Surprising and sometimes confusing sounds of singer/guitarist Linde Muylaert and guitarist Jeroen Huyzentruyt underlined the expressiveness of Daesung Lee's photographs about the changing landscape in Mongolia.
Linde Mylaert integrates Mongolian song and the Mongolian flute the Tsuur into what she herself calls neofolk/babypunk. Jeroen Huyzentruyt complements her music with his interpretations. “She is the skeleton and I the flesh.”
In their performance Mylaert unexpectedly switches from a soft murmuring rendition to Mongolian singing. It sounds clear, powerful and loud and contrasts with the fragile singer.
She explains her songs. Like the number in which she tells of the camel who after a heavy delivery repels her young, which stops the flow of breast milk and how a medicine woman tries to exorcise the camel to take back her young. The milk is important not only for the young but also for the preparation of medicines.
To ward off bad luck
Another issue is about Mongolian use to ward off bad luck; stacking stones on each other in which flags are put on sticks. Riders who drift across the steppe plains interrupt their momentum when they see such a signal. And do not drive until they have driven around the clock three times and have stepped off.
Music reinforces photos Daesung Lee
The lyrics and music reinforce the indictment that Daesung Lee depicts in his photographs; the changes in the Mongolian landscape that make it increasingly difficult for the steppe people to keep their lifestyles.
When Linde says that she has chosen Mongolia because of the wide space that you have there to be able to speak out, makes seeing the stealthy decline of that space even more intruding.
Report and photo credits: Carla van Gaalen