27 september 2018
| Functie | 1 × instrumentalist |
| Geslacht | man |
| Woonachtig | Nederland 🇳🇱 |
| Links |    |
Biografie
Hanguman first saw and heard this recently invented instrument on an Amsterdam festival in an artist refuge called "Ruigoord". The sound resonated instantly with him and he started to look around for such a Hang. Through friends he was offered a secondhand Hang. But after trying it out for a week he decided not to buy this particular Hang, but to let it rest for a while.
The year after, he heard the Hang again on the same festival and once more he was mesmerized by its sound. This time he decided not to postpone things any longer and he got in contact with the inventors in Switzerland. Back then in 2006 there was not such a long waiting list yet and after three months he was invited to come to Bern to pick out a Hang personally.
At that time the Hang-house facilitated night accommodation to try out all the different Hangs available as they were tuned differently.
The Hang was and still is an instrument in constant development. Hanguman --who has no knowledge of music what so ever-- chose the one that resonated the most with him. This specific Hang was tuned in D minor pentatonic, which is most suited for meditation: it "touches" the area of the heart.
All the different Hangs during this period are known as "the second generation". In this version of the instrument, the two half-shells support a coating of annealed brass. Also at the seam where the two shells meet there is a brass ring. Back then the price was €600.
Hanguman, who traveled Central Asia most part of these last years with his Hang, started to play and play and play. The first three years he played around 6 hours every day. Hanguman immediately understood the great advantage of his newly bought instrument. There was nothing to learn, only to discover. There was no history of any kind connected to this instrument which meant no right and no wrong way of playing. How liberating!
But also those, who would hear the Hang for the very first time, would experience on a subconscious level something completely new. They were actually listening to an instrument that they had never heard or seen before. Normally when you hear somebody play an instrument, the brain will do what it always does: measuring...
Which means that at that point you dont really listen anymore. The brain is busy again. It will start thinking that it heard such an instrument before and it that it was a much better player, etc. When you hear the hang for the very first time this automatic process does not happen. So most people listen with a brain that is not so busy, which is a completely different way of listening.
The years before he got his hang, Hanguman played a little Djembe so he was already a little familiar with a percussion instrument. It also meant that in the beginning he was hitting the Hang too hard. It took years of Love and practice to discover that the Hang just needs a gentle touch, which he now calls the art of not touching. His way of playing can be best described as meditative. For him playing the Hang every day became his daily mediation.
When asked what name they should put on the flyers and posters of one of his live acts in India and out of his wish to stay anonymous he came up with the name Hanguman. In Hinduism there is a God called Hanuman and since he has a Hang ánd is a man he thought it funny to use the name Hanguman. That name he still uses up till this day.
For those who hear him play, live on stage or at some beautiful spot in nature, he has one request and that is not to destroy the most beautiful part of his music by clapping. The best way of showing your appreciation is to stay with the silence, which can be heard and enjoyed so clearly once the music stops.
Enjoy the silence
The year after, he heard the Hang again on the same festival and once more he was mesmerized by its sound. This time he decided not to postpone things any longer and he got in contact with the inventors in Switzerland. Back then in 2006 there was not such a long waiting list yet and after three months he was invited to come to Bern to pick out a Hang personally.
At that time the Hang-house facilitated night accommodation to try out all the different Hangs available as they were tuned differently.
The Hang was and still is an instrument in constant development. Hanguman --who has no knowledge of music what so ever-- chose the one that resonated the most with him. This specific Hang was tuned in D minor pentatonic, which is most suited for meditation: it "touches" the area of the heart.
All the different Hangs during this period are known as "the second generation". In this version of the instrument, the two half-shells support a coating of annealed brass. Also at the seam where the two shells meet there is a brass ring. Back then the price was €600.
Hanguman, who traveled Central Asia most part of these last years with his Hang, started to play and play and play. The first three years he played around 6 hours every day. Hanguman immediately understood the great advantage of his newly bought instrument. There was nothing to learn, only to discover. There was no history of any kind connected to this instrument which meant no right and no wrong way of playing. How liberating!
But also those, who would hear the Hang for the very first time, would experience on a subconscious level something completely new. They were actually listening to an instrument that they had never heard or seen before. Normally when you hear somebody play an instrument, the brain will do what it always does: measuring...
Which means that at that point you dont really listen anymore. The brain is busy again. It will start thinking that it heard such an instrument before and it that it was a much better player, etc. When you hear the hang for the very first time this automatic process does not happen. So most people listen with a brain that is not so busy, which is a completely different way of listening.
The years before he got his hang, Hanguman played a little Djembe so he was already a little familiar with a percussion instrument. It also meant that in the beginning he was hitting the Hang too hard. It took years of Love and practice to discover that the Hang just needs a gentle touch, which he now calls the art of not touching. His way of playing can be best described as meditative. For him playing the Hang every day became his daily mediation.
When asked what name they should put on the flyers and posters of one of his live acts in India and out of his wish to stay anonymous he came up with the name Hanguman. In Hinduism there is a God called Hanuman and since he has a Hang ánd is a man he thought it funny to use the name Hanguman. That name he still uses up till this day.
For those who hear him play, live on stage or at some beautiful spot in nature, he has one request and that is not to destroy the most beautiful part of his music by clapping. The best way of showing your appreciation is to stay with the silence, which can be heard and enjoyed so clearly once the music stops.
Enjoy the silence
Uitgaansagenda Hanguman
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