The stirring art of Mongolian throat singing
By Li Jingjing
2017-11-23 22:50 GMT+8

Updated 2017-11-24 10:31 GMT+8

The capabilities of a human body are sometimes beyond a brain’s imagination.

For example, it’s hard for most people to believe the sound in the video above came from a human being rather than an instrument.

That is because the singer is able to produce a continuous bass and simultaneously produce one or more pitches through his/her throat.

That unique way of singing is known as khoomei, or hooliin chor (throat singing), an art of singing practiced by Mongolian communities in Inner Mongolia in northern China, Mongolia and the Russian republic of Tuva. It is also known as Tuvan throat singing in other cultures.

Through the throat singing band Alash’s performance in the video below, you may get a better idea of what this art form sounds like.

It is believed the Khoomei could be traced back to Huns, the nomadic people living between the 4th and 6th centuries in Central Asia and Eastern Europe.

Mongolians in ancient times imitated the sound of nature, such as waterfall, forest and animals, during nomadism and hunting as a way of connecting and showing respect to the nature.

This singing art was officially inscribed on the List of Intangible Cultural Heritage by the UNESCO in 2009.

Photo via

Once endangered

Life styles keep changing. Khoomei, the art that was born in certain geography characteristics and production mode, was on the verge of extinction for a while in history since less people were able to perform.

It wasn’t until the 1990s that the art was flourished again along with the more frequent communications with neighboring countries.

57-year-old Hugejiletu, one of the most renowned inheritor of the intangible cultural heritage in China, wasn’t able to perform Khommei at all back in 1996.

Khoomei master Hugejiletu/Photo via China Youth Daily

When he traveled to Australia to perform traditional music and instrument for local audience, he was questioned by local reporter how come they didn’t bring Khoomei.

“There were so many of us, yet none could perform Khoomei. I felt ashamed that I couldn’t inherit the culture of my own people,” Hugejiletu told China Youth Daily in 2015.

At the age of 39, he embarked on a tough journey to learn this art. More Khoomei masters from different countries were also invited to Inner Mongolia to help re-boom the culture.

“As a Mongolian, it’s my responsibility to inherit and spread the music and art of our own people,” he said.

As the “living fossil” of Mongolian culture, Khoomei has drawn wide attention from international communities, including musicians, experts of sociology, anthropology and historians.

The Mongolian art of singing: Khoomei, INNER MONGOLIA

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The Mongolian art of singing: Khoomei

When you are wondering along Inner Mongolia, the chance is that a high-pitching, penetrating and touching voice will sparkle your curiosity and spur your reverie.Infectious and mysterious in character, it has concise yet elegant lyrics, euphonious melodies and diversified themes. It is Khoomei (Long-tune Song, Hooliin Chor, Throat Harmony or Throat Singing), the living fossil folk music of the Mongolian and one UNESCO Intangible Cultural Heritage, which is teased by the Han Chinese as “The Wolf’s Cry ”.

Khoomei’s charm lies in its biphonic sound achieved through the tighten of throat and the manipulation of tongue, by the same person.
What is more incredible is that both follow different rhythms. The result is that you can hear two voice sung from the same person at the same time, one is low and melodious, which forms the background music, while the other is penetrating and high-pitched, which has lyrics and is the highlight. From some sense, it is  acrobatic performed through throat and tongue.

As we know, whenever the Mongolian holds a banquet, it will last for three days and nights. No banquet and party will be complete without Khoomei, and there are so many songs that you wont hear a repeated one during this period.

By present, Khoomei prevails in Tuwa of Siberian, Mongolia, Russia, Altai of Xinjiang, Khakass and Inner Mongolia. In Gyuto and Gyume Monasteries of Tibet, lamas there also use throat voice to chant the prayers. For a Khoomei master, it is a piece of cake to sing their own ethnic songs, or the popular songs of the Han Chinese as well as any classic song of America and Europe.

