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TA OI SARAVAN IN LAOS 3

by KINK GONG 2013

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about

TA OI SONGS IN LAOS 3

Estimated 70 000 TA OI people live half in Saravan, and Sekong Laotian provinces, the other half in Vietnam . These so called highlanders belong to the ethno linguistic group of the Mon khmers and like most ethnic groups of Laos, they have been displaced from their forest envirronment by the government of Laos during the last 20 years. It is hard to say when the khen (mouthorgan) became part of the TA OI musical patrimony, it might be recent .

ONG a 32 years old Katang TA OI man and KEO a 50 years old TA OI woman are performing original TA OI improvised duet, using a Lao khen (a 16 bamboo tubes mouthorgan): mo khen and the oratory art of mo lam (improvised singing). KEO sings in TA OI language, a third man (POLAI 50 years old) is hitting a drum. Improvised singing always involve a lot of autobiographic informations about the singer, and the consumption of alcohol guarantees less introvert behaviour. Many themes of this improvised singing are referring to their own history, a 50 years old person is inevitably going to sing about the Vietnam war in which they were tragically involved, love is also a big part , it can be courting, serious or joking, formal or sexual, but also nostalgic, missing someone, the lack of love of an older woman, the lack of money, and everything that make their culture,sometimes borrowing from the lao lam Saravan molam style.

1,2 improvised joking courting song between ONG a 32 years old Katang TA OI man who also plays the khen and KEO a 50 years old TA OI woman singer

3,4,5,6 love songs, sung by ONG, khen performed by VINH a 40 years old NKRIANG (NGE) man

7 KATU song sung by ONG

8,9 NKRIANG songs sung by KEO and khen performed by ONG


RECORDED BY LAURENT JEANNEAU & EMANUEL GSCHIEL in december 2012, january 2013 in Saenveng village, TADLO waterfalls, Saravan, Laos.

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released January 20, 2013

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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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