Singing My Life

By Valentina Suzukei

Valentina Süzükei takes readers on a journey through the life of legendary throat singer Kongar-ool Ondar. When he came onto the scene in 1989, Ondar was one of the pioneers of Tuvan throat singing in the West. Süzükei tells stories of his childhood, his first travels abroad, his collaborations with Frank Zappa, and his work on the Genghis Blues motion picture.

• Language: English
• Publisher: Bapalar
• Release date: Aug 31, 2014
• ISBN: 9781311769084

Valentina Suzukei

After completing her studies at the Moscow Institute of Culture, Süzükei began teaching at the Kyzyl Art College, where she was the Assistant Director of Academic Affairs. Since 1985, she has worked at the Tuvan Research Institute for Languages, Literature, and History, where she served as Chief Academic Secretary between 2002 and 2003. She completed her musical training at the Novosibirsk State Conservatory.In 1995, she completed her PhD at the Russian Institute of Art History in Saint Petersburg, where she studied the role of overtones in Tuvan traditional instrumental music. She later performed research on the modernization of Tuvan folklore in the 20th century at the Kemerov State University of Culture and Art.Süzükei is known for her innovative methodological approach to the study of nomadic music. Her research is a comparative study of the music of Central Asian nomads, with an emphasis on the theory of overtone music. While she has studied the music of various Turkic-Mongolic people, she focuses on the musical folklore of Tuva, including its traditional instrumental music and the art of khoomei.Her research has appeared in publications and conferences around Tuva and around the world (Novosibirsk 1986; Moscow 1988, 2010; Alma-Ata 1988, 2000; Bishkek 2000; Yoshkar-Ola 1989; Yakutsk 1991, 1998, 2011; Ulan-Ude 2002, 2010; Barnaul 2011; Gorno-Altaisk 2012, Kyzyl 1992, 1995, 1999, 2000, 2003, 2004, 2011, 2013, 2014; Saint-Petersburg 2003, 2006, 2011, 2013; Almaty 2010, 2013; Kazan 2012; Holland 1993, 2009; Taiwan 2005; Germany 1993, 2010, 2012, 2013; United States 2001; Italy 2003; France 2005, 2008, 2012; England 1993, 2010, 2012, 2013; Turkey 2006, 2014; China 2014).

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Singing My Life

By

Valentina Süzükei

Translated by Aksai Bapa

Copyright © 2014 Bapalar

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No part of this publication can be reproduced or transmitted in any form or by any

means, electronic or mechanical, without permission in writing from Bapalar.

Valentina Süzükei takes readers on a journey through the life of legendary throat singer Kongar-ool Ondar. When he came onto the scene in 1989, Ondar was one of the pioneers of Tuvan throat singing in the West. Süzükei tells stories of his childhood, his first travels abroad, his collaborations with Frank Zappa, and his work on the Genghis Blues motion picture.

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Table of Contents

Preface

Chapter 1: Childhood

Chapter 2: School

Chapter 3: Work

Chapter 4: Service in the Army

Chapter 5: College Years

Chapter 6: Prison

Chapter 7: Tyva Ensemble

Chapter 8: Khoomeiji

Chapter 9: People’s Khoomeiji of the Republic of Tuva

Chapter 10: Distinguished Artist of Russia

Chapter 11: Representative to the Great Khural

Chapter 12: Journeys Abroad

Chapter 13: Grammy Award

Chapter 14: Meetings with the Dalai Lama

Chapter 15: Meetings with Frank Zappa

Chapter 16: Oscar Nomination

Chapter 17: Around the World

Chapter 18: Philanthropy

Chapter 19: Friends Reflect

Chapter 20: Punished for Showing Initiative

Chapter 21: Family

Chapter 22: Work at the Art School

Conclusion: Khoomei Today

Tuvan Words

About the Author

Preface

Kongar-ool Borisovich Ondar had many roles: a People’s Khoomeiji of Tuva, a Distinguished Artist of Russia, and an exceptional athlete. He served as a representative to the Second Great Khural of the Republic of Tuva, received a Medal of Valor, and was recognized in the book Distinguished Tuvans of the 20th Century. His contributions to Tuvan culture and art earned him the republic’s highest state prize. His work has been recognized internationally, receiving both the prestigious Grammy award and an Oscar nomination. He was a prominent member of the older generation of Tuvan khoomeiji. His life was tumultuous and controversial, full of remarkable stories.

For over 20 years, I have had the privilege of judging various shows, competitions, and festivals around Tuva. I’ve witnessed a remarkable surge of musical talent, especially among the younger generations of khoomei singers. My position allowed me to see the development of Tuva’s larger music scene, as well as the growth of individual artists. I’ve worked with many of them in different settings: in their rehearsals, during our one-on-one fieldwork, and in collaborations with incredible international artists.

My meetings with Kongar-ool always stood out because of his contagious smile and lighthearted, uplifting energy. He possessed a keen artistic sense for the audience, and the ability to move his listeners. Even his first concerts in the 1980’s were always followed by thunderous applause, and faces in the audience glowed with a childlike wonder. I was always astounded by his ability to be everywhere at once – he performed solo concerts, but could also be found accompanying khuresh wrestling contests. He was often the commentator for horse races, and he personally organized and conducted many charity marathons.

