Suyilatu

01 · Lineage & Regional School

Suyilatu, Male, Mongolian, from Abagaqi, Inner Mongolia, is a fifth-batch national representative bearer of Polyphonic Folk Songs (Ⅱ-30). The tradition is documented in Abagaqi, Inner Mongolia. Within the regional tradition and school record of Polyphonic Folk Songs in Abagaqi, Inner Mongolia: The Abaga chaor is distributed mainly in the Mongol areas of settlement of Abag banner in the Xilin Gol league of Inner Mongolia, where the local chaord tradition is relatively completely preserved; representative pieces include Erite Chagan, Alatan Arula, Handele Hei, The Holy Lord Genghis Khan and Cheburi Saihan Hori. Chaord probably originated about the end of the twelfth and the beginning of the thirteenth century and reached its height in the late Ming and early Qing, circulating mainly in the Mongol areas of settlement around Xilinhot city and Abag banner in the Xilin Gol league of Inner Mongolia. The Abaga chaor is a branch of chaord current in Abag banner, and to this day it preserves a strict order of pieces and solemn occasions of singing.

02 · Mastery & Signature Works

Male, Mongolian, born in March 1966 in Abaga Banner, Inner Mongolia Autonomous Region. A music lover since childhood, from 1983 he studied Abaga chaoerdao singing under the renowned morin khuur, long-song and chaoerdao master Mashibatu, becoming one of Master Mashibatu's three principal disciples. From 1985 he continuously studied and investigated the singing techniques and repertoire of Abaga chaoerdao, explored and summarised its cultural lineage and historical traditions, and polished his skills in exchanges with folk artists of chaoerdao, so that his artistic level matured steadily. His Abaga chaoerdao singing has a rich timbre and a grand momentum. Within the documented technical tradition of Polyphonic Folk Songs in Abagaqi, Inner Mongolia: Chaord is an ancient and distinctive form of multi-part folk-song singing of the Mongol people. The traditional chaord consists of the two parts of the long song and the chaor, one above the other, and its singers are generally men; chaord of later development also includes women. The singer produces different notes and timbres with the voice, adjusts the shape of the mouth, and by resonance of the chest cavity produces the marvellous harmonic effect of two notes at the unison and the octave. The Abaga chaor is what we commonly call chaord. The content of chaord pieces is dignified and solemn, of ancient meaning and profound philosophy. It may not be sung on ordinary occasions such as small gatherings of relatives and friends in daily life, nor mixed with love songs or satirical songs; it may be sung only on solemn occasions such as state memorial ceremonies, obo sacrifices and the promotions of princes and nobles, or at grand and magnificent mass assemblies. The singers must be neatly dressed, with Mongol men wearing all their ornaments (such as the Mongol knife and the fire steel) complete, and standing majestic and upright before the presiding seat of the gathering or in the very middle of the yurt to sing in solemnity. Chaord pieces have a strict order of sequence. In affairs of state, for instance, one must first sing Erite Chagan, then Narmotu Manduhu, and finally end with The Holy Lord Genghis Khan. The pieces current in Abag banner include chiefly Erite Chagan, Alatan Arula, Handele Hei, The Holy Lord Genghis Khan and Cheburi Saihan Hori. Representative repertoire, works and technical entries recorded for the project include: "Erite Chagan": In affairs of state ceremonial the first piece to be sung, followed by Narmotu Manduhu and ended with The Holy Lord Genghis Khan. "Alatan Arula": One of the pieces of the Abaga chaord current in Abag banner, Inner Mongolia. "Handele Hei": One of the pieces of the Abaga chaord, sung on solemn occasions such as obo sacrifices. "The Holy Lord Genghis Khan": The closing piece of the chaord sequence in affairs of state ceremonial.

03 · Transmission & Safeguarding Status

He is a representative bearer of polyphonic folk songs (chaoerdao, Abaga chaoer), a fifth-batch national intangible cultural heritage project. In recent years he has repeatedly organised Abaga chaoer singing training classes in his home region and has trained more than thirty bearers.

04 · Associated Heritage Item Dossier

05 · Fellow National Bearers Lineage

National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.

06 · Archival Sources & Bibliography

1. Suyilatu · National Representative Bearer Archive