“Khoomei” means “song of eternity”. It is a gem inspired by the spectacular grassland and the unrestrained nomadic lifestyle.
Over one thousand years ago, the Mongolian’s ancestors migrated westward from the dense forests of Black Dragon River to Mongolian plateau, with lifestyle shifting from hunting to animal husbandry. During this process, Khoomei emerged. The following years saw it replaced the narrative hunting song (Short-tune song) as the dominating sight. Epitomizing the Mongolian’s culture, philosophy, customs and religion, Khoomei exerts profound and lasting influence on every aspect of their life. Today, it is a short-cut for us to unravel this nationality’s legacy and heritage.  Khoomei is to the Mongolian just like Beijing opera is to the Han Chinese, the Kam Grand Choirs to the Dong people andTibetan opera to the Tibetans. It has become a cultural identity and integral part of the Mongolian’s life. During Wedding Ceremony, holidays, religious festivals and especially theNaadam Festival, Khoomei is performed enthusiastically, which is one of the most eye-catching and expecting parts. As we know, whenever the Mongolian holds a banquet, it will last for three days and nights. No banquet and party will be complete without Khoomei, and there are so many songs that you wont hear a repeated one during this period.

 Khoomei can be performed in form of solo or chorus , with or without accompany music.  Highly spontaneous is its defining feature. The singer has ample room for on-site creation. Accompanied by Matou Zither(Horse Head Zither马头琴), the performers usually wear traditional gowns to sing Khoomei to mesmerize the audiences. The rhythm of Khoomei can be divided into the concise narrative tune, the prolonged and affectionate tune as well as the Nogula tune. Ornamental vibrato such as front appoggiaturas, back appoggiaturas, portamentoes and turns all abound.
This infectious and mysterious sound that resonates between heaven and earth may be straight-ford and imposing at first impression, but as long as you listen contently, you will be spellbound by its appealing tunes and indescribable charm.

Dynamic and ever-changing in tune, Khoomei is profound in theme, which addresses almost all the elements typical of Inner Mongolia: the enticing landscape, the beautiful Mongolia ladies, the strong Mongolian men, their ancient heroes and vibrant daily labor life. The beauty of life, friendship and love are also eternal subjects. Judging from the different occasions it serves, Khoomei splits into Love Song, Departing Song, Homesick Song, Wine Toast Song, Banquet Song, War Song, Hunting Song, Warrior’s song and Mourning Song. Through Khoomei, the living environment and spirit world of the Mongolian are revived and revealed before us vividly.

According to a famous musician, Khoomei is a voice flows from the innermost corner of the Mongolian’s heart, a voice imbued with wisdom, philosophy and emotion. Hence, no matter you can understand the lyrics or not, this captivating music can tug your heartstring easily. The best way to enjoy Khoomei is to close your eyes and let the arresting song carry you away.

Khoomei has developed four variants in Inner Mongolian, with some intertwine with one another especially along the bordering area: Hulunbuire Khoomei, Xilingol Khoomei, Ordos Khoomei and Alxa Khoomei.

Khoomei in western Inner Mongolian mirrors the balance of simplicity, archaic and religion. It is the celestial voice for those who want to seek console and serenity in this far-flug getaway to nature.

From east to west, the lush grassland gives way to hills and desolate deserts. In Hulunbuire and Horqin district, the eastern part of Inner Mongolian, the well-fed and happy nomads interpret Khoomei into a high-pitched, inspiring and passionate music with free form and concise lyrics. In Hulunbuire,the purity and sweetness of voice are valued, besides, the liberal use of ornamental vibrato bestows it with sumptuous beauty. Most Khoomei singers in Hulunbuir are women. Representatives songs include: The Expansive Grassland《辽阔的草原》. In Horqin, Khoomei is distinguished by its flowing, soothing and profound melody.

Moving westward, you can reach Xilingol, the political, economic and cultural center of Inner Mongolia since the 13th century. Xilingol has long been reputed an ideal pasture thanks to the mild weather and lush grass. Khoomei here adopts lingering melody, enlightening feeling, profound artistical effect, complete form and intricate structure. It is also notable for the broad range of voice, simplicity and sweet melancholy. Judging from tunes, lyrics, contents and artistic value, Xilingol Khoomei highlight the essence of Khoomei and become one of the top four representatives. Khoomei singers are mainly composed of men. Representative song include Little Yellow Horse《小黄马》.

