A Trans-Aeolian Transmission production
Research - Concert - Road-Movie around Uyghur Music
People's Republic of China
XINJIANG, TAKLAMAKAN & KARAKORAM
The "XINJIANG, TAKLAMAKAN & KARAKORAM", the first production from the TRANS-AEOLIAN TRANSMISSION, is a research (field-recordings + video shooted) in the Xinjiang area with Uyghurs musicians (shamans, bards and Dolans), then reconstructed with computers and electrical instruments, going into a Neo-Shamanistic Post-Industrial music. On stage, two musicians are playing a documentary/fiction/road-movie/concert on an edited film shot in the depths of the desert of Taklamakan, up in the mountains of Karakoram as well as in the deep-hearts of last cities of the Silk Route. An incredible Post-Industrial New-Shamanistic music. An adventure/creation between Kashgar, Marqit, Iarkam and on the Pakistani, Tajik and Kirghiz borders.
Concert on a Road-Movie.
A creation supported by the Cultural Office of the French Embassy in Beijing. The Premiere (concert) took place at the Zajia Temple in Beijing during the Croisements Festival, the Premiere (concert + film projection) at the Mayakovsky Theatre, Dushhambe, Tajikistan, in March 2015.
- Qara Kun
- Premiere at Mayakovsky Theatre, Dushanbe, Tadjikistan
Making of (photos)
The movie Xinjiang, Taklamakan & Karakoram
Some past events : FMM Sines Festival (PT), Musée des Confluences (F), Festival R.I.O. (F), Croisements Festival (PRC), OFFEST (MK)...
HOW, WHEN, WHERE
In 2012, during a tour in China François R. Cambuzat remained enthralled by the Muslim and Shamanic Uyghur music discovered accidentally in Urumqi. He begins then an exploration and a personal réinterprétation of these musics of rise, pondering and trance.
December 2013, 20 degrees below zero. A first authentic exploration is made in Kashgar and its region, preparing the fulfillment-adventure scheduled in April / May, 2014. Kilometers turn in the meter: Taklamakan is immense. The contacts are made, notes collide, hearts are taking off. In the middle of winter François R. Cambuzat films the first images, edit them after his return in France. " Kashgar 13 " is then a first vision of this journey in Xinjiang.
April & May, 2014. Field-recordings, research and archiving, recordings, compositions, demolition, development and postindustrial misappropriation of archaic musical techniques of the ecstasy, the trance and the flight, comining avant-rock and electronics up with the muqams of Dolan People. An improvised then recomposed music, a neo-shamanistic and postindustrial ceremony. Besides recording and composing music, François R. Cambuzat and Gianna Greco film hundreds of hours of this adventure-creation which will be edited in an awesome Musical Road-Movie : « Xinjiang, Taklamakan & Karakoram ».
« Xinjiang, Taklamakan & Karakoram » is supported by the Cultural Office of the French Embassy in Beijing.
Live in concert-projection :
François R. Cambuzat : field-recordings, composition, electronics, voice, guitars.
Gianna Greco : bass, electronics.
On a projection of videos shot in wandering in Xinjiang.
About the creation :
The research project (collect, filing and study) that Mr. François R. Cambuzat proposes to devote to the “Neo-shamanism post-industrialist” in the Uyghur Autonomous Region of Xinjiang, People's Republic of China, deserves all our attention for the following reasons. As an anthropologist of the Uyghur religious cultures and in particular of the syncretism Shamanism-Islam, I can only encourage another approach complementary to the work which I could undertake to understand the question of the shamanism in Xinjiang, and that of Mr. Cambuzat appears completely relevant to me and original. Mr. Cambuzat would like, indeed, to make discover, through his experiment of musician, this shamanic Uyghur music of devotion which pushes men to search through a “transe” (input in “oneself” or left “oneself”) the contact with a “terrifying” invisible (by its beauty or its horror). This invisible, in the Islamized shamanism of Xinjiang, is populated by beneficial and malicious spirits that the shaman can charm and allure thanks to his musical instruments (drum, viol or lute) and his songs. Mr. Cambuzat thus intends to clarify the interior, as a musician and not as a ethnomusicologist, the operation of this chamanic music, the role of the instruments and to determine the influence that those could exert on the profane musics, while resting on a collaboration with groups of young Uyghurs musicians. Let us note, while passing, that Mr. Cambuzat has solid competences in Eastern music and Sufi music (studied in Tunisia) which constitute an invaluable asset for this project, insofar as the crossing between Islam and shamanism, in Xinjiang, is more precisely a crossing between the shamanism and the Sufism. The final interest of Mr. Cambuzat for this music which seeks, he indicates, “rise, sweat, blood, tears and poetry”, which often cultivates the dissonance and which serves as many therapeutic cures, is “to recompose” this one with traditional instruments, electrical instruments and computers and to give it a new direction and more widened listening. I thus bring, consequently, a firm support for this original project and innovator which crosses the study, search and the artistic creativity. Paris, June 26-2013.
Thierry Zarcone - Research Director at CNRS, Group Religions Societies Secularity - Sorbonne, Paris, France
About Kashgar 13 :
"I am standing in the Spanish sun, crying my eyes out at the beauty and majesty of this glorious evocation (Kashgar 13). So absolutely breath taking, it is the most heart breaking/heart repairing tribute to life, love and creation you have ever accomplished.Thank you so much for your spirit, energy & love. Your existence justifies my own. Thank you again, with tears of joy... Your sister, Lydia Lunch."
Live @ Jardins Efémeros Festival, Viseu, PT