OVERTONE and THROAT SINGING from Mongolian regions
Learn the way to get the voice of the mountains and steppes
Introductory Courses and Workshops, Retreats, Artistic Projects, Sound Journeys, Vibrational Concerts, Mongolian Music Concert, Conferences, Classes, Artistic and Pedagogical Training, Individual Support
Explore the secrets of the mountains and steppes through our various activities
Immerse yourself in the mysterious art of guttural and diphonic singing from the vast Mongolian regions!
For over twenty years, I have received artistic and energetic teachings from holders of spiritual traditions from various cultures. Today, I transmit the art of Khöömii, the Mongolian tradition of throat singing.
As a voice practitioner and teacher for more than ten years, I accompany each person in getting closer to their voice, developing resonance, and expanding vocal expression.
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Accessible to everyone, Khöömii is far more than a vocal technique. It is a path of grounding, listening, and presence that invites an exploration of inner depth through breath, vibration, and harmonics. This practice refines perception, nourishes presence, and supports balance, vitality, and self-expression.
Through the transmission of Khöömii, my intention is to contribute to an harmony that is rooted in each individual and can unfold within the collective. In alignment with the spirit of this living tradition, I aim to offer a space for discovery and sharing, where the cultural, artistic, and human richness of Mongolian throat singing can be experienced and transmitted with respect.
>>>>Khöömii<<<<
KHÖÖMII : In the Mongolian language, the term refers to the pharynx. We will reveal the vocal organ as a true living musical instrument, through the management of breath and guttural pressure, vibrations and resonances.
Testimonials
Marie Paule: Thank you very much. I retain strength and serene well-being
Maëla: It’s incredible what these four days have triggered in me. In my body, in my emotions, in the deepest part of me, I feel incredible changes. Stability, confidence, strength, childlike joy, everything I had been working on for so long, Khöömii took four days to find it! I also notice a higher quality of sleep, deep dreams, I even wake up several times at night feeling like I’m singing! Now when I sing, very deep and distant things come to me, incredible, indescribable
Tsaka: I loved the experience: a healing art, a different self-knowledge, an awareness of other places, access to other dimensions of oneself.
Sonia: Beautiful encounter with myself, a part of me that I still knew so little about: MY VOICE. This voice that emerged from the depths of my Being is deep, almost masculine, warrior-like. This Voice allowed me to feel my anchor and my confidence.
Marie-France: The exercise is perfect for a morning practice, it connects me directly with the Earth, I feel grounded and my vibration rises
Thierry: A unique and magical experience. The workshop consists of a series of surprising and fun exercises, ending with a communion of voices. What joy to discover what our body can do and the feeling of Well-being at the end. A wonderful gift to give to yourself
Léa: An intense vibratory moment that frees you and takes you on a journey
Yogiman: The workshop clarified some of my questions about overtone singing. The principle of rediscovering childlike instinct in voice exploration resonates with my Yoga practice, of rediscovering one’s own nature… Almost Primordial
Muriel : This one-week course was a discovery of Khöömii practice for me. I generally hesitate to strain my voice, I am a fan of spontaneous singing and vocal exploration. This week of training was very enjoyable and fruitful, thanks to listening to what really happens live for everyone. I could feel the progression happening on its own in my body thanks to the repetition of the practice. This rather physical practice allowed me to circulate emotions in my body, I also liked this liberating experience. My body, my breath, and my voice follow the track
Crystelle: Gentle return after what I experienced as a process of ‘giving birth to myself.’ More than just a singing course, it was a true therapy. I was finally able to let my voice express itself without barriers, to let myself be supported to resume my path. The door to my inner child, which had been shut away for so long, has been opened. The adult I am today is embarking on this path of healing through voice
Sarah: Rich Rich experience
Ariane: I had been searching for a personal morning discipline to connect with my body, with the earth, with the ‘present moment’ for a long time… I finally found it!
Ida: Disappearance of a constant and sharp pain after the first day of four: I could sleep as if it had been a long time since this had happened to me
Franck : Laryngeal gymnastics like I had never experienced before
Bruno : I feel like I’ve just come out of 6 months of meditation!
Marc : A real breath of fresh air on every level.
Marie : A wonderful exploration of resonance, body, and mind.
Franck : As a professional singer, I discovered a kind of vocal training and laryngeal agility I had never experienced before.
Fantine : The practice of Khöömii gave me back my physical strength and helped me discover my own power. I also recovered my singing voice thanks to this workshop. Khöömii helps me refocus on my heart and my instincts rather than my mind. I have started a morning routine integrating the exercises, and it feels deeply beneficial to vibrate my body in this way at the beginning of the day.