Keeping advancing westward to Ordos and Alxa, you will notice the undulating grassland is replaced by barren landscape of Gobi and desserts. Life here is less colorful, so does Khoomei. With few ornamental vibrato, Khoomei here stays true to its original look and shows strong religious influence. Khoomei in Ordos has lively and dramatically-changing tunes, Khoomei in Alxa is calm, penetrating and overwhelming.

You can join our 5-Day Naadam Fair Tour in Inner Mongolia to listen to Khoomei, enjoy horse racing, wrestling and archery as well as to sample the delicious Inner Mongolia food.

Lucy Hornby: Mongolian throat singers defend tradition against China

February 11, 2010 / 11:08 AM / 9 years ago

Mongolian throat singers defend tradition against China



ULAN BATOR (Reuters Life!) – Bitonal humming is not a common form of patriotic protest, but for traditional Mongolian singers, it was the best way to lay claim to an art form they say has been usurped by China.

The United Nations Educational, Scientific and Cultural Organization, or UNESCO, in November listed Mongolian throat singing as an art native to China, outraging Mongolian performers and fans who proudly remember that Genghis Khan conquered China 800 years ago.

Sandwiched between Russia and China, Mongolians fear China’s growing economic and diplomatic power will overwhelm their landlocked country.

“Mongolians have neither lost nor forgotten the heritage passed down to us by our ancestors,” said Sumiyabazriin Zagd-Ochir, one of many throat singers who crowded into Ulan Bator’s Central Cultural Palace to defend their claim to the art.

“For years, this art has been performed and handed down to the younger generations. It has a very high standard of development and it will develop more.”

China is the sole country named on the UNESCO representative listing for throat singing, although the brief explanation says Mongolian communities in Inner Mongolia in China, western Mongolia and Russia all practice the art.

Throat singers can simultaneously produce two different notes. A hum in the throat harmonizes with the melody.

China has 500 times Mongolia’s population. Han Chinese outnumber ethnic Mongolians in Inner Mongolia, and dominate the regional government as well as heavy industry and mining.

Mongolia’s Minister of Education, Culture and Sciences sent a letter to the Director of the World Heritage Center of UNESCO expressing his “deep concerns” over the listing, Mongolia’s UB Post reported earlier this month.

This is not the first time a UNESCO designation has caused controversy. North Korea opposed China’s attempts to register the the royal tombs of the ancient Koguryo kingdom with UNESCO, on the grounds that the kingdom was an ethnic Korean kingdom. UNESCO in 2004 listed Koguryo-era tombs in both countries.

Eight centuries ago, Mongol clans under Genghis Khan controlled the steppes stretching from Beijing to Poland. One of their legacies is throat singing, also performed by people in Tuva, a Russian republic bordering Mongolia and Siberia.

Mongolia and China already share one art form recognized by UNESCO. Urtiin duu, a Mongolian folk song, is listed as a multinational art with elements from both China and Mongolia.

“Mongolian throat singing and the Mongolian horse head instrument belong to Mongolia,” said 63-year-old Lambiranii Rentsen.

“I believe UNESCO will correct its mistake.”

Writing by Lucy Hornby, editing by Miral Fahmy

Lucy Hornby: Mongolian throat singers defend tradition against China

ZIGOR ALDAMA: The Hu: Mongolian folk rockers ready to conquer the world with throat singing and traditional instruments

The Hu: Mongolian folk rockers ready to conquer the world with throat singing and traditional instruments

  • Like many metalheads, the band grew up listening to Iron Maiden, Nirvana, Metallica and AC/DC
  • Unlike their peers, their traditional roots give them a uniquely powerful sound that is impossible to resist


Members of The Hu (from left) Batkhuu, Gala, Temka, Odko, Jaya, Ono, Enkhush and Jambaa at their studio. Photo: Zigor AldamaMembers of The Hu (from left) Batkhuu, Gala, Temka, Odko, Jaya, Ono, Enkhush and Jambaa at their studio. Photo: Zigor Aldama
Members of The Hu (from left) Batkhuu, Gala, Temka, Odko, Jaya, Ono, Enkhush and Jambaa at their studio. Photo: Zigor Aldama

It’s noon and Jaya is waiting for friends at one of the many fancy coffee shops springing up in Ulan Bator, the Mongolian capital. Temka is playing video games at home; Gala is munching on popcorn while watching an old film, dressed in his pyjamas. Enkhush hasn’t even woken up yet; when he does, he grumpily knocks his horse-shaped alarm clock to the floor.

