. Most of them are sung in fractions. There are also interviews about local knowledge of the narrative songs, the historical facts the songs are based on, the song characters, the occasions the songs are sung, different people’s attitudes towards the different style of singing, their ideas about the present endangered state of the songs, their longing to and difficulty of maintaining the tradition etc.

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