Elements
Folk long song performance technique of Limbe performances - circular breathing
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Manage No, Sortation, Country, Writer ,Date, Copyright Manage No EE00000128 Country Mongolia ICH Domain Performing Arts Address “Folk long song performance technique of Limbe performers – Circular breathing" is a unique heritage which has survived only among few apprentices of L.Tserendorj (1908-1989), the last renowned main representative of the element. Currently, the element is being practiced among 14 individuals in total, 5 in Ulaanbaatar city, 1 in Uvurkhangai, 2 in Zavkhan, 1 in Govi-Altai, 1 in Khovd, 1 in Umnugovi, 1 in Dornogovi, 1 in Tuv andn1 in Darkhan-Uul Provinces each.
| Description | The Limbe is one of the ancient musical wind instruments of nomadic Mongolians. The limbe is a side-blown wind instrument, mostly made of hard wood or bamboo. It is considered as one of the valuable traditional musical instruments among Mongolians for its unique technique and characteristics such as producing euphonical melody, melisma, hidden tune associated with circular breathing, and its performing techniques of skillful and delicate movements of fingers and tongue. Over the long historic development of Limbe performance, Mongolians have created the unique technique of playing Limbe using circular breathing. Circular breathing technique of the Limbe performance is closely interconnected with the traditional mentality of Mongolians, traditional folk long song and the vast steppe. The circular breathing technique of the Limbe Performance comprehensively corresponds to the characteristics of the melody of Mongolian folk long song, particularly adequate for performing the folk long song with prolonged and melodic tune for its entire duration without any pause. Limbe is one of the main instruments that perform unilaterally the melodies of traditional folk long song or accompany its performance. While performing a folk long song, it is customary for Limbe performers to use the technique of circular breathing. Limbe has the ability to comprehensively express and support the manifestation of folk long song, its slow pace and expansive wide ranging flow of melody. Its continuous melody serves as a support during the singer's pause for inhaling and thus enriches the song's melody as well. 'Bituu amisgaa' means 'hidden circle of breathing'. Performing with circular breathing is a complex technique of uninterruptedly continuing the activity of expelling the air stored in a mouth cavity to play the melody and at the same time inhaling air into the lungs through the nose and transferring it to the mouth cavity. The distinctiveness of the technique to circular breathe lies in the ability of intentionally changing the normal way or process of breathing, thus creating the circular bond of continuous air flow by inhaling and exhaling simultaniously. The first step in mastering this technique of Limbe performance is to learn in the ability to inhale gently neither stopping the flow of blowing nor interrupting its tone of melody. The second step is to learn to play the Limbe with the ability to completely express the melody of traditional folk long song, its manifestation, phylosophical view by perfectly possessing the technique of producing ornamentation, coloratura, melismaa and shurankhai (falsetto) which requires one's true endeavours and hard work, talent and sense of acoustics. In this sense, it can be concluded that the element ""Folk long song performance technique of Limbe performers – Circular breathing"" finds its true form or fulfilled from within the inseparable interconnection of circular breathing technique of the Limbe and its performance of folk long song. The ""Circular breathing"" is a great achievement of nomadic Mongolians derived from their creativity, result of the exploration and necessity of their daily life. The origin and development of circular breathing is closely bound up with the skills and knowledge of ancient craftsmen or metalsmiths who specialized in gold and silver. Early Mongolian craftsmen used circular breathing techniques for crafting various decorative and ornamental items including valuable jewelries. In crafting such items, craftsmen were required to blow continuously to the flame through a pipe with needle like hole, in order to make the hard metal melt or soften. In that regards, the craftsmen had to blow gently to the flame through the pipe bitten in their mouth, continuing as long as possible. From such necessity of lifestyle, craftsmen have mastered the technique of circular breathing, creating a circular-like cycle of breathing, simultaneously inhaling through their nose while blowing without any pauses. It can be considered that the introduction of the circular breathing technique by craftsmen in the art of Limbe was a new and productive invention in its performing technique. The traditional method of learning the simultanious act of inhaling and exhaling has a coherent sets of training forms, ranging from elementary to advanced which include continuous blowing act at a candle light or a flame without extinguishing it and blowing through a straw into a glass of water. The technique of circular breathing performance of the Limbe has valuable significance that could equally be practiced for other wooden wind instruments (Mongolian traditional wind instruments: Bishguur, Byalar, Hornpipe; non traditional: Clarinet, Saxophone, Oboe, etc.) and is an outstanding example of musical performing techniques created by humanity, consituting one of the distinctive forms of intangible cultural heritage in need of urgent safeguarding. This traditional element of ""Folk long song performance technique of the Limbe performers-Circular breathing"" has been handed down by and preserved among renowned Limbe performers: L.Tserendorj, L.Maam, M.Dorj. Nowadays, the second generation apprentices of these well-known Limbe performers are the main bearers and holders of this traditional art. But the existing few number of these bearers of the element has become the biggest concern for its further viability. Currently, there is a high risk of possibility that the tradition of this element could dissappear from its existence. One of the factors causing the element to dissapear is inevitably the significance of decrease of current groups and individuals of artists and practitioners of traditional folklore in numbers and changes in the traditional repertoire. The main change of repertoire in traditional folklore has caused by the tendency to absorb classical or modern forms of view, and the predominance of western methodology in training system. Additionally, the intense globalization and urbanization changes are the factors causing to diminish the value and tendency towards intangible cultural heritage among general public, particularly among younger generations. Today, some of the urgent objectives for us are to promote, safeguard and transmit the element to the younger generations, to ensure its further existence and viability. |
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| Social and cultural significance | Over the long historic development of Limbe performance, Mongolians have created the unique technique of playing Limbe using circular breathing. Circular breathing technique of the Limbe performance is closely interconnected with the traditional mentality of Mongolians, traditional folk long song and the vast steppe. The circular breathing technique of the Limbe Performance comprehensively corresponds to the characteristics of the melody of Mongolian folk long song, particularly adequate for performing the folk long song with prolonged and melodic tune for its entire duration without any pause. Limbe is one of the main instruments that perform unilaterally the melodies of traditional folk long song or accompany its performance. While performing a folk long song, it is customary for Limbe performers to use the technique of circular breathing. Limbe has the ability to comprehensively express and support the manifestation of folk long song, its slow pace and expansive wide ranging flow of melody. Its continuous melody serves as a support during the singer's pause for inhaling and thus enriches the song's melody as well. 'Bituu amisgaa' means 'hidden circle of breathing'. Performing with circular breathing is a complex technique of uninterruptedly continuing the activity of expelling the air stored in a mouth cavity to play the melody and at the same time inhaling air into the lungs through the nose and transferring it to the mouth cavity. The distinctiveness of the technique to circular breathe lies in the ability of intentionally changing the normal way or process of breathing, thus creating the circular bond of continuous air flow by inhaling and exhaling simultaniously. The first step in mastering this technique of Limbe performance is to learn in the ability to inhale gently neither stopping the flow of blowing nor interrupting its tone of melody. The second step is to learn to play the Limbe with the ability to completely express the melody of traditional folk long song, its manifestation, phylosophical view by perfectly possessing the technique of producing ornamentation, coloratura, melismaa and shurankhai (falsetto) which requires one's true endeavours and hard work, talent and sense of acoustics. In this sense, it can be concluded that the element ""Folk long song performance technique of Limbe performers – Circular breathing"" finds its true form or fulfilled from within the inseparable interconnection of circular breathing technique of the Limbe and its performance of folk long song. The technique of circular breathing performance of the Limbe has valuable significance that could equally be practiced for other wooden wind instruments (Mongolian traditional wind instruments: Bishguur, Byalar, Hornpipe; non traditional: Clarinet, Saxophone, Oboe, etc.) and is an outstanding example of musical performing techniques created by humanity, consituting one of the distinctive forms of intangible cultural heritage in need of urgent safeguarding. |