Mongolian millennials are much the same as those anywhere else, it seems.

Then, though, Gala puts down his popcorn, goes to his front door and opens it. There before him is the expansive wilderness of the steppe. He shares the view with his friends through his smartphone and all four are transported to the mountains and lakes of the western part of Genghis Khan’s country.

This is how the music video to Yuve Yuve Yu (“How strange, how strange”) starts.

Clad in leather and wielding instruments such as the morin khuur and tovshuur, The Hu, the band behind the song, unleash a sound as powerful as their backdrop is stunning. The urbanites transform into throat singers and the confined spaces of the city melt into infinite landscapes the vastness of which can only be captured by drones.

The clip has been viewed more than 16.5 million times on YouTube. Their second single, Wolf Totem, which brings riders of both horses and Harley-Davidsons together against an even more evocative backdrop, is not far behind, with more than 11 million views. Mongolian folk metal – or hunnu rock – is apparently what rockers across the globe have been waiting for.

“We get four to five million views a month,” says the band’s manager, Tuga Namgur, during a video call from Chicago, in the United States, where he is based. “The biggest agents and the business are in the US, where we get around 1.5 million of those monthly views.”

Jaya sings as Enkhush (centre) and Gala play morin khuurs, at their studio in Ulan Bator. Photo: Zigor Aldama
Jaya sings as Enkhush (centre) and Gala play morin khuurs, at their studio in Ulan Bator. Photo: Zigor Aldama

The band has signed with US-based Eleven Seven Music, one of the world’s lead­ing independent rock labels, and even though they haven’t yet released an album – The Gereg is due this summer – The Hu have managed to climb to the top of Billboard’s Hard Rock Digital Song Sales chart.

“They have an excellent and unique tribal-metal sound,” says fan Diana Ashby, on the band’s Facebook page, which has amassed more than 100,000 followers. “Their music is so energizing – and different! In a good way,” adds Linda Shrieves. “Wolf Totem is my track through my cancer journey,” posts Veronica Fairhurst. “They’re going to be huge! Just wait and see,” forecasts James Sobczak.

“We kind of expected this reaction, because we thought our music would fit better with foreign audiences,” says a nonchalant Nyamjantsan Galsanjamts, better known as Jaya, when we meet at the band’s Ulan Bator rehearsal studio. “We were born with global ambition,” adds the 35-year-old jaw harp player.

“We were confident in word of mouth and it has worked a miracle,” says 28-year-old Enkhsaikhan Batjargal, aka Enkhush, player of the lead morin khuur, a bowed string instrument crowned by an evil-looking red goat head. “Our success has been organic. There has been no promoting or using management tools to increase visits. People are just telling friends they have to hear our songs.”

The studio is on the first floor of a massive grey building, redolent of Mongolia’s communist past, in an old, residential, east-central part of the capital, where the streets are narrow and shabby. They may look “badass”, with their tattoos and skull rings, but the band are hard at work by 9am. And there is no trace of any hangovers.

“They are professionals who have been in the music industry for more than 10 years. Some studied together in the Mongolian State Music and Dance Conservatory [in Ulan Bator] and have master’s degrees,” says Namgur, via Skype, while we wait for the members of the band to settle in the studio’s editing suite.

Coffee is brewing and everybody gets a generous cup of Americano before taking their seat.

Although he doesn’t sing or play, the soul of The Hu is 52-year-old songwriter and producer B. Dashdondog, aka Dashka. Having worked in the music industry for more than three decades, with almost every pop and rock band in Mongolia, his ears grew tired, he says, and seven years ago, “I started to do some research about Mongolian traditional instruments and poetry. I wanted to come up with some­thing never heard of before.”

