Author Archive

Radik Tyulyush & Tanya Tagaq (Nacreous)

RADİK TYULYUSH and the project “CHALAMA”

Radik Tyulyush and the project “Chalama”. Chalama means coloured ribbons tied to the branches of the sacred trees and at the sacred places (ovaa) in Tuva. Chalama for the Tuvinians is a prayer, respect to the nature and the ancestors. Music of the Tuvinian people is one of the nomads – the people who closely connected and are in contact with the nature and wildlife. Therefore you can listen to special sounding – imitation of ambient sounds, which are converted into a song. When you listen to Radik’s singing – you can hear the nature, something very natural, consonant with the soul and at the same time harmonizing the inner state, as if it were a mantra. The music of the project is an atmosphere, which can be felt enough only at a live concert, when everybody and everything is “here and now”, when the live music is borning. Sincerity and perfect singing and playing the Tuvinian musical instruments sounds like water in a mountain spring, and everyone is impressed with the performance. Despite the fact that this music is very unusual for the perception of it is fascinating with not only the technique and sounding, but also a special flavor, because in this music you can also hear echoes of the ritual, shamanic singing, but the songs have no religious background. As Radik says, who briefly retells the meaning of each song before the singing, these songs are about love, about the beauty of a girl, about nature, about the styles of throat singing and impetuous running of a horse … Radik Tyulyush sings traditional Tuvinian songs and his own songs, designed to reveal the musical heritage of the Tuvinian people. Despite the presence of modern musical “components”, this music is really popular, almost like in its original form, but not rigid framework. It is free, it is on the brink, keeping the traditions and showing some new sounding like any phenomenon that is constantly evolving with the passage of time, becoming deep and wise. The other participants of “Chalama” project are Sergey Kalachev known as Grebstel (he plays a bass-guitar) and Gennady Lavrentyev (he plays tabla-Tarang and violin). The permanent members of the project create joint truly amazing and fascinating fabric of eternal music. Text: Anna Rzhevina




Huun Huur Tu Concert in Wroclaw, Poland (Sygyt , Borbannadyyr Styles Throat Singing )

Radik Tyulyush, Hoomeim, new version by Le Shaman

What is the role of traditional clothing?

What is the role of traditional clothing?
For outerwear, the Tuvan ton, a robe-like garment made of silk, was traditionally considered to be the most practical and functional. Silk is a very strong and durable material. The tradition of making tons from silk goes back centuries. Belts were usually made of either leather or silk. Silk belts are 5-6 meter-long strips of silk that are wrapped around the waist of ton several times. The method of tying a silk belt helps to prevent injury because it offers additional support when riding on horseback. A similar method is still used to protect the spines of post-operative patients in neurosurgical departments of hospital, but they use a cotton sheet instead of a departments of hospital, but they use a cotton sheet instead of a silk belt. Historically, nomads used a very strong, non-stretchable fabric as a belt or corset. Men most often used red silk, but with the penetration of Buddhism into Tuva, the belt gradually started to “yellow”
Snug-fitting ( but not too tight ) clothing will allow one to work comfortably, to be able concentrate on oneself, and to be able to breathe calmly and in a relaxed fashion using the pectoral muscles. You can see this among most of the professional khöömei masters-Sergei Ondar, Kaigal-ool Khovalyg, Igor Köshkendei, Andrei Mongush, Möngün-ool Ondar, Aldyn-ool Sevek, and others. When they are performing khöömei they close their eyes and joyfully immerse themselves in a creative state of inspiration as their innate natural energy awakens.
Consequently, the ethical value of ethnic music does not depend on the musician’s clothing, but rather on this moral make-up. Do not try to dazzle your listeners with the brilliance of your clothing. Good taste is like a good ear for music-you either have it or you don’t. You must respect your audience and show this respect both through your behavior and your dress. Learn how to smile, how to greet people. You have free will; learn how to use it to to change your surroundings. As a creative person you should be confident in your abilities. And you should strive to achieve your goals.
To reach the consciousness of your listener with your performance, you must be able to express the best side of your individuality. Learn to serve the art; do not try to make the art serve your own worldly purposes.
This publication is protected by the law of the Russian Federation ob avtorskom prave ( ” On copyright”) .

