![\"Female](\"https:\/\/overtonesinging4l.com\/wp-content\/uploads\/2026\/09\/tyva-kyzy.jpg\")
<\/figure>\n\nThe ensemble Tyva Kyzy <\/a>(which means \u201cDaughters of Tuva\u201d in the Tuvan language) is recognized as the first\u2014and, to this day, the only\u2014all-female ensemble dedicated to Tuvan overtone singing, known as \u201ckh\u00f6\u00f6mei<\/a>.\u201d Kh\u00f6\u00f6mei has been, and still is, a form of singing traditionally performed primarily by men.<\/p>\n\n Amid the rich and vibrant soundscape of male folk groups, Tyva Kyzy remains the only all-female ensemble to perform kh\u00f6\u00f6mei. Between the early 1990s and the early 2000s, female overtone singing elicited a wide range of reactions from the local community: admiration, surprise, skepticism, and, in some cases, even rejection. Today, however, women have more opportunities to express their talent, and thanks to the work of Tyva Kyzy and other performers, female kh\u00f6\u00f6mei has gained greater visibility, not only in Tuva but also abroad. <\/p>\n\n Tuvan kh\u00f6\u00f6mei stands out from other forms of overtone singing in Central Asia due to its variety of styles, technical complexity, precision of execution, and unique performative qualities. In Tuva, both men and women can perform the same styles of kh\u00f6\u00f6mei; however, the question of when women began practicing it continues to elicit differing answers among scholars, researchers, and performers.<\/p>\n\n According to some Tuvan traditions, women were forbidden from practicing kh\u00f6\u00f6mei, as it was believed that it could harm the health of male relatives or cause complications during childbirth. These taboos <\/a>often restricted the expression of women with particular natural talent; in cases of transgression, family members could even force them to stop singing.<\/p>\n\n <\/p>\n\n A historical analysis of Tuvan music shows, however, that women have practiced kh\u00f6\u00f6mei for a very long time. Some have kept it within the private sphere, singing in nature or just for themselves. There is also evidence, however, of female overtone singers who performed publicly, presenting styles such as kh\u00f6\u00f6mei, sygyt, and kargyraa before the Tuvan community, which welcomed them warmly. It has also been demonstrated that women can practice this art without harmful consequences for their health or motherhood.<\/p>\n\n <\/p>\n\n Among these iconic figures, Choldak-Kara Oyun stands out as a true living legend. The mother of the famous overtone singer Soruktu Kyrgys (early 20th century), she was the wife of a blacksmith and a mother. She sang kh\u00f6\u00f6mei throughout her life: during daily activities, while milking, when singing lullabies, and sometimes even while drinking Tuvan araga. The actress Kara-Kys Namzatovna Munzuk, an important figure in Tuvan culture, also recalled this woman, an ancestor of her husband.<\/p>\n\n <\/p>\n\n In the past, the lives of Tuvan women were marked by a very heavy workload: managing the household, raising numerous children, making leather clothing and footwear, preparing food, growing grains, and tending to livestock. Under these conditions, it was difficult to find time for kh\u00f6\u00f6mei or for practicing musical instruments. From ancient times to the present, kh\u00f6\u00f6mei has always conveyed a sense of calm and positive energy, regardless of the performer\u2019s gender.<\/p>\n\n During the Soviet era, women were rarely seen on stage, with a few exceptions at republican festivals. A notable example is Valentina Chuldum, a native of Mongun-Taiga, who toured Europe in the early 1990s, paving the way for a new generation of female musicians. With the launch of the International Kh\u00f6\u00f6mei Symposium<\/a>, women finally gained the opportunity to perform publicly.<\/p>\n\n As Khunashtaar-ool Oorzhak<\/a> (1932\u20131993), a leading figure in Tuvan kh\u00f6\u00f6mei, stated in an article published in the magazine *Kh\u00f6\u00f6mei* in 1995: \u201cWe also have female kh\u00f6\u00f6mei performers. If you ask me what I think, I\u2019ll say that I view them positively and support them. There\u2019s nothing negative about it, since these voices come from nature and Mother Earth. And I\u2019m more than happy to offer them my advice. Female voices are special, beautiful, and unique.\u201d In the same article, Oorzhak also expressed the idea of possibly creating a female kh\u00f6\u00f6mei overtone singing ensemble.<\/p>\n\n Unaware of this stance, in May 1998, several female musicians\u2014under the guidance of Choduraa Tumat\u2014formed an all-female group consisting of Valentina Chuldum, Shonchalai Oorzhak, Tatiana Saaya, Ailanmaa Damyran, Choduraa Tumat, Azimaa Kuzhuget, and Ailan Ondar. The group was named Tyva Kyzy<\/a>, in accordance with Oorzhak\u2019s wishes. In July of that same year, the ensemble performed for the first time at the Third International Kh\u00f6\u00f6mei Symposium in Kyzyl. The press described that performance as a \u201ccourageous act by delicate women.\u201dWhat taboos restricted female overtone singing?<\/h2>\n\n
Have women always sung kh\u00f6\u00f6mei?<\/h2>\n\n
![\"Female](\"https:\/\/overtonesinging4l.com\/wp-content\/uploads\/2026\/09\/iurta.jpg\")
<\/figure>\n\nWho was Choldak-Kara Oyun?<\/h2>\n\n
What was daily life like for Tuvan women?<\/h2>\n\n
How did the landscape change during the Soviet era?<\/h2>\n\n
What did Khunashtaar-ool Oorzhak say about female overtone singing?<\/h2>\n\n
![\"\"](\"https:\/\/overtonesinging4l.com\/wp-content\/uploads\/2026\/09\/kunashtaar-ool-orzhak-1024x726.jpg\")
<\/figure>\n\nHow did the Tyva Kyzy ensemble come to be?<\/h2>\n\n