Ono at the drums. Photo: Zigor Aldama
Ono at the drums. Photo: Zigor Aldama

Dashka travelled to his father’s lands, in the remote western Khovd province.

“It’s the motherland of Mongolia’s throat singing, which I find unique and powerful,” says the producer, sinking into a comfortable-looking couch. “During a visit, I thought it would be interesting to mix different sounds, both ancient and modern.”

That was easier said than done. “Many people can play an electric guitar, but only a few can play Mongolian instru­ments,” says Dashka.

He started to look for the right people to form a band in 2016. Galbadrakh Tsendbaatar, aka Gala, was the first to come on board and the rest soon followed; the music scene in Ulan Bator is small and all of them had already worked with each other.

“We may be trained in traditional instru­ments, but our references are bands like Iron Maiden, Nirvana, Metallica or AC/DC. This is the music we listened to while growing up,” says Gala, 29. The rest nod – a gentle headbang – in agreement.

“And Mongolian traditional music is not like classical Western music,” adds Jaya. “The tunes have rock in them, but nobody before tried to bring it out into the open.”

Gala in a still from the video of The Hu’s debut single, Yuve Yuve Yu.
Gala in a still from the video of The Hu’s debut single, Yuve Yuve Yu.

What makes their music different, Gala says, is that “it’s based on Mongolian traditional tunes, mixed with rock beats, and that we play it using ancient instruments”.

They call it hunnu rock in reference to the name of the ancient Mongolian empire and the band’s moniker was chosen “because hu is the root word for human being. The intellectual being. And if you write huu, it means ‘son’ or ‘daughter’ [in Mongolian]. It’s also easy to pronounce and remember, because Mongolian words can be hard to read”, laughs Jaya. “Everybody in the world can say The Hu.” (We wonder whether Roger Daltrey, Pete Townshend and John Entwistle came to the same conclusion when they were getting their band together, in 1964).

“We are privileged because many companies found the music beautiful and showed interest in us. Not many bands can choose their label even before they come up with an album,” says Namgur.

But success at home initially proved elusive.

“In the beginning, people in Mongolia weren’t that much into us,” says Jaya. “They thought we were just one of those traditional Mongolian bands.

“It was something completely new for foreign audi­ences, so we made it onto the iTunes and Billboard charts. After we got the attention of the West, Mongolians started to feel curious about us. They said, ‘Hey, these guys are good!’” recalls Jaya, who was awarded the best musician of the year gong at the Silver Tree Mongolian music awards in January.

The Hu’s videos show off Mongolia’s stunning landscapes. ‘We want to make people proud of nature,’ says Temka. Photo: Youtube / The Hu
The Hu’s videos show off Mongolia’s stunning landscapes. ‘We want to make people proud of nature,’ says Temka. Photo: Youtube / The Hu

Ahead of their debut solo concert, in Ulan Bator last month, the band were invited to meet Mongolian President Khaltmaagiin Battulga, who admired Gala’s horse-head fiddle. And, in March, they met Prime Minister Ukhnaagiin Khurelsukh and his South Korean counterpart, Lee Nak-yeon, at a private event held during the latter’s visit to Mongolia.

The sold-out Ulan Bator concert was the perfect warm-up for The Hu’s European tour, which kicks off on June 6 in Berlin, Germany. As the crowds chanted “Hu! Hu! Hu!” while pumping their fists in the air, it was as if Genghis himself were rallying them for war.

However, the band’s message is one of peace, and lyrics resonate with the socially conscious youth. The Harley-Davidsons may contribute to a mixed message, but The Hu want to raise awareness about the need to preserve the environment.

“We shot the videos in some of the most beautiful landscapes of Mongolia because we wanted to show how awesome our mountains and lakes are,” says 28-year-old Naranbaatar Temuulen, aka Temka, who plays the tovshuur, a two-stringed lute. “We want to make people proud of nature.

