On the beach

To: Mandkhai (You'r a picture telling me about something)

Walking gracefully on the beach
Thinking about my memories
Warm, sunny, beautiful day
The ocean is pacifying and utterly relaxing

Seagulls around me flying
Each second peacefully calm 
Seeing that the ocean is crystal blue
Even the waves are softly cascading over the beach     
The ocean floating over my ankles
So beautifully caressing my feet
That feeling is charming and cheerful
Soothingly it helps me relax 

On the Atlantic Ocean beach
Thinking and walking along
Only thinking about my great Dad
The concepts of his golden words swirling in my thoughts
Mother ocean’s wave
Coming my way, rippling
Missing my beautiful and bountiful Mom
Continually I am thinking while walking…

By: S. Uzmee

Mother of Ocean

Mother of Ocean

On the Atlantic Ocean beach
Taking our vacation, relaxing
Thinking while seeing the waves
Ocean moods seem almost human

Just like a Queen Mother
Mother carries her child in her body
The ocean carries thousands of lives in hers
Thinking around their life
Much like a human life

Both the good and bad things
The ocean waves ripple softly
Sounding like a Mother’s lullaby to her baby while rocking  
The ocean waves have a crashing sound
Sounding like a worried Mother

Waves explaining the story
The ocean roars with waves crashing
Sounding like a grouchy Mother
The ocean waves blow higher
Sounding like a Mother shushing   

The waves telling their tales
The ocean storm comes
Sounding like a Mother calling the Father
Talking about things like we didn’t listen to her
Sounds like we have trouble

Queen Mother telling to the Father, the king of the sky

Beauty of the land being destroyed
Father God’s earth becoming trash
By damage to the rivers and seas
Forlorn the Queen Mother feels

Queen Mother’s broken and hurt

By: S.Uzmee



Carolina Mongol Naadam at Deepriver Campground 2012

Carolina Mongol Naadam at Deepriver Campground 2012

 The Carolina Mongol Community celebrated the Mongolian Traditional Festival /Naadam/ July 14th and 15th at Deepriver Campground near Asheboro, NC. On July 14th  in the afternoon we listened to beautiful Mongolian songs, as we set up our tents, after that everybody shared the food they brought and danced Mongolian homeland dances as well as modern dances late into the night ending with the singing of many traditional Mongolian songs having enjoyed a  fun night.
 On July 15th after breakfast everyone made Mongolian famous “Naadam” food called “Huushuur” it is like a fried calzone with ground meat only. It was amazing that on such a hot day how delicious the deep fried Huudhuur tasted, everyone was happy working together. Then started the Mongolian Festival opening - community leader Odonchimeg Geurcio delivered the opening statements followed by the singing of the Mongolian national anthem “Turiin Duulal” by all in attendance followed by traditional Mongolian cheers with arms reaching towards the sky.
Mongolian-Americans are people proud of their ancestral homeland, traditions, culture and life style. There was an exhibition table set up displaying traditional Mongolian artifacts, clothing, books and pictures on the history of Naadam with the tie in to the three sports involved – archery, horse racing and most of all wrestling. They enjoyed challenging each other in a quiz game about “Naadam’s” sport and history. Most knew the origins and nuances of each sport yet some learned aspects of the history that they had not heard of before.

There was a dance show presented by some of the Mongolian children present - some  choosing traditional Mongolian dances such as Nandia who performed “Myangad”  her younger sister Anujin performed “Baby mine” ballet and “zippe de doo dah” a pop dance. Michelle tapped to the song “Happy feet” while rhyming the lyrics. Then all the children present joined together to sing “Chihchiin chine bietei” – or in English “itty bitty me”.
The Carolina Mongols celebrated the three sports of Naadam (same thing to Mongolians as the Olympics) In the place of actual horse racing they had foot races by age of contestants – instead of authentic bows and arrows shooting at far away targets they used toy bows and shot at stacked cups again by age of contestants – instead of actual wrestling contests they had the men to perform the Eagle dance that real Mongolian wrestlers perform before and after they defeat their opponent. There were also championship games of chess and checkers deciding champions after long heated bouts.
Also from Greensboro, NC   Nars Borjigin came with his wife, two children as well as his sister - he and his wife brought  handmade dumplings for everyone. They are originally from Inner Mongolia, he showed how the wrestlers perform their dance before and after they defeat their opponent..
The two day Carolina Mongol Festival was a success - the Mongolians and Americans, families and friends had a wonderful time together and enjoyed the Mongolian traditional festival. Thanks to everyone involved - everyone worked hard and had a good time.


