La musique traditionnelle pour flûte tsuur

    

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Inscrit en 2009 (4.COM) sur la Liste du patrimoine immatériel nécessitant une sauvegarde urgente

© 2009 by National Centre for the Intangible Cultural Heritage

La musique pour flûte tsuur repose sur une technique à la fois instrumentale et vocale : un mélange de sons produits simultanément par l’instrument et par la gorge du musicien. La musique pour flûte tsuur est inséparable des populations mongoles Uriankhai de la région de l’Altaï et fait, aujourd’hui encore, partie intégrante de leur vie quotidienne. Elle plonge ses racines dans la pratique ancienne du culte de la nature et de ses esprits gardiens, qui consistait à imiter des sons naturels. La flûte tsuur est un instrument à vent en bois en forme de tuyau vertical avec trois trous pour les doigts. La pression des dents de devant sur l’embouchure de la flûte et l’utilisation simultanée de la gorge produisent un timbre unique composé d’un son clair et doux et d’un bourdon. La flûte tsuur est traditionnellement jouée comme invocation pour faire bonne chasse ou pour avoir un temps clément, comme bénédiction pour éloigner le danger pendant un voyage ou pour les mariages et autres festivités. La musique, qui est aussi un art d’interprétation, traduit les sentiments intimes du voyageur solitaire et relie l’homme à la nature. La tradition de la flûte tsuur se perd depuis quelques décennies, par négligence et animosité à l’égard des coutumes populaires et de la foi religieuse, laissant de nombreux endroits sans joueur de tsuur ni familles possédant une flûte tsuur. Les quarante instruments connus préservés au sein du groupe des Mongols Uriankhai sont transmis exclusivement grâce à la mémoire des générations successives : cette caractéristique rend cet art extrêmement vulnérable au risque de disparition.

Rapport périodique

Rapport périodique (USL)

Page de couverture

État partie

Nom de l'État partie

Mongolie

Date du dépôt de l'instrument de ratification, d'acceptation, d'approbation ou d'adhésion

Elle peut être consultée en ligne.

29-06-2005

Élément inscrit sur la Liste de sauvegarde urgente qui fait l'objet du présent rapport

Nom de l'élément

Traditional music of the Tsuur

Inscrit en

2009

Période considérée dans le présent rapport

Veuillez indiquer la période couverte par le présent rapport.

2009 - 2013

Autres éléments inscrits sur la Liste de sauvegarde urgente, le cas échéant

Veuillez établir une liste de tous les autres éléments présents sur le territoire de votre pays qui sont inscrits sur la Liste de sauvegarde urgente et indiquer en quelle année ils y ont été inscrits ; pour ce qui est des éléments multinationaux, veuillez indiquer quels autres États sont concernés.

La calligraphie mongole (2011)
La calligraphie mongole (2013)
La danse traditionnelle Tsam de Mongolie (2011)
La musique traditionnelle pour flûte tsuur (2009)
La technique d’interprétation du chant long des joueurs de flûte limbe – la respiration circulaire (2011)
Le Biyelgee mongol, danse populaire traditionnelle mongole (2009)
Le chant de l’épopée mongole de Jangar (2011)
Le rituel pour amadouer les chamelles (2015)
Le rituel pour amadouer les chamelons (2011)
Le Tuuli mongol, épopée mongole (2009)
Les pratiques traditionnelles mongoles de vénération de sites sacrés (2011)
Les pratiques traditionnelles mongoles de vénération de sites sacrés (2017)

Synthèse du rapport

Veuillez fournir une synthèse du rapport, qui permette au grand public de comprendre l'état actuel de l'élément, mentionne toute incidence positive ou négative de son inscription et fasse état des mesures de sauvegarde mises en œuvre pendant la période considérée et leur possible mise à jour les années suivantes.

