Dickson Dee / Sainkho Namtchylak / Wu Wei: Chai Ching
Art’s Birthday 2011 | produced by Deutschlandradio Kultur | Klangkunst and Berghain |
presented by SPEX
Mo. January 17th 2011
Am Wriezener Bahnhof
10243 Berlin – Friedrichshain
Deutschlandradio Kultur celebrates Art’s Birthday 2011 in the electroacoustic Salon of the Berlin club Berghain. Masters of ceremonies are aether guru Felix Kubin from Hamburg and electronic blogger Dickson Dee form Hong Kong.
Dickson Dee / Sainkho Namtchylak / Wu Wei: Chai Ching
Dickson Dee – electronics, chinese instruments
Sainkho Namtchylak – voice, percussion
Wu Wei – sheng
All across Asia, tea is the common denominator of breaks, conversations and even spiritual experiences. Gunpowder, Oorlong or Gen Mai Cha – the variety of flavours reflects the bandwidth of philosophies underlying the culinary pleasure. Hong Kong electronic blogger Dickson Dee and Mongolian vocal artist Sainkho Namtchylak are now setting this opulence to sound. In 2009, they published their widely acclaimed CD “Tea Opera” on Leo records. For the Art’s Birthday, they bring new material to the aether, and they join forces with Berlin based mouth organ player Wu Wei.
Dickson Dee (aka Li Chin Sung)
Dickson Dee (Li Chin Sung) has been engaged in the music industry for more than 20 years. His career started from importing European independent labels to Hong Kong, China and Taiwan; followed by establishing his own music label Noise Asia, organizing concerts etc. His experience includes distribution, import/export, creation, publishing, promotion, artist management and other kinds of works in the industry. He has made a great contribution to the development of independent music in Hong Kong, China and Taiwan.
In 1996, Dickson’s debut solo album “PAST” was released under Tzadik label (USA). Since then, he began to set foot on the creation field with musical styles ranging from avantgarde to experimental, music concrete, electronic, new classical, industrial noise, dance, electronic world jazz etc. He has performed under different names and formed several bands. For example, DJ Dee for electronic experimental music, Li Chin Sung for music concrete and avantgarde, PNF for industrial noise, Khoomi Sound Machine for electronic world jazz, Dickson Dee for electronic acoustic,sampling cut ‘n’ paste and turntableist. He has collaborated with many artists such as Zbigniew Karkowski, Otomo Yoshihide, Sainkho Namtchylak, Maja Ratkje,Sachiko M,Werner Dafeldecker, Patrick Pulsinger,Cdrk,Tujiko Noriko, Tetsuo Furadate,Yoshida Tatsuya, Keiji Haino,Adichi Tomomi, Astro, Makigami Koichi,Kang Taehwan ,Lawrence English, Electronicat , Park Je Chun, Jonas Hellborg, VJ Milosh, Dr Das, Martijn Tellinga, Huun Huur Tu…. etc.
Dickson set up his personal label Dicksonia Audio beside Noise Asia, which concentrates on the release and publishing of his own works. This provides more freedom and convenience to further develop his creativity.
Besides concerts, Dickson also appears in arts academy and university for workshops and lectures to share his experiences with students, hoping to trigger their interest on sound art and music; furthermore, to give them a better understanding on the different aspects of music.
Sainkho Namtchylak (Сайнхо Намчылак) is an experimental singer, born in 1957 in a secluded village in the south of Tuva, an autonomous Russian state bordering Mongolia. She has an exceptional voice, spanning seven octaves and proficient in overtone singing; her music enmeshes avant-jazz, electronica, modern composition and Tuvan influences. In Tuva numerous cultural influences collide: the Turkic roots it shares with Mongolia, Xinjiang Uighur and the Central Asian states; various Siberian nomadic ethnic groups, principally those of the Tungus-Manchu group; Russian Old Believers; migrant and resettled populations from the Ukraine, Tatarstan and other minority groups west of the Urals. All of these, to extents, impact on Sainkho’s voice, although the Siberian influences dominate: her thesis produced while studying voice, first at the University of Kyzyl, then in the Gnesins Institute in Moscow during the 1980s focussed on Lamaistic and cult musics of minority groups across Siberia, and her music frequently shows tendencies towards Tungus-style imitative singing.
After graduating, Sainkho worked with several ensembles: the Moscow State Orchestra; the Moscow- based jazz ensemble ‘TRI-O’ (since 1989); School of Dramatic Art under the direction of Anatoly Vasiliev (Moscow), various orchestras in Kyzyl although (incongruously) as far as I am aware she has not worked with the Sayaan Ensemble, the Tuvan ‘folkloric orchestra’- a far less sanitised example of folk baroque than, say, existed in pre-independence Kazakhstan- that has housed many of Tuva’s other important singers. However, for several years Sainkho annually invited foreign musicians to Tuva to promote Tuvan culture. In 1997, Sainkho was horifically attacked by Tuvinian racketeers which left her in a coma for two weeks. Again, sources regarding this contradict- others maintain that she underwent surgery for a severe malignant brain tumour; regardless, 1997 marked an appreciable change in her life. Since then, she has been resident in exile in Vienna, and has also recorded more prolifically as a solo artist- although she has released over thirty albums in the past twenty years, only seven have been entirely solo. In 2005 Italian publish house Libero di Scrivere released a book of poetry “Karmaland”. In 2006 in Petersburg was published a book “Chelo-Vek” (in Russian, “A Human Being”) in Russian, Tuvinian and in English.
WU WEI is considered to be the world’s leading avant-garde sheng (Chinese mouth-organ) soloist. After studying sheng – a 4000-year old Chinese folk instrument – at the renowned music conservatory of Shanghai as a Master’s student and working in the traditional Chinese musical Orchestra of Shanghai as a soloist, he was awarded a DAAD scholarship in 1995 to study in Berlin at the Hanns Eisler Academy of Music. He has lived in Berlin ever since.
Wu Wei is world-renowned for his abilities in the realms of modern and improvised music, jazz-influenced music, new music, minimalist music, and numerous other styles, which he performs on his modern discant sheng of 37 pipes. He has also found hidden sounds on the instrument and creates new sound-worlds for the new music style, but in his own musical expressions and sound-colors. He uses the tableau of classical Chinese music and enhances it with contemporary structures and musical ideas. He creates new musical dimensions for traditional Chinese instrumental music.