“National American Miss Pageant” North Carolina Regarding two Mongolian sisters.

National American Miss Pageant” North Carolina
Regarding two Mongolian sisters.


            The National American Miss Pageant was from June 28th through June 30th  2012 for three days in Winston Salem NC at the Marriott Hotel.  The Competitions were divided up into five age groups: 4-6 years old were Princesses, 7-9 years old were Jr.Preteen, 10-12 years old were  Preteen, 13-15 years old were  Jr.Teen, 16-18 years old were Teen. The Mongolian beautiful and talented girls entered into this competition were Anujin a 5 year old-Princess and sister Nandia a 12 year old-Preteen who are from Charlotte NC.
            Children under 12 years of age in these contests do not use makeup so as to let their own natural beauty and personality shine through.

   Competitions were divided up into areas of: formal wear, introductions, interview, talent, community involvement and casual wear. For the formal Anujiin wore a pink princess gown and her sister Nandia wore a purple formal gown – they both looked like angelic princesses.   
            In the talent show Anujin danced the “Baby mine” ballet and out of 64 contestants performing she took 4th place winning the 4th runner up trophy. Anujiin also received first place in the freestyle dance competition - she won a trophy and monetary compensation, in the final competition she won  ''The Spirit Award -  Pageantry” trophy for promoting friendship and good sportsmanship, also the  Top-15” award so she can go to the nationals in California at the DisneylandNational All American”. Nandia danced the Mongolian traditional dance “Myangad” for her talent portion; the dance audience was very impressed.

            Two Mongolian young talented girls bringing awards to their proud mom, dad, sister brothers and the Mongolian Community.

Special thanks for their Mom-  Sarangerel and their Dad - Purevtseren. To our proud Princess Anujin wishing her good luck for her next competition, to Nandia - reaching for your dreams and goals as well as wishing the best for your family.
By  S.Uzmee. 


Happy international women day

Angel of all Mothers
Men’s enrapture
Beauty of all women
Like a blooming flower’s leaf
Crystal of all girls
Happy international women day




Union of Mongolian Artists
National Artist and State Prize Winner of the Mongolian People's Republic (M.P.R.)
U. Yadamsuren