Tsuur music, a combination of instrumental and vocal performance, is an ancient form of Mongolian music with a unique sound.
Since th Hunnu dynasty, the Uriankhai Mongols of the Altai region in Western Mongolia have related Tsuur music to the spirit of the Altai Mountains, and revered it as a force to ward off evil from a household.
The forty known folk melodies and tunes of the Tsuur repertoire are transmitted by memory and are currently preserved by descendants and apprentices of the ancient nomads, that populated the northern and southern slopes of the Mongolian Altai Mountains. The traditional music of the Tsuur forms an important part of the Uriankhai Mongolian’s relationship with their natural environment and a critical element in assuring their survival within it. It accompanies daily activities and animal herding as well as religious ceremonies and rituals.
Traditionally found among members of the Uriankhai ethnic group of the Altai Region, the Tsuur and its traditions are preserved today largely by the descendant of the late Paarain Narantsogt of the Tsgaan Tug clan, in Duut soum, Khovd province, in westernmost Mongolia.
Many long and short term projects have accomplished in last 4 years in order to identify the ‘Tsuur’ music bearers, register them, study, disseminate and transmit to the next generations. We did several series of works such as restoring ‘Tsuur’ music instrument art and its tradition in Altai Uriankhai tribe where it has originated and to disseminate this art to the other tribe and regions in order to urgent safeguarding the ‘Tsuur’ and its tradition and to create social environment which supports ‘Tsuur’ music and its players. The ‘Tsuur’ art could overcome its danger to vanish and getting stronger to continue exists, as a results of these works.
Bearers, communities and groups’ involvement has a vital responsibility to protect the ‘Tsuur’ music art and these talented people who are the bearers actively working hard to transmit this art for the next generation, disseminate and restore this art at the same time to safeguard the tradition as it was from the beginning. Trainings about transmitting this tradition is conducted by two ways traditional apprenticeship training and classroom training. The trainings of this heritage have conducted in Duut and Jargalant soum in Hovd province, Buyant, Ulgii and Ulaanhus sum in Bayan-Ulgii province, Sumber soum of Gobisumber province, Orkhon province and in the capital city during the report period. These training have led by the famous ‘Tsuur’ player P.Narantsogt’s offspring and his students. There are aroundu, 100 teenagers and young adults who have learnt or leaning how to play this instrument as a result of these trainings. Statistic shows that the number of ‘Tsuur’ players and its trainees have increased 9 times in last four years.
We still need to continue what we are doing and increase the boundaries even there are such good results shown in a work of protecting the ‘Tsuur’ music and its tradition and create sustainability.
Consequently, in January, 2014 the Mongolian Government has decreed a National Safeguarding Plan of the “Traditional music of the Tsuur” and its going to be implemented within 3 years.The aim of the project is to revitalize and safeguard and transmit the Tsuur music.

Personne à contacter pour la correspondance

Donnez le nom, l'adresse et les coordonnées d'une personne à qui toute correspondance concernant le rapport doit être adressée.

Titre (Mme/M., etc.)

Mr

Nom de famille

Jargalsaikhan

Prénom

Tsoodol

Institution/fonction

Head of the ICH devision

Adresse

Center for Cultural Heritage, Cultural Palace B, Sukhbaatar square 3, Sukhbaatar District, Ulaanbaatar 210620a, Mongolia

Numéro de téléphone

+976-11-312735

Numéro de fax

Adresse électronique

tsjargalsaikhan@monheritage.mn; ichfr@monheritage.mn

Autres informations pertinentes


B. État de l'élément inscrit sur la Liste de sauvegarde urgente

Veuillez vous référer au dossier de candidature ou aux précédents rapports, le cas échéant, pour savoir quand établir un rapport sur l'état actuel de l'élément et ne rendez compte que des changements pertinents survenus depuis la date de son inscription sur la Liste ou depuis le précédent rapport. Les dossiers de candidature, les calendriers spécifiques et les précédents rapports, le cas échéant, sont disponibles à l'adresse suivante : https://ich.unesco.org ou peuvent être demandés au Secrétariat.

L'État partie s'efforce de prêter une attention particulière au rôle du genre et d'assurer la plus large participation possible des communautés, des groupes et, le cas échéant, des individus concernés ainsi que des organisations non gouvernementales pertinentes pendant le processus de préparation de ce rapport ; il lui est demandé au point D ci-dessous de décrire de quelle manière il y est parvenu.

B.1. Fonctions sociales et culturelles

Expliquez les fonctions, les significations sociales et culturelles de l'élément aujourd'hui, au sein et pour ces communautés, les caractéristiques de ses détenteurs et de ses praticiens et décrivez, entre autres, toute catégorie de personnes exerçant un rôle ou des responsabilités spécifiques vis-à-vis de l'élément. Une attention particulière devrait être accordée à tout changement pertinent susceptible d'avoir des répercussions sur le critère d’inscription U.1 (« L’élément est constitutif du patrimoine culturel immatériel tel que défini à l'article 2 de la Convention »).