“Oskus Urug” Performed by Radik Tylyush, Arranged by Mapa



Believe it or not, the camel was once the most magnificent of all the animals! It’s true! He had beautiful big horns with golden tips, and a long thick, bushy tail.
Day after day the camel used to stand beside the river, admiring his reflection in the water.
One day while he was standing there, down from the hills came the Siberian stag. ” Ekii, Teve!” said the stag. This is the way to say, “Hi camel!” in Tuvan. ” My brother,” he went on, ” you have the most magnificent horns I have ever seen. Won’t you loan them to me? I’m going to a party and I’d like to get dressed up.” ” My horns? ” said the camel. ” I’d hate to give away my horns.” ” Dont worry,” said the stag, ” I’ll bring them right back tomorrow.” ” Tomorrow? All right,” said the camel, ” But make sure that you do.” And so Teve the camel took off his magnificent horns and loaned them to stag. The stag ran off into the mountains.
Teve stood beside the river, admiring what was left of his reflection. Pretty soon along came the horse. “Ekii,Teve!” said the horse. ” My brother, you have the most beautiful tail I have ever seen. Won’t you loan it to me? I’m on my way to a horse-race, and I’m sure I’d win if ı had your tail.” “Chock!” said the camel. That is the Tuvan way to say, ” No!” ” I already loaned out my horns and I just can’t load my tail too.” ” Don’t worry, brother. I will bring it right back after the race is over.” ” You’re sure?” said Teve. “All right, but make sure you bring it right back.” He took off his long, thick, bushy tail and gave it to the horse. The horse galloped away across the steppe.
The camel stood there beside the river, peering off into the distance, looking for his friends. He waited all day. He waited the next day, and the day after that. Neither the stag nor the horse ever came back. The stag stayed far away in the mountains and forests. As for the horse, whenever he meets a camel, he shies away.
And from that day to this, the camel has remained the angriest of all the animals!

KYZYL 2010,TUVAN LEGENDS AND TALES, Konstantin Khlynov

Photo :

Photo :

The Nomad’s Blog for Nomads / Radik Tyulyush

Radik Tyulyush is an outstanding musician from The Republic of Tyva. He was born in Solchur, Övür province of Tuva, on the border with Mongolia.

Already in his late school years and with schoolmates, Radik’s started a pop rock band YER. It became extremely popular in Tuva in 1993. Later there were a five-years long break, and YER returned to the stage in 2009. Radik says: “I write songs and arrange them for YER. The band attracts me with the possibility to share my own vision of the contemporary music.”

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A long time ago there was Ösküs-ool, who lived with his aged father and whose entire wealth consisted of three goats. Early in the spring, one of the noyon old mares foaled and died of exhaustion. The noyon ordered the foal to be taken to the steppe and thrown to the wolves, saying that losing one foal wasn’t going to make him poor. Ösküs-ool took pity on the foal, taking him as his own and feeding him on the milk of his own goats. The foal grew up to be a wonderful grey racer with a white star on his head. In the races Ösküs-ool’s horse began to beat all the noyon’s horses and won fame throughout Tuva. Out of hatred and spite the noyon ordered his men to kill Ösküs-ool’s horse, and they drove her over a high cliff.

Ösküs-ool, not finding his beloved horse anywhere, passed out from fatigue, dreaming of his horse who spoke to him with human voice. ” You will find my remains at the bottom of great cliff. Hang my skull on an old larch tree, the wood of which you will use to make musical instrument, and its face ill be the skin of my muzzle, and its strings will be of the hair of my tail. When you begin to play on this instrument, my double will come to you from the upper( heavenly ) kingdom.” Ösküs-ool did all this as his horse had said in the dream and began to play. He remembered his horse, how was a small little foal and how they played together, he remembered how they won the races, and he played and wept, and it was as if the instrument wept together with him. Ösküs-ool become angry thinking of the evil noyon, and all of his longing and anger found reflection in his playing, and that’s why it is said that the igil is such a complex instrument, with such great expressive possibilities.

Öksüs-ool played for a long time, and the people listened for a long time and laughed and cried together with him as they listened. Suddenly on top of a high mountain the clouds parted and there came down from the heavens a beautiful grey foal – an exact copy of his horse, and he wasn’t alone but with him was an entire herd of black and white horses.

From them on, so they say, Tuvans do not throw the skull of a horse on the ground, but always hang it on a tree. This tradition was strongly preserved in Tuva until the 40s.

Konstantin Khlynov

Radik Tyulyush painting by Azhykmaa

Radik Tyulyush painting by Azhykmaa


Is there a connection between khöömei and shamanic rituals?

The shaman acts as the physical manifestation of supernatural forces. As a representative of an animistic religion, the shaman, like ancient priests, used to heal people with the melodic, droning sounds of khöömei and with the khomus, which was known as aza dyly – the “devil’s tongue.” A few small silver bells were sewn onto the back of the shaman’s robe. According to the Tuvan shamaness Dürzü from Tsengel sumon (county) in the Bayan-Ölgii region of western Mongolia, simply the glint of the silver bells made all the evil spirits which are around immediately fly away.

