Yangjima sang on many occasions, and she was better off in Live House than on most other occasions.
She could not find an outlet of power to cooperate with the release of the figure that grew out of the ground, and multiple personalities and birds and beasts flew out through her voice.
Yang jima's rebellion and shouyuan, her comfortable enjoyment of "presence" and the suffering of being born as a human being, the contradictions that were originally difficult to reconcile, coexisted peacefully on the stage for a short time.
On the evening of August 18, the modern Sky LAB Shanghai performance was a joint performance of Yang Jima and Wang Wenwei.
Wang Wenwei's parts are chaotic, visually obscure, and slowly evolving. By Yangima, the picture became symmetrical and bright, brilliant.
Also brilliantly accomplished was Yangima himself. She wore the simplest of costumes, a long black suspender dress, and her hair was long again, and when she saw her a year ago, she still had short red hair.
Here is a comfortable occasion, a field of people, the lights are too dim to see the face, only the bone texture of the skirt. She does not have to wear a large and cumbersome cotton and linen costume, does not have to wear heavy jewelry, and can appear in a simple and comfortable state.
Yang Jima brought only two partners, guitarist Li Xin is also her producer, also responsible for running a Macbook, and a drummer.
In the debut album "Lotus Secret" and the album tour, Yangjima fulfilled his promise to the old songs of the Monba people. This is her conscious responsibility when she grows up, a path she has found for herself, which also contains the expectations of many people for her. But Yangima also wants to go on and explore more possibilities of sound. It's also an introverted process to see what's going on in the human heart.
The songs in this performance are basically yangjima's own creations, and the memba old tune has temporarily ended a paragraph, and several songs have been sung in other scenes.
The relationship between the orchestrator and the Yangima vocals is close. Most of the time it was guarding, helping her with the rhythm of the flames when she needed to gather strength to move upwards.
In these songs, Yang Jima's vocals are richer than those in "Lotus Secret". Of course this is for "outsiders". After all, we are not her people, not fieldworkers, and we have never been in the original music scene of the Memba old tune. Speechless, so for Monba traditional music, subtleties are difficult to grasp.
Yangima's own songs resonate more with the people of urban civilization.
Her expression could not be seen clearly from the audience, and it was likely that there was no expression on her face. As her grandmother said, when singing the old Memba tune, whether happy or unhappy, the singer has no expression on his face.
Unlike the overly brightly lit program recording scene, here she can close some external channels and make her attention more introverted.
Correspondingly, her body language is charming. There is a Hong Kong enthusiast who analyzes Yang Jima, "She uses the high position of the body to process the bass, and the low position to process the high tone, such a low frequency is very porcelain, and the high frequency is very solid." It also analyzed that Yangima's forward and backward movements when singing were imitations of shamanic rituals, and her body language conveyed the high level of humility creeping and dialogue with the heavens and the gods.
These speculations are all possible, and perhaps Yangima himself may not be able to say it clearly.
The Early Membas, like Tibetans from other regions, believed in Bon. Bon and shamanism have many similarities. Shamans also believe in animism, and all the actions of the mage, such as chanting, singing, dancing, etc., are aimed at separating the soul and dealing with problems with other souls—fighting against evil spirits and bringing back the souls of the sick.
The most important purpose of Bon and shamanism is to deal with the relationship between man and nature (and of course also deal with the relationship between man and man, especially Bon). Animism, what is man?
I have seen some of Yangjima's own Chinese translations, and the language is as simple as an ancient folk song. "Prayer" is a word that appears frequently, following traditional beliefs and lowering one's position above nature. At the same time, it also has the identity of a guardian, moderately avoiding the world, but praying with a prayerful heart.
But Yangima was a rebel. On the one hand, she is committed to traditional beliefs, and on the other hand, because of her very strong vitality, she is reluctant to stop there.
After interviewing Yangjima last year, I always remember the story of her Buddha beads. From her hometown wearing Buddhist beads to Beijing to her junior year, she wasn't sure what the performance she had learned and what the meaning of everything she had done was. For a while, she temporarily collected the beads to see what she could be without its protection.
The huge waves that hit her made her peel off several layers of skin, but to a certain extent also liberated her nature. When she was a child, she loved beauty and wanted to let others see herself and let herself see the world, and after her wish to come true, she returned to the place where her ancestors lived to learn Memba culture, which is a way up the road.
Then she tried to put herself in a state of "presence." This word for focusing on the present is common in cultures and religions around the world. The sayings are different, but the ideas are the same, all of which make people jump out of the troubles of the past and the future, no longer be hostile to time, and turn the present into eternity.
After walking these roads, there are families and children again, and Yangjima, although still groping, has matured.
On stage, Yangima's charm lies not only in body language, but also in the multiple personalities of a vocal voice. Diffuse trebles, solid trebles, corresponding to negative and masculine, respectively. Her signature midrange, like a witch blessing chant, is male or female, and has an unquestionable power in it. At the end of a song, she turns and walks deep into the stage, singing nursery rhymes in the voice of a young girl, which is another personality.
Among the many voices, Yangjima may be able to experience a different life. In this way, "presence" will not dissolve people into a situation of too comfortable, no desire and no need. There is still humanity, and there are some struggles and contradictions here.