The art of tsuur music is an important part of cultural heritage to the bearers, the family tradition, the communities who practice this art and produce this musical instrument. It has a very high social and cultural functions that bring certain identity and pride among the communities.
Tsuur is one the Mongolian main musical instruments. When a person play tsuur, his throat and bagpipe’s whistle harmonized and make special timbre which distinguishes it from the rest of the music instruments. It also has a significant difference than other wooden wind instruments. This unrepeatable difference of bagpipe art is very special development of performing art of human kind, not only in Mongolia.
Since the inscription of this element on the UNESCO List of Urgent Safeguarding of ICH, the public awareness and understanding has increased nationwide.
The representation of the tsuur music and its custom are conserved in traditional manner during the activities that are organised for safeguarding and transmitting the traditionel art of tsuur.

B.2. Analyse de sa viabilité et risques auxquels il est actuellement exposé

Décrivez le degré actuel de viabilité de l'élément, en particulier la fréquence et l'étendue de sa pratique, la vigueur des modes de transmission traditionnels, la composition démographique des praticiens et des publics, et sa durabilité. Veuillez aussi identifier et décrire les facteurs qui, le cas échéant, constituent une menace pour la pérennité de la transmission et de la représentation de l'élément et indiquez le degré de gravité et de proximité de tels facteurs, en accordant une attention particulière à tout renforcement ou affaiblissement de la viabilité de l'élément suite à son inscription.

Altai Uriankhai is the only tribe which inherited the tradition of bagpipe art among the other tribes. It has noted that the each Uriankhai family had bagpipe at their homes and most of the Uriankhai men used to play bagpipe till the end of last century. Unfortunately this art and heritage came at the edge of vanishing by the end of the twentieth century. The main result was historical dark period which tried to neglect the traditional culture and religion. It treated traditional art and culture as a part of old time and it was government plan to get rid of tradition and art of people.
Last 4 years, the art of ‘Tsuur’ music spread from the bearer community to the regional level where the folk musicians and students play. In order to identify the ‘Tsuur’ music bearers, register them, study, disseminate and transmit to the next generations. We did several series of works such as restoring ‘Tsuur’ music instrument art and its tradition in Altai Uriankhai tribe where it has originated and to disseminate this art to the other tribe and regions in order to urgent safeguarding the ‘Tsuur’ and its tradition and to create social environment which supports ‘Tsuur’ music and its players. Bearers, communities and groups’ involvement has a vital responsibility to protect the ‘Tsuur’ music art and these talented people who are the bearers actively working hard to transmit this art for the next generation, disseminate and restore this art. Trainings about transmitting this tradition is conducted by two ways traditional apprenticeship training and classroom training. Statistic shows that the number of ‘Tsuur’ players and its trainees have increased 9 times in last four years. Its survival capacity and sustainable development are increased, thus may be considered as being far from the danger.
Nevertheless, in January 2014 the Mongolian Government has decreed a National Safeguarding Plan of the “Traditional music of the Tsuur” and its going to be implemented within 3 years. The aim of the project is to revitalize and safeguard and transmit the Tsuur music.
The objectives are to:
• Strengthen the research and establish registration-information database through a field-survey focusing on the current state of traditional music of the Tsuur;
• Improving the viability of the Tsuur by training new generation of performers, while also reviving traditional method of apprenticeship-training;
• Improving the capacity-building of the bearers, concerned NGOs, community-based organizations and professionals by involving in safeguarding measures;
• Raise the awareness among general public through production of media and;
Expected outcomes:
• Database will have created from registration and documentation materials gathered during Filed survey. This database is to be enriched and improved year by year basis even beyond the completion of the Project;
• The traditional apprenticeship method will have restored;
• Through the activities, awareness of the importance and understanding to revitalize and safeguard the element will have raised;
• The Tsuur performers’ skills and talents will have significantly improved, their repertoire enriched and some forgotten tunes and melodies revived;
• Awareness will have increased at the all level