The khomus a sounds of khöömei were traditionally considered to be paraphernalia of female shamans. Tuvan shamans believed that the ringing of the bells made black clouds disappear and evil spirits go away. Tuvans always thought of the bells that were attached to the back of shamanic robes as living beings, in many ways similar to humans.The belief in the beneficial effect of the bells sewn on the back of a shaman’s robe is based on the fact that humans’ inner organs are attuned to certain tones, and the whole body is a sensitive musical instrument that resonates with the surrounding sound field. The lower tones of khöömei have a calming effect, while the higher tones have a stimulating effect. The ringing of bells heals children with mental disorders. It was even a custom in Tuva to put people “possessed” by spirits “under the shaman’s robe,” as the evil spirits that beset such people could not endure the sound of bells. The same would be done to children who had suffered a severe fright. And when a woman gave birth to a child, the shaman would sing kargyraa.
Why were khöömei and kargyraa, when performed as part of shamanic rituals, associated with treating women during childbirth? Could it be that khöömei is a central energy “channel,” the “core* of the human body or of the spinal cord? The problem is how to teach every person to turn his attention inward, inside himself. Our internal being is the manifestation of that energy that is called the energy of the universe.




This publication is protected by the law of the Russian Federation ob avtorskom prave ( ” On copyright”) .

Photo by  Alexandr Kryazhev

Photo by Alexandr Kryazhev




What is the history behind the developement of khöömei?

The phenomenon of Tuvan throat-singing, with its various styles of performance, continues to amaze people. The spiritual world of the Tuvans, like their lifestyle itself, consolidated and embodied the freedom-loving impulses of the steppe dwellers, the inhabitants of Inner Asia.

If one imagines how endless a steppe road is, how unhurried a Tuvan horse’s tread or pensive a camel’s step is, how far steppe roads and mountain paths stretch, then it will not be difficult to realize that the life of a Tuvan in the steppe is inconceivable without sygyt-khöömei, a symbol of the Tuvan steppe that is as quiet, measured, and interminable as life itself. It is not without reason that Tuvans puzzled ethnographers when they could not answer the question: “How old are you?” The matter was not that they were unable to count. This question itself made no sense to them because time per se was an abstract notion.

Nature created a striking acoustic effect in the mountains and steppes of Tuva, where every loud word echoes with deafening reiterations. Over time Tuvans learned how to extract from these sounds the incomparable melodies that are the hallmark of the Tuvan national singing tradition. This is why from time immemorial Tuvan throat singing has been the eternal companion of singers and storytellers.

A khöömeizhi was a welcome and honored guest in any yurt, who always gave his listeners the gift of his music, born in the heart and soul of his people. The melodies of khöömei accompanied the Tuvan people in all their joys and sorrows.

Khöömei Is a phenomenon close to the soul of the Tuvan people a means of expressing the Tuvan worldview, a symbol of Tuvan spirituality, and the key to the spirit of the Tuvan people. It is in khöömei that Tuvans found consolation in their hour of need ancient times khöömei has helped Tuvans persevere, overcome hardships with dignity, and preserve their humanity.

If a nation loses its own unique identity, it will disappear from the face of the earth. Current data make it abundantly clear that not only of researchers, but also members of the younger generation are trying to preserve the art of singing, as well as the customs, rituals, and traditions of the Tuvan people. By exploring and researching Tuvan throat singing, we are able to revive all genres of musical culture long songs (uzun yrlar), short songs (kiska yrlar), refrains and ditties (kozhamyktar), as well as instrumental works for such traditional instruments as igil, byzaanchi, doshpuluur, khomus (mouth harp), and other bowed, plucked, wind, and percussion instruments

Khöömei is an art that attracts the attention not only of connoisseurs of folk music, but also of all those who would like to learn about the history of the music and the spiritual world of the Tuvan people, and of their lyrical and ritual songs. Every ethnic group has contributed to the development of human civilization and global cultural heritage. Tuvans likewise have their own contribution of great value, which has been passed down for centuries from generation to generation, and that is khöömei. Locals have preserved in memory several techniques of this art, including khöömei, ezengilleer borbangnadyr kargyraa, and sygyt.




This publication is protected by the law of the Russian Federation ob avtorskom prave ( ” On copyright”) .


Radik Tyulyush on SVOIO RADIO by Semion Chaika ( Moscow – Chalama Project ) Live

Radik Tyulyush – The Spirit Of Tengri 2015

Radik Tyulyush – The Spirit Of Tengri 2015

Radik Tyulyush – The Spirit Of Tengri 2015

Radik Tyulyush Concert at The Spirit Of Tengri


Radik Tyulyush on SVOIO RADIO by Semion Chaika ( Moscow – Chalama Project )

Радик Тюлюш (Radik Tyulyush) — певец, композитор, исполнитель традиционного тувинского горлового пения. Организатор и участник группы Уер, Экс-солист группы Ят-Ха (2000-2004), солист группы Хуун-Хуур-ту (2006 — по настоящее время). В 2005-ом был записан первый сольный альбом «Tuva: Spirits of my Land» совместно с этномузыкологом Керол Пег из Кембриджского университета. В 2012 Радик записал второй сольный альбом «Чалама».

Listen The Program on SVOIO RADIO

Radik Tyulyush , Dukley Music Fest announcement with Alexander Chaparukhin

Radik Tyulyush & Yuliyana Krivoshapkina ( My Heart )

Er Le Changys (Fate of a lonely man, folk tune and words) MMDM / MOSCOW 2015