BULANG IN YUNNAN CHINA, by KINK GONG 2012

BULANG IN YUNNAN CHINA

by KINK GONG 2012

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	1.	LOVE SONG responsive singing 08:36
	2.	LOVE SONG responsive singing 04:45
	3.	WELCOMING SONG 01:45
	4.	SONG OF PRAISE responsive singing 05:56
	5.	THE YOUNG GIRL IN LOVE responsive singing 03:10
	6.	FRIENDS FOR EVER responsive singing 08:20
	7.	DING solo 01:06
	8.	DING solo 01:30
	9.	DING solo 01:10
	10.	DING solo 01:20
	11.	DING solo 01:01
	12.	DING solo 01:37
	13.	DING solo 00:50
	14.	DING solo 01:14
	15.	DING solo 00:46
	16.	SONG TO LEAVE 01:45

about

BULANG IN YUNNAN CHINA

Less than 100 000 people, the BULANGs live mostly in Xishuangbanna southern prefecture of Yunnan, and smaller populations in neighbouring Myanmar, they belong to the Mon khmer ethno linguistic group and most of them have adopted Theravada Buddhism from the Dais. Daluo at the boarder with Myanmar seems to benefit from a governmental project intending to keep up those traditional songs, encouraging local people to learn, probably trying to develop ethno tourism, planning to set up a local ethnic zoo in the future in the area.
AI SAI JIAN 39 years old man makes and performs DING a lute as big as a guitar with 2 double strings, he also teaches DING to young people and sings with AI JOY a 42 years old woman, There s 9 different tunes (called SO in bulang language) to be played with a DING lute, solo or with singing.
1, 2 love songs, responsive singing with DING lute
3 welcoming song performed by AI JOY
4 responsive song between man and woman, praising the guests and leaders ( in that case the communist party ) with DING lute
5 song about the young girl in love, responsive singing with DING lute
6 song about making friends for ever, responsive singing with DING lute
7 to 15 DING solo, the 9 different SO
16 song for leaving performed by AI JOY

RECORDED BY LAURENT JEANNEAU in Manxi village outside of Daluo, Xishuangbanna, Yunnan, China, november 2012

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released November 22, 2012

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kinkgong Berlin, Germany

Under the name KINK GONG you find 2 activities, the 1st one is to record ethnic minority music mostly in south-east Asia, the 2nd is to transform, collage, recompose the original recordings into experimental soundscapes.

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