B.3. Mise en œuvre des mesures de sauvegarde

Veuillez rendre compte des mesures de sauvegardes qui ont été décrites dans le dossier de candidature et dans un précédent rapport, le cas échéant. Décrivez de quelle manière elles ont été mises en œuvre et ont contribué de façon substantielle à la sauvegarde de l'élément au cours de la période considérée, en tenant compte des contraintes externes ou internes telles que des ressources limitées. Incluez en particulier des informations sur les mesures prises afin d'assurer la viabilité de l'élément en permettant à la communauté d'en poursuivre la pratique et la transmission. Fournissez les renseignements suivants en ce qui concerne la mise en œuvre de l’ensemble des mesures de sauvegarde ou du plan de sauvegarde :

B.3.a. Objectifs et résultats

Indiquez quels objectifs principaux ont été atteints et quels résultats concrets ont été obtenus pendant la période considérée.

Objectives:
-To safeguard and develop this tsuur music art especially in Altaic Urianhai tribe and then to spread to other community and regions.
-To stabilize tsuur music training method/system and supply the follow ups
-To restore method of tsuur music playing, repertory of tsuur music and traditional culture of tsuur music and tsuur related traditions and customs.
-To increase the community and society’s involvement in recovering tsuur music art and create the social environment which supports tsuur players and the tsuur music art.
Results:
- Mongolian tsuur music tradition has restored and certain improvements appeared in the ways of protecting, developing, teaching, studying, researching, disseminating and sustaining the tradition.
-Community and its people’s understanding and awareness improved about tsuur music tradition and its social value has increased dramatically.
- Mongolian tsuur survived the risk of vanishing and good foundation established for tsuur music art to still be an important part of traditional musical instrument and Mongolian traditional intangible cultural heritage.

B.3.b. Activités de sauvegarde

Dressez la liste des principales activités menées au cours de la période considérée pour obtenir ces résultats escomptés. Veuillez décrire les activités en détail en mentionnant leur efficacité et tout problème rencontré dans leur mise en œuvre.