Introduction and brief explanations by L. Sonomtseren
Editor B. Sodnom
State Publishing-House Ulan Bator 1967
The national dress of the Mongols has a rich history and an artistic tradition of many centuries. It is closely connected with the way of life of the Mongolian people, with the specific features of their economic system and with the natural conditions of the country. The costumes must meet the most different situations of life, whether, for example, somebody is riding on horseback over the steppe, whether he is sitting at home in his yurt (felt tent), or whether he is dancing at a national festival. The different conditions of climate, too, influence the kind of dresses worn; thus costumes have been developed that are intended for the different seasons of the year. In summer the Mongols wear a light coat or frock, the "Törlök", in autumn and winter a wadded coat, the "Khovontei Dööl", or a lambskin coat, the "Khurgan Dotortoi Dööl", in winter a sheepskin dress reminding of a fur coat, the "Tsagaan Nökhi Dööl".
The age of the wearer, too, is reflected by the dress. The costumes of elderly people are, as a rule, modest and plain, while young people prefer gay, stylish clothes.
The female dress shows differences between the attire of the girls and of married women. The costumes of the latter are decorated and adorned more splendidly.
From remote times the Mongols have worn coats with oblique braid, the "Tashuu Öngertei Dööl", and a coat with straight border, which reminds of a long waistcoat, the "Sadgai Öngertei Dööl". This is confirmed by the costumes from the Hun era, found during excavations in the burial-mounds of Noin Ula. The design of the garments, the combination of colours as well as the decorative ornaments speak of an old culture of the Mongolian people. The materials of which the dresses are made, reveal a connection of the Mongolian culture with the cultures of the neighbouring countries of the East. But, at the same time, the contribution of the Mongols themselves to the art of costumes can be clearly recognized: the national-original character of Mongolian dress. Later, the "Durbölzhin Öngertei Dööl" with rectangular border became very popular. In the course of adaptation to the ever-changing social and economic conditions the national costumes underwent further changes, the ancient traditions, however, have been retained in a refined manner. And up to thepresenttime, the Mongols are wearing the coat with the oblique border, the "Tashuu Öngertei", and the coat with the rectangular border, the "Durbölzhin Öngertei Dööl".
The materials from which the dresses were sewn were either produced by the Mongols themselves, such as "leather, wool, and fur", or they were imported from abroad. Nobody knows when the Mongols started to produce textile fabrics on their own, but it is an established fact that they have been making dresses of silk, cotton fabric, woollen material, and brocades for a very long time already. Some of the fabrics were, especially in the times of the Huns, introduced from other countries of the East. It is self-understood that the garments for the different seasons were made also of different materials. The lining for the winter dresses consisted of sheepskin, goatskin, or wolf's fur, of the pelts of corsacs, lynxes, wolverines, racoons, foxes, and sables. The winter fur coat might have consisted simply of sheepskin, but sometimes it was covered outside with fabric, such as cotton cloth, tussore, silk, brocade, and satin.
Often the white sheepskin was dyed yellow or green and provided with ornaments.
For summer clothes the materials mentioned above were used, but also woollen cloth and velvet. As linings, thin fabrics were used.
As a rule, the dresses were richly adorned. The national artisans created jewelry and ornaments of gold, silver, corals, pearls, and precious stones.
When studying the national costumes the history of a people, the history of its culture and civilization can be seen as though it were materialized. The making of dresses has always been considered an art. There were many genuine masters whose "golden hands" were famous, the garments having been sewn not only by women, but also by men. A tailor had to have comprehensive knowledge and the most different faculties. He was simultaneously an artist and embroiderer, he was able to glue, quilt, and stuff with wadding, he knew the symbolism of the ornaments used on the dresses, the symbolism of the colours and their combination. The symbolism of dress is altogether of great interest. Thus, for example, the heavenward directed peak of a cap resting on a cupola-shaped base symbolizes prosperity and happiness. The eyelet at the upper part of the Sampin of the cap symbolizes the moon, the knot of the Sampin means simplicity and strength, while the lower part of the Sampin, which is called Tav, represents the sun. Below the Tav four strips have their origin, which represent home and family, while 32 narrow strips of lace symbolize the beams of the sun. With most caps the Sampin and the lace strips are of the same colour, usually red or brown.
Embroidery in different styles is also widely applied for adorning the garments: back-stitching, stem-stitching, etc.
Of old tradition are the ornaments on the dresses, each garment displaying a definite and strictly observed type of ornament which, as already said before, has a symbolism entirely of its own. Interesting is the colour scale of Mongolian costume. The national costumes were chiefly brown and dark blue.