“Our ancestors left us a beautiful place to live in, but the world is going downhill with global warming and pollution. We sing to unite people with the goal to preserve the world as it is, so it can also be enjoyed by future generations.”

We’ve never considered singing in English, because it would betray the spirit of the music. This genre has to be sung in Mongolian Gala, The Hu

This month and next, The Hu will spread their message of conservation as they invade Europe, where the band are booked for 23 shows in 13 countries.

“Nine of them are major rock festivals [including Download, in Donington Park, England],” says Namgur, with pride. And the US awaits in October.

Being on the international stage won’t change them, they promise. “Conveying our message is important, but we’ve never considered singing in English, because it would betray the spirit of the music. This genre has to be sung in Mongolian,” says Gala. “We’ve found our sound now and won’t change it. Our goal is to perfect it, polish it and make it more sophisticated.”

But how will they spread their message across the world if nobody understands the language it is sung in?

“We add subtitles,” says Gala, with a smile.

And thus, on YouTube, the viewer discovers that the lyrics to Yuve Yuve Yu are:

It has been so long eating and drinking, being merry/

taking our Great Mongol ancestors names’ in vain.

Yet, would not honour our oath and destiny.

Why the valuable ethics of ancestors became worthless?/

Why is it difficult to raise our nation up?

Why is it so hard to cherish the ancestors inherited land?/

How strange! How strange!

Hey, you, traitor, kneel down!

From left: Jaya, Gala, Temka and Enkhush.
From left: Jaya, Gala, Temka and Enkhush.

We are treated to a rehearsal in a soundproof room at the studio. It’s brutal.

The band form a circle and we are placed in the centre. Throats are cleared with a guttural sound only a few can muster, the strings of the morin khuurfine-tuned, the cymbals teased and the strings of the electric guitar scratched with a plectrum, before Jaya checks everybody with a look and nods in approval.

A few seconds of silence, then drummer Odko counts in what can only be described as an explosion.

The Hu’s music takes audiences to a universe all of its own. The tunes and singing are clearly Mongolian but the guitar and overall vibe are heavy metal.

Experienced live, the music is infinitely more powerful than anything that can be conveyed in a video. And their confident smirks show that The Hu know it.

THALEA STOKES : Whose Throat-Singing? UNESCO Awarding Khoomei as a Chinese Intangible Cultural Heritage


Whose Throat-Singing? UNESCO Awarding Khoomei as a Chinese Intangible Cultural Heritage

Thalea Stokes
Thalea Stokes

Whose Throat-Singing? UNESCO Awarding Khoomei as a Chinese Intangible Cultural Heritage