2009-2014 Mongolian Government has implemented successfully a several projects of the "Traditional music of the Tsuur” in the objectives to safeguard, develop, transmit the element to the next generation by training and apprenticeship, emphasize and support the “Tsuur” bearers. During the implementation of these projects relevant state and non-state parties, communities, practitioners have been involved actively and contributed an important role.
Activities
A: Field study and inventorying
- A field survey were undertaken to focus on the current state of Tsuur, its repertoire and associated customs and rituals
B: Safeguarding and Transmission
- The trainings of transmission of the Mongolian ‘Tsuur’ have conducted in Duut and Jargalant soum in Hovd province, Buyant, Ulgii and Ulaanhus sum in Bayan-Ulgii province, Sumber soum of Gobisumber province, Orkhon province and in the capital city between 2009 and 2012. The people who conducted the training were N.Buyandelger, son of famous ‘Tsuur’ player P.Narantsogt, B.Naranbat, the grandson, their relative B.Tseden-Ish, his student N.Sengedorj, N.Damdindorj, kazakh ‘Tsuur’ player A.Enbek and they used traditional apprenticeship training and classroom training methods. There are around 100 teenagers and young adults in nationwide who have learnt or leaning how to play this instrument as a result of these trainings. ‘Tsuur’ music apprenticeship training not only helps students to learn the method to play the ‘Tsuur’ instrument, but also requires students to know how to create ‘Tsuur’ instrument by themselves and gives them practical ‘Tsuur’ making experience.
- “Hunnu Tsuur Union” NGO and “Egshiglen Magnai” music instrument factory started to produce ‘Tsuur’ in a large amount and supplying the growing demand of ‘Tsuur’ music players and learners.
- UNESCO referred the Living Human Treasure program to its member countries. As a beginning of that program in the country, the national list “Talented people who inherited intangible Cultural heritage in high level” has approved by the Ministry of Education, Culture and Science in 2010 as their 546th order. The following 5 bearers; N.Buyandelger, B.Naranbat, N.Sengedorj, A.Enbek and A.Baldandorj have registered in that list as a ‘Tsuur’ bearers and it confirms that the heritage can survive and able to develop. The united budget funded these 5 people by 16 200 000 MNT to do apprenticeship program trainings and following supports were given to them.
- The work of making ‘Tsuur’ instrument as a major in professional art university has started in order to stabilize ‘Tsuur’ reputation in a family of Mongolian Traditional musical instruments. For this reason Cultural Heritage Center, Culture and Art University and Ulaanbaatar’s Music and Dance collage signed on cooperation agreement and started to work all together to supply with training materials and instruments, to plan syllabus and to acknowledge the training methods to the teachers who will teach.
- The Cultural Heritage Center published “Mongolian tsuur” DVD lesson and study books for ‘Tsuur’ music trainings. These training facilities were highly demanded among trainers, teacher, ‘Tsuur’ art bearers, music schools and professional art organizations and artists. It also became fruitful study materials to learn general ‘Tsuur’ music methods and traditional methods, to teach and disseminate.
C: Awareness raising, dissemination and promotion
- A book “Mongolian most rare traditional Intangible cultural Heritages” and “Mongolian Traditional Intangible cultural Heritages” published in Mongolian and English language for the dissemination work of traditional ‘Tsuur’ music in local and foreign countries. These books included ‘Tsuur’ instruments and its players photos, introductions and dissemination and research compositions.
- Many speeches related to Mongolian ‘Tsuur’ have presented in Science and Research meetings about the study of traditional art and culture in the country. Also similar speeches presented in “The V Grassland Culture Forum.2009” in Inner Mongolia of China, “Sounds of EURASIA” in Buriad’s Ulan-Ude in Russian Federation and in VII Congress-Festival.
- In 2013, we have organized a conference on "Tsuur music's actual situation and its difficulties" in Ulaanbaatar to discuss pertaining its future protection, development, art of ‘Tsuur’ making and related customs.
- Traditional Art Festival 2011, Oirad’s Art and Culture “Ikh Hogsuu” festival and “Altan Huree” Uriannhai’s yearly art, culture and sport festival which conducted by Urianhai’s History and Culture supporting Union all had bagpipe playing competitions. Many participants participated in these competitions and they were good encouragement to improve the abilities of the ‘Tsuur’ music players and increased their repertories.
- Mongolian National Broadcaster made television program “Golden Heritage” about Urianhai Tsuur music and its player,
- Eagle television made “Tsuur Heritage”, Ekh Oron television made “Urianhai tsuur tradition” and Mongolian National Radio made “Melody of the tsuur music”. All of these programs were good dissemination in the society. These television and radio dissemination programs were made during the report duration and together with previous art works they had big influence on recovering, supporting and creating good environment for ‘Tsuur’ music art development.
- The previous art works are: “Shuudriin Dusal” tele-program, “Hunnu’s wooden tsuur instrument” and “Melody of tsuur music” documentary movies and “Echo of Mountains and Waters” audio CD.

B.3.c. Participation de communautés, de groupes ou d'individus aux activités de sauvegarde

Veuillez décrire de quelle manière les communautés, les groupes ou, le cas échéant, les individus ainsi que les organisations non gouvernementales pertinentes ont participé de façon effective à l'exécution des mesures de sauvegarde, y compris en termes de rôles du genre. Décrivez le rôle joué par l'organisation ou l'organe chargé de l'exécution (dénomination, informations de référence, etc.) et les ressources humaines qui ont été mises à disposition pour la mise en œuvre des activités de sauvegarde.

