KORKUT2026

Мәңгілік жел салтанаты

II Korkut үн өнері триенналесі

Триеннале дыбысқа және дыбысты қабылдауға арналады әрі институционалды шекаралармен шектелмей, кең диапазонды дыбыс практикалары үшін кеңістік жасайды. «Мәңгілік жел салтанаты» жобасы аясында екі ай бойы мұнда дыбыс инсталляциялары орнатылады, дыбысты қабылдау және дыбыс серуендері сеанстарын қамтитын тікелей іс-шаралар, гибридті дәрістер, пікірталастар мен шеберлік сыныптары, соматикалық перформанстар, сондай-ақ дыбыс мүлдем жоқ немесе ол мүмкін болмайтын орта мен дыбыс рәсімдерін зерттеуге жол ашылады.

«Целинный» заманауи мәдениет орталығы

Sainkho Namtchylak

Growing up in a village in the Republic of Tuva, Sainkho Namtchylak began her career in the 1970s, becoming the first officially recognized female artist in traditional Tuvan diphonic, or overtone, singing — a genre long considered an exclusively male domain.

During the 1980s, she became fascinated with avant-garde music and free jazz, and in the early 1990s, she moved to Austria, where she began collaborating with artists in free improvisation and experimental electronics. There, she developed her own distinctive style, combining Tuvan khöömei with poetry, chants, and vocal practices akin to extreme vocals — redefining expectations of diphonic and throat singing, yet keeping them deeply rooted in their origins as a sacred, spiritual practice centered on the human voice.

Over her prolific and singular career, Sainkho has recorded more than 60 studio albums, including those considered landmarks of experimental, post-traditional music, such as Lost Rivers (1991) and Who Stole the Sky? (2004), which have helped pave the way for new generations of artists working critically within traditional forms. Today, after roughly 30 years in Europe, Sainkho now works primarily in Southeast and East Asia, including Mongolia, Japan, Macao, Hong Kong, Taiwan, Tibet, and East Turkestan, where she performs, creates visual art, conducts overtone singing workshops, and continues to collaborate with experimental musicians around the world.

Live Performance‍

Sainkho Namtchylak will finalize the first day of the Rites of Eternal Wind concert program with an extended acappella improvisation — the purest form of her vocal practice, using only the voice and subtle amplification.

In her philosophy, the voice carries many functions: it is a way of listening to the world and accessing ancestral memory and knowledge; it is also a form of manifestation and a force that creates relationships — not only between people, but also with nature: wind, rivers, birds, and animals. For Sainkho, vocal practice is a form of attentive listening, where the voice becomes more than a means of expression — it becomes a vessel for all the sounds of the universe and, at the same time, their interpreter. As she puts it: “You become them. The idea was always to connect with spirits.”

The Whisperer says:

“As the voice breaks, so too does the land — and it is not the sound that shatters us, but the silence that follows. As the eyes close, so too does the sky.”