Kongar-ool’s other traits revealed themselves over the years, but what became apparent almost immediately was his unwavering generosity. He was always ready to do anything in his power to help others. I remember when Wolfgang Hamm’s film crew came to collect footage for Secrets of Khoomei in 1994. The filmmakers interviewed Kongar-ool and his students Bady-Dorzhu, Ayan-ool, and Evgenii, who were just kids at the time.

At the end of a long recording session, he let them run free.

Go play outside, but be back at four. Go get some ice cream!

He gave the boys some money, and they galloped off.

I also remember when I ran into him in the lobby of the National House of Arts. At the time, he was serving as a representative to the Great Khural. We were talking when a woman came up to us and called him aside. After a brief conversation, I saw him searching his pockets for money, and he handed her everything he had. He seemed somber when she left.

Maxim Dakpai passed away, he told me. She asked for help at the Ministry of Culture, but they told her they were out of money. I only had 2000 rubles with me. That’s probably not enough. But I am going to the funeral, and I will probably buy something else.

At the last throat-singing symposium, one of the contestants was Kongar-ool’s youngest student. After his performance, the boy weaved through the crowd up to the jury table.

"Bashky, where do I return the instrument?"

Kongar-ool pointed him to the car where his other students were, and reached into his pocket.

Here, take some money, he told the boy. Your favorite pastries are downstairs in the cafeteria. You did well! Great khoomei.

When he began work at the state art school in Kyzyl, he also became the school’s biggest supporter. He contributed over 20,000 rubles to the construction of an interactive exhibit called Khoomei Yurt. For school administrators and government officials alike, it’s often the first sightseeing stop to show distinguished guests and foreign dignitaries.

Kongar-ool judged many shows and contests, and he often sponsored one of the top prizes. His selfless nature was a rare quality in the artistic community. What especially stood out was his almost fatherly care for his protégés. He sponsored all of the outfits, instruments, and transportation for Alash, an ensemble founded by some of his earliest students.

The final incident that prompted me to take up this book happened at Kyzyl's center for folk art. It was the end of a conference organized by the Ministry of Culture, and I stepped out of the hall early. All the departments had already taken down their exhibitions and the lobby looked empty. I saw Kongar-ool walking through and bending down to pick up the posters that were left behind.

Look, there are pictures of my students everywhere, he told me. You know, I collect everything about them.

I could see the grown-up faces of Igor Koshkendey, Evgenii Saryglar, Bady-Dorzhu Ondar, Ayan-ool Sam, and Vadim Saryglar. Today, they are members of groups famous across the republic and the world, like Chirgilchin, Tyva Ensemble, and Alash.

Chapter 1: Childhood

He grew up in Ijme, on the right shore of the river Chadan in western Tuva, with his grandmother Balchyg and his grandfather Dokpak. For some reason, people called him Valera back then.

The village was situated in a valley between the pristine taiga of the Sayan Mountains to the west, and barren sand dunes just six or seven miles to the east.

By 1969, it was time for Kongar-ool to go to school, and his grandfather called him over to pat him on the head and give him some final instructions.

Remember, your name is not Valera, he said. When the teacher asks your name, say that you are…

Alright, alright, the boy brushed him off and ran to school.

Kongar-ool’s first grade class

His teacher started the class with taking attendance and asked students to say their name and birthday. Kongar-ool’s turn came, and he had no problem with his last name, confident that he was from the Ondar clan. When she asked for his first name, he started blinking rapidly and furrowed his brow trying to remember what his grandfather said that morning. He’d been called Valera for seven years, and suddenly he had to remember a name he just heard once. He only recalled that it started with K, and ended in -ool. Then he thought of a familiar face, an old man who lived in Ijme. Everyone called him Kongar-ool.

My name is Kongar-ool, he almost shouted, relieved.

What’s your father’s name?

The boy got quiet again. A parent in the room knew his family and tried to be helpful.

That’s Dokpak’s boy, so he’d be Dokpakovich.

He didn't tell them that this was his grandfather’s name, and officially became Kongar-ool Dokpakovich Ondar.

When were you born?

This question left him even more flustered. How am I supposed to know when I was born? he thought. Nobody ever told me.

He stayed quiet.

His mother and I gave birth at the same hospital, someone else said. He was born one day before my son, if I remember right. That means his birthday would be December 4th, 1962, since my son was born on December 5.

After he was born, Kongar-ool’s mother left them with her parents and went off to school, where she later got married and settled with her husband in Chadan. He stayed back and went to kindergarten and first grade in Ijme.

The sand dunes outside Ijme

In the fall of 1971, his mother and stepfather took him to Chadan, and he started second grade at the middle school on September 1st. His mother had two more boys by that time, and he was immediately recruited as a nanny. That was the end of any real childhood for Kongar-ool. He never heard any endearing words from his parents, and as soon as he moved in, he was instructed to call them ugbai and chestei (aunt and uncle). His stepfather had a constant frown on his face. To avoid getting on his bad side, the boy worked at all the chores around the house. He peeled the potatoes, scrubbed the floors, cleaned