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Pop Concert in a Ger |
Near Kharkhorin, Mongolia - August 2001 | |||||||||||||||||||||||||||||||||
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The
sour odour of mares’ milk, wood smoke and the whiff of unwashed
bodies surround us as we sit perched on hard stools, balancing grubby
Mongolian toddlers on our knees. |
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The Mongol Empire, forged by ruthless and bloodthirsty Chinggis Khan, (known to us in the west as Ghenghis Khan) was the greatest empire the world has ever known. At one time it stretched from Korea to Hungary, and as far south as Vietnam. Today, more ethnic Mongolians live in the Chinese province of Inner Mongolia than live in Mongolia itself. A million more Mongolians live in southern Russia, also once part of Mongolia. Though one half of the population now lives in one of Mongolia’s three major cities, each Mongolian has a strong connection to the land, spending many holidays and festivals in touch with the grassy steppes.
Through this landscape of eternal skies and grazing cattle and horses,
we arrive at a group of fake looking tourist gers. Distinctive homes of
the nomad people, the gers are circular felt lined tents that can be collapsed
in just a few hours.The Buddhist Mongolians tell us that there is no such
thing as lucky people – good luck is brought by good actions. Nevertheless
whether it is luck or not, we are invited to a pop concert in a ger given
by Mongolia’s diva, Saraa. She has invited the entire population of the district to a free concert, and the crisp early evening air has been filled with the rhythmic sound of hoof beats as Mongolian nomads gather from miles around. Resplendent in traditional dress, grandfathers right through to the tiniest babies gather for this once in a lifetime experience.
It is unlikely that these nomad people would ever attend one of Saraa’s
concerts, so it is with an affinity for her fellow Mongolians she gives
these free impromptu performances.
Hitching rails are a fixture outside all public places in Mongolia, and
outside the tourist ger camp the rails are overflowing with tethered horses
as groups of nomads continue to arrive, seemingly materializing out of
the vast landscape. Most rural Mongolians wear a heavy one-piece woolen gown known as a del, tied at the waist with a thick sash, and fluorescent orange or yellow appear to be in vogue. oddlers
are smaller versions of their parents, already dark from the elements,
and playing chasey in long gowns and hardy boots. It’s said that
Mongolian children can ride before they run!
The ger where the concert is being held becomes a sea of nutty suntanned
Mongolian faces. The younger, smoother faces are like golden moons, right
though to the creased face of an old man who has clambered to the front.
Sitting with his hand clasped on a young boy’s shoulder, the old
man’s grins toothily as he slaps the boy vigorously with excitement.
My mother gives up her hard stool to a young woman with a young child
in her arms. A chubby faced toddler with plaits perches on my knee, gazing
at me uncertainly. I smile; she smiles back and begins to clap gaily to
the music. Mongolians love to sing
– in fact much of their history has been preserved in long ballads
repeated around campfires. While Western music has begun to become popular in urban areas since the collapse of Russian Communism and its associated austerity, homegrown music has a large following, including the sweet sounds of Saraa. Her voice fills the ger – it is like a family gathering as she sings some of her hits, then invites the crowd to sing folk songs. Their combined voices fill the endless landscape of the grasslands.
Maybe it’s the woodsmoke, the heat, the excitement of the crowd,
but tears prick my eyes. This is a monumental occasion for these nomadic
people who live simple lives in tents on the steppes, isolated particularly
in the barren winter when the temperature can remain below freezing for
months!
We guess Saraa the pop star is like other Mongolians and feels a connection
with the land and nomad life. In Western terms, a “star” wouldn’t
visit a slightly fake ger camp, let alone give free concerts – but
then, why shouldn’t she?
When the communal performance is completed, Saraa gathers her son in her
arms and poses with herder families for photographs and autograph signings.
There is not a security guard in sight.
For us, this was an incredible episode in a foreign land, for them, a
once in a lifetime experience. |
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Copyright Ariana Svenson, 2005 - Comments and enquiries, please email us. |
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