Cynthia : Khöömii moves me deeply. The song of the earth, an ancestral force, it explores the depths of the self and allows a raw power to emerge—one that asks to be welcomed and gradually tamed. This is not always easy, but it brings a deep sense of inner joy and fulfillment when we dare to go through it. It shakes, stirs, and cleanses, bringing light where shadows once hid. It is a play between the self and the natural world, bringing us closer to our essence. Sayan’s guidance, with his kindness, patience, and gentleness, builds trust and inspires the desire to continue the odyssey of our voice and our path.
The Volunteer facilitator : About
I teach Khöömii, the Mongolian throat singing tradition, through workshops, courses, and group sessions based on voice, breath, and embodied movement.
For over ten years, I have also supported individuals in exploring their inner resources, uniqueness, and personal aspirations.
Rooted in living traditions, Jungian thought, and an attentive listening to the natural world, I see the voice as a powerful path of self-knowledge, expression, and transformation.
My commitment is to share living ancestral practices in service of human flourishing and the connection between people. Learn more about the Volunteer
5-minute informative video in French :
Link to the report (better quality) : https://www.arte.tv/fr/videos/105628-026-A/gymnastique/
product by Blogothèque, distributed by Arte
2022 Art Documentary presented by Johanni Curtet, Ethnomusicologist and Professional Music Artist,
He is the leading collector and transmitter in France and worldwide of knowledge and techniques of Khöömii, particularly from Mongolian and Tuvan traditions
His organization « Routes Nomades » works wonderfully as a bridge between Mongolia and France. »
What is Khöömii?
‘Khöömii’, literally meaning pharynx, refers to the vocal technique in which one person intentionally superimposes multiple and simultaneous sounds with his/her voice, where appear two distinct partials: a harmonic melody ‘overtones’ over a fundamental tone ‘drone’, accompanied by many resonances.
Articulo completo de Johanni Curtet en routesnomades.fr
Practiced by Mongolian and Turkic peoples throughout the Altai region (across Mongolia at a national level; the Russian regions of the Altai Republic, Khakassia and Tuva; and China, in northern Xinjiang and Inner Mongolia), khöömii is an ancient vocal technique whose origins are difficult to date precisely. Legends say that khöömii originates from the imitation of the sound of wind, flowing water, and birdsong. It is most often practiced by men, but also by women over the past two generations. Khöömii is a living tradition with many facets and an important cultural heritage of the Mongolian peoples.
Regarding its technical aspect, overtones arise from the vocal drone and are produced through simultaneous pressure of the pharynx and diaphragm. To perform a melody, the khöömii performer, or “khöömiich”, modulates the lips or tongue inside the mouth. Depending on the modulation, the pitch of the drone, and the pressure applied to the throat, a number of khöömii techniques can be identified through variations in vocal timbre. These are grouped into two main styles: kharkhiraa khöömii (deep khöömii) and isgeree khöömii (whistled khöömii).
.Performance of kharkhiraa Khöömii : The khöömiich produces a vocal drone in a throaty voice, then by applying simultaneous pressure on the throat, abdomen, and diaphragm, after a deep inhalation, produces a deep sound vibrating one octave below the fundamental tone. The ventricular bands (false vocal cords), in addition to the vocal folds, are engaged. This deep and hoarse sound in the foreground characterizes the kharkhiraa style. Over this low foundation, the khöömiich produces a melody of high overtones.
.Performance of isgeree khöömii : The khöömiich produces a vocal drone in a throaty voice, then by applying simultaneous pressure on the throat, abdomen, and diaphragm, after a deep inhalation, produces an overtone whistle that can vibrate one to several octaves above the fundamental tone. This produces a melody of very high overtones. Isgeree khöömii is also called nariin khöömii (acute khöömii), uyangyn khöömii (melodious khöömii), and Altain shingen khöömii (high khöömii of Altai).
In both kharkhiraa khöömii and isgeree khöömii, the production of overtones follows the same principle. The melody is created by modulation of the oral cavity: opening and closing the lips, moving the tongue back and forth with its tip against the palate, or moving the central part of the tongue while keeping the tip resting against the lower teeth.
In addition, several techniques exist to enrich vocal timbre or create ornamental effects, and they can be combined. Among more than twenty known techniques are bagalzuuryn khöömii (throat khöömii), tsuurai khöömii (echo khöömii), khamryn khöömii (nasal khöömii), and dangildakh khöömii (syllabic khöömii). The khöömiich also uses the shakhaa vocal emission to perform magtaal praises, maintaining a guttural timbre close to the initial phase of khöömii production.
In Mongolia, practiced within the pastoral nomadic context of western regions and widely disseminated following recordings from the 1950s, khöömii became more widely known. Through cultural policies during the Soviet period, it became one of the emblems of Mongolian national music, further reinforced by its regular international performances from the 1960s onward.