Thalea StokesApril 18, 2015MIDSEM Annual Meeting 2015Urbana, IL
nations must go through an even lengthier, more costly, and more scrupulous application process to inscribe cultural artifacts. While it is admirable that UNESCO recognized a problem and took steps to solve it as it relates to cultural appropriation, the damage had already been done in a certain sense. The
 dispute, unwittingly instigated by UNESCO, exacerbated age-old ÒChina as imperialistÓ sentiments among the Mongolian citizenry that have long held this mistrust, even despite the Mongolia-China normalization process. The question remains as to whether UNESCO awards cultural artifacts to nations based on origination, or who is best able to preserve said artifacts, the latter certainly being the preferred viewpoint of Chinese ofÞcials. Is it truly possible for an international organization to impartially award legitimacy of claim when it comes to cultural artifacts? What does it say when an NGO such as UNESCO, by nature of their actions, seems to play into narratives of predatory and neo-imperialist behavior? The fact that UNESCO has successfully researched, promoted, educated, and preserved many cultural artifacts in danger of being lost should not be understated. However, this controversy of the
 dispute points to a larger problem of Western-based institutions dictating the terms of cultural ownership to the world without sufÞcient input from and agency of those actors who directly experience the culture in question.
When UNESCO awarded China the inscription of
 as a Chinese intangible cultural artifact, it caused a minor disruption in peaceful ongoing negotiations between the two states but a major disruption among the people affected by the decision. The awarding was essentially seen as an affront to Mongolian identity, just another example of Chinese appropriation of Mongolian culture. ChinaÕs motivations for laying claim to Mongolian, and other minority cultural artifacts, lie in its aim to present a wholly uniÞed China to the world. It also increases the prestige of Chinese history, and gives the nation opportunity to further ÒmanageÓ its minority ethnic groups. Mongolia, a nation lacking the capital and inßuence of its southern
Thalea StokesApril 18, 2015MIDSEM Annual Meeting 2015Urbana, IL
neighbor, has great incentive to promote and preserve its cultural artifacts in order to be considered a major player on the world stage. When these cultural artifacts are presented to the world through the auspices of these nation-states, however, the voices of the people often become overshadowed by national and global interests. The preservation of these cultural artifacts might be better served through heavier mediation by and attention given to the lived experiences of the people involved rather than claims made by states. That is, these cultural artifacts, rather than existing as museum pieces that serve as indicators of entire nations, should be rejoined with the people who largely created and actively maintain them, and presented as inseparable elements of a larger, more informed, and more accurate cultural whole.
Thalea StokesApril 18, 2015MIDSEM Annual Meeting 2015Urbana, IL
Bader, Julia.
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. Cambridge: Open Book Publishers CIC Ltd., 2012.ÒChina, Khoomii Not Yours DonÕt Register in UNESCO.Ó Published January 18, 2010. Accessed March 15, 2015., Thalea C. ÒAcross the Red Steppe: Exploring Mongolian Music in China and Exporting it From Within.Ó MA thesis, Western Michigan University, 2013.DÕEvelyn, Charlotte. ÒThe Power of Recognition: UNESCO and the 2009 Throat Singing Controversy in Inner Mongolia, China.Ó Lecture, UCLA, Los Angeles, CA, March 5, 2014.Gardner, Lisa. ÒMongolia and China Mark Ancient Cultural Ties.Ó
Al Jazeera 
, August 31, 2014. Accessed March 15, 2015., Andrew. ÒA Showdown Over Traditional Throat Singing Divides China and Mongolia.Ó
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Thalea StokesApril 18, 2015MIDSEM Annual Meeting 2015Urbana, IL
ÒText of the Convention for the Safeguarding of the Intangible Cultural Heritage.Ó Accessed March 15, 2015.
Cultural Policy in the Mongolian PeopleÕs Republic: A Study Prepared Under the Auspices of the Mongolian National Commission for UNESCO 
. Paris: United Nations Educational, ScientiÞc and Cultural Organization, 1982.Zoljargal, M. ÒMongolian Saddle Submitted as Chinese Cultural Heritage.Ó
The UB Post 
, April 30, 2013. Accessed March 15, 2015.



Mongolian throat singing is crazy – Matjoez in China #3

Mongolian throat singing is crazy – Matjoez in China #3

Published on Sep 10, 2017

287 // Mongolian throat singing or overtone singing is probably the weirdest sound I’ve ever heard lol. ►► Become a Patron here: ► Subscribe here: ► Instagram me: ► Snap me: ► Facebook me: ► Tweet me: M Y C A M E R A G E A R………… — Frequently Asked Questions — What do you do for a living? – I am a commercial timelapse photographer. This means people or brands hire me to produce timelapse or hyperlapse footage. My clients include Canon, Microsoft, Tourism Dubai, Australia, Philippines, etc. What’s with the vlogs? – I was inspired to start vlogging by the vlogging greats such as Casey, Louis and others. I love seeing the behind the scenes of the industry and I hope you enjoy mine! Where do you live and where are you from? – I live in Sydney, Australia. I moved here from Antwerp, Belgium in 2013 in the pursuit of love and adventure! Ja, ik spreek nederlands. What gear do you use? – I use a lot of Canon cameras, mainly the 1DXII and 5D3 (sometimes 5DSR) with a ton of lenses. Check out for more #matjoez #vlog #timelapse #hyperlapse #photography #behindthescenes #matthewvandeputte #swooshfam #belgianvlog #belgiumvlog #sydneyvlog #australianvlog #australianvlogger #sydneyvlogger