| Transmission method | The survival of this traditional element until today is inevitably and largely due to the work and efforts of L.Tserendorj, M.Dorj and their apprentices. The groundwork to include the tradition of ""Folk long song performance technique of Limbe performers – Circular breathing"" in the contents of professional educational programs was successfully done by the late Honored Limbe performer L.Tserendorj. The Limbe performers, D.Enkhtaivan (1955-1997), M.Badam (1950-2008), Galsantogtokh, P.Purevjav (1946-2009) and U.Batjargal are the second generation of skilled Limbe practitioners who have successfully inherited the technique from the elder Limbe performers. Today, the Limbe performer-teachers N.Jambaljamts, Ch.Davaajav, L.Altansukh, Ts.Tsevegsuren, M.Tsengelsaikhan and G.Nyamjantsan are the practitioners continuing the element. This traditional circular breathing technique of the Limbe performance is the most important and valuable element among these practitioners which signifies and identifies their significance and the cultural meaning within them. Currently, the frequency and extent of this traditional element's practice is not stable or steady, being limited by the only few numbers of contests or performances of individual artworks being organized among few Limbe practitioners. Currently, the functions of the element being taught at the Mongolian Palace for Youth in Ulaanbaatar city, professional Institutes of the capital city, Ulaanbaatar, including the ""National University of Arts and Culture"", ""College of Music and Dance"", at the ""College of Music and Dance"" of Zavkhan Province. However, due to the few numbers of students and the facts that their lack of ability of mastering in the technique of circular breathing from middle stage which requires their effort and hard work to challenge its prerequisites, the element is not being fully transmitted and inherited to every student. From other point of view, the viability of the element is being limited due to the circumstance that the Limbe performers and practitioners are being located far apart from each other, which resulting in the decline of their unification towards the common efforts for ensuring the sustainability of the element. There are other communities and nations in the World that possess wind instruments similar to the Limbe. These instruments differ from each other by their names, traditions and designs. The performing techniques differ as well. But the tradition of the blowing with circular breathing technique of the Limbe performance has been handed down in close interconnection with the traditional folk long song. The technique of circular breathing is situated not in the Limbe instrument itself but in the distinct ability of Limbe performers and their traditional repertoire. Hence, the safeguarding the element requires to safeguard the technique along with the traditional repertoire of folk long song melodies. There are very few Limbe performers compared with practitioners of other types of instruments. Particularly the Limbe performers who have mastered the technique of circular breathing are even fewer. Not every Limbe performer can perform with technique of circular breathing. Having few Limbe performers nationwide who have fully mastered the technique, clearly demonstrates the urgency to revive and safeguard this element of intangible cultural heritage. Today, there are no Limbe players comparable to earlier ones who performed the traditional folk long song melodies. The percentage of the repertoire of artworks that utilize traditional method among professional musicians, and the number of Limbe performers familiar with the melodies of folk long song have tremendously decreased. The aforementioned issues are the warnings of the immediate danger of the element's disappearance. This is evident that the separation of Limbe performance from its traditional way of performing, its livelihood and associated customs and rituals, which caused it to move to stage-performance are the main factors causing the decrease of traditional repertoires of Limbe performance. In general, the totally new factors of threat and risk to the viability of the element are the urbanization, globalization and modernization. According to these facts, it is inevitable that this traditional element is on the verge of danger disappearing. The decrease in Limbe performers who mastered the technique has caused a misbalanced correlation between traditional and contemporary methods of learning the technique and the predominant tendency towards professional training as well. There are also no structural policies for better social incentives and allowances for Limbe performers who have mastered the element than ordinary Limbe performers. At the moment, it is undeniable that there is no active work is being done for popularizing and introducing the master Limbe performers to the public. For the last decade, not one outstanding Limbe performer of the time or virtuoso was born among existing Limbe performers. From one point, this has been caused by the very few pieces or compositions were produced by professional music composers that can display and demonstrate the magic of circular breathing, or can test the skill and ability of Limbe performers. From another point, creative research work on the traditional repertoire of Limbe performers is poorly done. The urgency for implementing work to safeguard this traditional element is an integral part for safeguarding the diversity of cultural expressions of humanity. |
| Community | Members of the "Mongolian Association of Limbe Performers", including descendants and apprentices of generations of the late "Renowned and Honored Musician of Mongolia" titled Limbe Performer Tserendorj Luvsandorj(1909-1989). |
| Type of UNESCO List | List of Intangible Cultural Heritage in Need of Urgent Safeguarding |
| Incribed year in UNESCO List | 2011 |