The safeguarding measures were elaborated with full participation of the ICH bearers, concerned representatives of relevant NGOs, and their opinions and recommendations were freely been reflected in the projects.
The main activities under this project for safeguarding the epic, conducting research, advertising and transmitting to the younger generation were implemented with full participation of the Tsuur performers and associations established by themselves. These are:
- The relative and offspring of Uriankhai’s Tsagaan Tug clan’s famous tsuur music player Paarai Narantsogt and their students established a community concerned group. This group became the main supporting center to transmit and develop Mongolian tsuur music art and its traditional repertory. This Altaic Urianhai’s tsuur tradition has transmitted well in Paarai Narantsogt’s family who are from the Tsagaan Tug clan of Hovd province’s Duut soum. They are P.Narantsogt’s sons: N.Buyandelger, N.Erdenebaatar, grandsons: B.Naranbat, B.Zagdjav, M.Sukhnasan, B.Nekhjargal, T.Erdenebaatar, B.Munguntsooj, granddaughters: B.Bayartsetseg,B.Battsooj, B.Munkhchimeg, students: N.Sengedorj, Damdinjav, A.Baldandorj and E.Baatarjav. These people are the sole bearers and protecting Mongolian tsuur music's tradition. Also they took the responsibility to develop the tsuur music art with honor and working hard within their strength. “Tsagaan Tug” clan’s tsuur music players are the most active participants to promote it in the society. They have done many disseminations works through art stages, televisions and radios.
- “Hunnu tsuur players’ Union” has been an important part of protecting tsuur music repertory, transmitting, developing and disseminating works. This union consists of the active members of the clan, traditional musical instrument researchers and cultural pioneers.
- Music teacher G.Nyamjantsan, from the music and dance college and music teacher N.Sanjaadorj, from State University of Arts and Culture have included the traditional tsuur music in their educational programs.
- The Cultural Heritage Center published “Mongolian tsuur” DVD lesson and study books for ‘Tsuur’ music trainings. These training facilities were highly demanded among trainers, teacher, ‘Tsuur’ art bearers, music schools and professional art organizations and artists. It also became fruitful study materials to learn general ‘Tsuur’ music methods and traditional methods, to teach and disseminate.
- A book “Mongolian most rare traditional Intangible cultural Heritages” and “Mongolian Traditional Intangible cultural Heritages” published in Mongolian and English language for the dissemination work of traditional ‘Tsuur’ music in local and foreign countries. These books included ‘Tsuur’ instruments and its players photos, introductions and dissemination and research compositions.
- Many speeches related to Mongolian ‘Tsuur’ have presented in Science and Research meetings about the study of traditional art and culture in the country. Also similar speeches presented in “The V Grassland Culture Forum.2009” in Inner Mongolia of China, “Sounds of EURASIA” in Buriad’s Ulan-Ude in Russian Federation and in VII Congress-Festival.
-Traditional Art Festival 2011, Oirad’s Art and Culture “Ikh Hogsuu” festival and “Altan Huree” Uriannhai’s yearly art, culture and sport festival which conducted by Urianhai’s History and Culture supporting Union all had bagpipe playing competitions. Many participants participated in these competitions and they were good encouragement to improve the abilities of the ‘Tsuur’ music players and increased their repertories.

B.3.d. Calendrier et budget

Indiquez, sous forme de calendrier, les dates de mise en œuvre de chacune des activités et quels fonds ont été utilisés à cette fin, en indiquant dans chaque cas l'origine du financement (sources gouvernementales, contributions en nature des communautés locales, etc.).

Name of activity - Implementing body – Timeline - Fund(USD)
1. To hold “Ceremony to take Certificate of the Traditional music of the Tsuur” and photo exhibition, Ministry of Education, Culture and Science, NatCom, Center for Cultural Heritage,
“Hunnu Tsuur players’ Union” - 2010; USD 1.500
2. To organize Western region Workshop (apprenticeship and classroom trainings), Center for Cultural Heritage, “Hunnu Tsuur players’ Union” - 2010-2012 ; USD 4.000
3. To organize Central region Workshop (apprenticeship and classroom trainings), Center for Cultural Heritage, “Hunnu Tsuur players’ Union” - 2010-2012 ; USD 4.000
4. The work of making ‘Tsuur’ instrument as an optional major in Professional Art University; Ministry of Culture, Sports and Tourism, Cultural Heritage Center, Culture and Art University and Ulaanbaatar’s Music and Dance collage – 2012; USD 6.000
5. Creation of a registration-information database at local and national level, Center for Cultural Heritage, Local Government Administrations - 2009-2011; USD 4.500
6. To publish DVD lessons, study books for Tsuur music trainings; Center for Cultural Heritage, “Tsagaan Tug” clan’s Tsuur players - 2010-2011; USD 6.500
7.To produce a serial documentaries and media production on the customs and rituals related to the Tsuur aims to further raise the awareness; Center for Cultural Heritage, “Tsagaan Tug” clan’s Tsuur players, “Hunnu Tsuur players’ Union” - 2010-2012; USD 9.500
8. To conduct scientific meeting on the “Traditional music of the Tsuur”: Ministry of Education, Culture and Science, NatCom, Center for Cultural Heritage – 2011; USD5.000
9. To deepen the study and researches on the “Traditional music of the Tsuur”: Center for Cultural Heritage, “Hunnu Tsuur players’ Union” - 2010-2014; USD 4.800
TOTAL USD45.800

B.3.e Efficacité globale des activités de sauvegarde

Procédez à une évaluation globale de l'efficacité des activités menées pour parvenir aux résultats escomptés et de l'utilisation des fonds nécessaires à leur mise en œuvre. Veuillez indiquer de quelles manières les activités ont contribué à l’obtention des résultats et si d'autres activités auraient été mieux adaptées à cette fin. Indiquez aussi si les mêmes résultats auraient pu être obtenus avec de moindres ressources financières, si les ressources humaines disponibles étaient appropriées et si les communautés, groupes et individus concernés auraient pu participer davantage.

