He sang the river in his hometown, and touched the hearts of generations of audiences

He sang the river in his hometown, and touched the hearts of generations of audiences
Upon hearing the news that the singer Kelimu passed away due to illness, I silently turned on the phone and revisited the melodies that had been sung for many years, “Take your hijab”, “The Girl of Dakaban”, “Song of Avanti””The River in the Hometown” . For more than half a century, these songs did not go away with the times. Under the brisk and lively interpretation of Kelimu, they still have fresh vitality, and this artistic power through time and space, Not just anyone can have it.>>> Krimu’s death, Yu Junjian recalls: He let us hear the Kirimu when Uyghur music was young.Krim has his extraordinary features.After the death of Kerim, CCTV host Nigel Maidi issued a Weibo tribute, “The old guy who is alive and kicking on the stage . he likes to talk to the audience, talking about everything . Put on that clothes, he hooted awayGoing on stage, like the 18-year-old Maotou who first came to Beijing . “This evaluation is kind and in place, depicting the image of Klimu as seeing art as life, cheerful performance and humor, and a sense of distance from the audience.It can be called “old man” by the younger generation, and it can be seen that he is an old man without a shelf.This Uyghur artist who was born in an artistic family. At the age of 11, with his parents joining the army, he began his art career in the 1950s. Basically, he has experienced various periods in the literary and art circles since 1949.As the first singer to sing Uyghur songs in Chinese, his works incorporate a large number of regional cultural features of Xinjiang, and he also has a lot of talents and integrates the artistic experience of many ethnic groups. For example, a song in “Talimu River” has Uyghur,The musical styles of the three ethnic minorities of Tajik and Kazakhstan can be regarded as a “musical messenger” for national cultural exchange.Although the main melody works formed in the 1950s and 1960s have a profound imprint of the times, in the context of changes in the times, with the efforts of a large number of people who have high hopes for a new life, there are many masterpieces handed down.Take Kelimu for example. His appearance catered to the needs of the times. In the 1950s, the country needed a large number of works that met the needs of the times and had new creative ideas to celebrate the new era.A large number of new-generation artists and works are also the reason why Klimu, who was only 18 years old, was able to emerge in the second literary and artistic performance of the whole army in 1959.Kerim is wearing a national costume.Words and words are not far away, and good works can have more vitality.The lucky thing for Kelimu is that he met Wang Luobin, who lived in Xinjiang for more than 50 years, and organized and composed many excellent music works. These works have rich national characteristics and can respond to the needs of the times.It can be said that Wang Luobin’s creative concept has greatly influenced the development of Xinjiang folk music after 1949.Wang Luobin also had a sense of understanding. After he heard that Uncle Kurban Turum went to Beijing to see Chairman Mao in 1958, he created “Miss Chairman Mao Day and Night” and named him to sing Kelimu.It was a blockbuster.Crimu was deeply influenced by it. Not only “Day and Night Miss Chairman Mao”, “Girl in Daban City”, “Alamu Khan”, “Take Your Hijab” and other representative works are mostly works of Wang Luobin.Uncle Urban’s Where Are You? “Tarim River” and other works also have Wang Luobin’s shadow in concept.In addition, there are many highlights in Klimu’s performance, such as the theme song sung for the feature film “Afanti”, which very accurately constructed the image of Afanti, making people think that the uncle holding a microphone is alsoAvanti himself.It takes some time to sort out and appreciate the traditional culture, and it needs to endure loneliness. Many of Klimu’s works show the artist’s solid basic skills.In addition, Kerim’s personal style also laid the foundation for his lasting artistic life.According to the data, Kelimu has been humorous since he was a child. In his later artistic performances, he very organically blended his personal character and stage style. The performance is also a combination of singing and dancing, and he is very good at mobilizing the atmosphere, even if it is a performance in the rare years.This is scarce for the main melody artists. Many people’s performance and life are very clear. Of course, this is not blameworthy.Nowadays, many main melody creations have fallen into the embarrassing situation of propositional composition and even squeal performance. The artistic image of Kelimu and his idea of keeping artistic vitality are still worth learning by many young practitioners.Over half a century has passed, and times have changed dramatically. The things that were very popular in those days may have been annihilated in the dust of history today, but the cheerful melody that Kelimu sang still echoed in the streets and all over the world.Stage, this is the memory of the times and the traditional generous reward.Today, the death of Klimu must have gone with joy, as in the song “Avatar’s Song” “I ride on that little donkey, and the song will accompany me to take the wind . take the wind .”□何殊我(评论人)桑拿夜网编辑 吴龙珍 校对 李世辉