Tsuur music’s ability to coexistance improved in the result of the series of tsuur music safeguarding activities which are mentioned above. We accomplished to restore the traditional Mongolian tsuur music which includes tradition of playing the tsuur, developing, training, studing, promoting, and providing in sustainable framework.
The main result was historical dark period which tried to neglect the traditional culture and religion. It treated traditional art and culture as a part of old time and it was government plan to get rid of tradition and art of people.
In order to identify the ‘Tsuur’ music bearers, register them, study, disseminate and transmit to the next generations Mongolian tsuur music tradition has restored and certain improvements appeared in the ways of protecting, developing, teaching, studying, researching, disseminating and sustaining the tradition. Community and its people’s understanding and awareness improved about tsuur music tradition and its social value has increased dramatically.
Mongolian tsuur survived the risk of vanishing and good foundation established for tsuur music art to still be an important part of traditional musical instrument and Mongolian traditional intangible cultural heritage.
We are working on to combine traditional "apprenticeship training" method with modern teaching principles and need to find effective teaching structure for formal and informal training systems in order to inherit the bagpipe to the next generations. Art of tsuur has spread well and developed out from Altai Mountain and Uriankhai tribe`s area and number of tsuur players has increased. Also it is not sufficient to focus on increasing the number of players who know how to make a sound of tsuur in order to safeguarding the Mongolian traditional tsuur music.
But we didn’t have not enough budget to accomplish the activities that we planned. We need to develop good legal and financial environment in order to guarantee the life of bearers and the need of setting good motivation system.
We couldn’t accpomlish the following two plans: Organizing Mongolian traditional Tsuur music Festival and Reporting Performance of the tsuur music trainings. So we postponed to accomplish them in 2014. Also we don’t have enough human resource to conduct all the trainings. Recovering the tradition of wooden tsuur requires long time and effort. Because playing tsuur demands dual action of vocal cords and extraordinary technique. Therefore not everybody learns playing tsuur as well as they need rehearsals with teacher`s instruction and hard studying.
The art of playing Mongolian tsuur is a wide concept which requires to acquire the richest repertory imagination`s developed by bearers to heirs of generations. Currently there are around 40 folk pieces of Mongol Altaic Uriankhai tribe`s inherited repertory notified they represent nature, mountains, water draws, animal sound, relationship between humankind and nature, human feelings. Those tunes transmitted by hearing and memory through generations instead of music notes, which means it is in a danger of vanishing with the players who practice.
As time goes by the traditional tsuur is coming closer to the edge of vanishing and we insure that the safeguarding work of transmission to the next generation, studying and spreading will continue sustainably.

B.4. Participation des communautés

Veuillez décrire comment les communautés, groupes et individus ainsi que les organisations non gouvernementales pertinentes ont été impliqués, y compris en termes de rôles liés aux genres, dans la mise à jour du plan de sauvegarde et comment ils seront impliqués dans sa mise en œuvre.

Uriankhai’s “Tsagaan Tug” clan’s traditional tsuur music player P.Narantsogt’s students and offspring had biggest roles in the task of safeguarding the Tsuur music tradition and heritage. They are P.Narantsogt’s sons: N.Buyandelger, N.Erdenebaatar, grandsons: B.Naranbat, B.Zagdjav, M.Sukhnasan, B.Nekhjargal, T.Erdenebaatar, B.Munguntsooj, granddaughters: B.Bayartsetseg,B.Battsooj, B.Munkhchimeg, students: N.Sengedorj, Damdinjav, A.Baldandorj and E.Baatarjav. These people are the sole bearers and protecting Mongolian tsuur music's tradition. This group, community of bearers have 15 active members and the group has both elder and young members. They conducted trainings using the traditional apprenticeship training and classroom training method. Besides, they contributed in development of the training and dissemination activities such as a guidebook, DVD, CD. Also were actively involved in the activities in order to safeguard, protect, restore, develop, disseminate, transmit, inherit, teach and promote it through media, publication and radio.
Safeguarding the tradition and heritage of tsuur music is very important and matter of reputation affecting responsibility for the members of “Tsagaan Tug” clan. Also there's few craftsmen who makes tsuur musical instrument and teenagers who are learning to play tsuur music joined the community and it guarantees that the art of traditional tsuur music’s development in the future. These bearers are specialized by their heritage Altaic Urianhai’s tsuur playing method, traditions, repertory and tsuur musical instrument hand making techniques in the same place where this art is originated.

B.5. Contexte institutionnel

Veuillez indiquer quelles institutions sont en charge de la gestion locale et de la sauvegarde de l'élément inscrit sur la Liste de sauvegarde urgente, notamment :

  1. le(les) organisme(s) compétent(s) impliqué(s) dans sa gestion et/ou sa sauvegarde ;
  2. la(les) organisation(s) de la communauté ou du groupe concernée(s) par l'élément et sa sauvegarde.

1. Ms Ts.Tsendsuren
Head of the Cultural Heritage Departement,
Ministry of Culture, Sports and Tourism
Government building X, Place Barilgachid, Chingeltei District,
Ulaanbaatar, Mongolia
Tel: +976-9312-4367
Fax: +976-11-310466
email: tsendsuren0525@yahoo.com
Department is responsible for the method and planning of safeguarding the cultural heritage
2. Cultural Heritage Center
This is a professional and certificated organization and its ICH section established in 2008 in order to protect both tangible and intangible cultural heritage. Organization works in worldwide to safeguard and protect documents and videos, research on ICH bearers, inventorying transmission program for future generations and central archive for registration and information.
Address: Mongolia, 21 06 20 a, Ulaanbaatar, Sukhbaatar district, Sukhbaatar square 3, Jamiyang’s street, B section of Central Cultural palace
POBox: Ulaanbaatar 210628, Mongolia
Director: G.Enkhbat
Tel Phone: + 976-11-312-735
+ 976-70110877
Fax: + 976-11-312735
E-mail: enkhbat@mongolheritage.mn
Web: www.monheritage.mn
Head of ICH division: Mr S.Yundenbat
Tel: + 976-88000239.
E-mail: yundenbat@monheritage.mn
3.“Hunnu tsuur players union” NGO
Headman: B.Naranbat
Address: Bayanzurkh district, 23th subdistrict , School А-5-60
Tel: + 976-9490 0904
+ 976-9924 2363
Fax: 976-7015 4576
E-mail: baldaa_04@monheritage.mn

B.6. Participation des communautés a l'etablissement du présent rapport

Décrivez les mesures qui ont été prises pour assurer la plus large participation possible des communautés, des groupes et, le cas échéant, des individus ainsi que des organisations non gouvernementales pertinentes concernés pendant la préparation du présent rapport.

The following bearers, groups and NGOs sent their reports and their representatives and community has actively involved in this report. They are:
The relative and offspring of Urianhai’s Tsagaan Tug clan, Hovd Province, Duut soum’s famous traditional tsuur music player Paarai Narantsogt and their students’ community concerned group, “Hunnu tsuur players’ Union”, Oirad’s art and culture “Ikh Hogsuu” movement, “Union to support Uriankhai’s history and culture”.
In March 2012 the Government have established a commission to work on the national activity reports for the different measures taking by Mongolia to safeguard and protect the elements inscribed on UNESCO List of Urgent Safeguarding of ICH. This commission is represented by governmental and non governmental organizations, community, practitioners, bearers and individuals. Above mentioned members of the commission were approved. And during the process of preparation of this report, the community, practitioners and individuals have assisted and give information about their contribution to the activity depending their field and some community and association have sent an written report of their local activity.

C. Signature au nom de l'état partie

Le rapport doit se terminer par la signature du fonctionnaire compétent pour la signer au nom de l'État, accompagnée de son nom, de son titre et de la date de soumission.

Nom

M.Tumenjargal

Titre

Vice- Minister of Culture, Sports and Tourism

Date

30-01-2014

Signature


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