As is well known, Mongolia is inhabited by various national groups, such as the Khalka, Buryat, Dörbet, Torgut, Barga, Dariganga, Uzumchin, Bayit, Uryankhaits, Khoton, and Mingat groups, the Sakhchins, Darkhats, Ölöts, and Kazakhs. Of course, the national peculiarities will be reflected by the clothes. The differences between the dresses of the various national groups refer to the design, the colour, the style, and the ornaments. Different are, for example, the borders of the coats, the style of the waistcoats worn over the coats, the trimmings at the edges of the borders, the adornments and ornaments. In the costume of the Khalkha blue and brown are the predominant colours, while the dress of the Buryats shows blue and that of the Khotons clark shades as the chief colours. Almost all nationalities use black velvet for trimming the border and, moreover, a thin strip of black velvet at the extreme edge of the border. However, the style of these trimmings is not uniform: sometimes they are cut rectangularly and sometimes not. The women's waistcoats, "Uuzh", are generally similar to each other, but even their design will differ in detail. Both the Khalkha and the Mingat women are wearing dresses with sleeves full of pleats, but with the Khalkha women the quilted seams on the pleats are arranged horizontally, while with the Mingat women these seams extend vertically. A few men wear coats with slashes as the women do. The differences between the national costumes of the women refer to the ornaments as well.
A few words ought to be said also regarding the coiffure, an important part of the female toilet. The coiffure of the Khalkha and Mingat women is somewhat "wing-shaped"; the hair is plaited into two braids widening at the temples in the form of wings, the width of the wings being greater with the Khalkha women and smaller with the Mingat women, with whom also the ornaments are more modest. Very peculiar is the hair-dress of the Bargas and Darigangas. The women of some national groups don't wear pins in the hair, but instead of them the "Khadlaga".
The Uzumchins and Darigangas are fond of coral ornaments, while the Khalkhas prefer gold ornarments, silver ornaments, and pearls.
Nor does the headdress lack multifariousness. Almost every nationality has a headdress of its own, differing in design, style, and colour from those of the other national groups, and also the ornaments are different, so that there are many kinds of Mongolian caps. In western Mongolia caps of the "Tortsog", "Yuden", and "Zharantai" kinds are widely used, which differ from the headdress of the Khalkhas and Buryats. The Mongols also wear different kinds of boots; the "Naamal Ultai Gutal" are boots with glued-on soles; furthermore we have the "Sholkhotoi Gutal" and the "Khanchin Gutal", the different national groups having different types of lootwear, too. Whereas the Torgut Mongols are wearing boots of the "Tookhuu Gutal" type, the boots of the Buryats are called "Ulsan Gutal". After the National Revolution national costumes changed substantially, they became simpler and more modest.
Studies of the history of dress and costume, their variations and kinds with the various national groups within the framework of one nation will contribute to better understanding the process of cultural evolution, in particular of folk art, and are a valuable aid to ethnographic researches. On the basis of the rich traditions of Mongolian costume the contemporary masters and folk artists are making use of the heritage that has come down to us from many centuries, and are creating new models of national costume.
In the field of investigation into the history of Mongolian costume the national artist of the M. p. R., state prize winner U. Yadamsuren has achieved extraordinary things. From childhood U. Yadamsuren has been interested in folk art and national costumes. Following his elder brother Tchoidashi, U. Yadamsuren, with artistic mastery, has made himself familiar with the skill of the folk artists, artisans, embroiderers, pasters, tailors and all those, whose hands have created those remarkable costumes, and has studied them most exactly. While travelling all over the country U. Yadamsuren has collected valuable material on the history of Mongolian dress and has made a great number of drawings, only part of which is included in this album. It is beyond doubt that this album will be of particular interest to ethnographers and people fond of national costumes, to theatrical men and artisans. The abundance and the high artistic level of execution of Mongolian costumes seems to urge their universal study.
Brief Explanations
  1. Khalkha man's summer costume
  2. Khalkha man's winter costume
  3. Khalkha man's summer cap of velvet
  4. Khalkha man's winter cap
  5. Khalkha man's beaver cap
  6. Khalkha man's winter cap
  7. Khalkha man's cap "Yuden"
  8. Khalkha man's cap "Tortsog"
  9. Khalkha winter cap "Makhus"
  10. Khalkha cap "Yuden"
  11. Khalkha winter cap of beaver fur
  12. Khalkha man's winter cap "Godon"
  13. Khalkha man's winter cap "Tug"
  14. Ear-caps
  15. Case for drinkillg-cup
  16. Tobacco-pouch
  17. Knife and steel (for striking fire)
  18. Tobacco-pipe case
  19. Tobacco-pouch
  20. Tobacco-pouch
  21. Cover sleeve
  22. Special dress of the Borts Mongols, the "Dsodok"
  23. Strap for tying up the bootleg
  24. Knee-caps
  25. Upper edge of a felt stocking
  26. Upper edge of a felt stocking
  27. Khalkha woman's winter costume
  28. Upper part of a Khalkha costume with pearl ornaments and beaver cap
  29. Khalkha woman's golden cap
  30. Woman's pearl pendant
  31. Woman's gold ornaments
  32. Woman's gold ornament "Khadlaga"
  33. Silver ornament "Khorol Böl"
  34. Ornament for the cap peak
  35. Khalkha woman's summer cap of velvet
  36. Khalkha woman's winter cap of beaver fur
  37. Khalkha woman's winter cap
  38. Khalkha woman's winter cap
  39. Khalkha girl's winter cap "Tortsog"
  40. Khalkha girl's winter cap "Tortsog"
  41. Khalkha woman's cap "Tortsog"
  42. Khalkha winter cap "Örlö Mus"
  43. Children's winter cap of the Khalkllas
  44. Horseman's cap for children
  45. Dörbet woman's summer costume
  46. Dörbet cap "Yuden"
  47. Dörbet cap "Yuden"
  48. Dörbet winter cap "Tunlai"
  49. Dörbet cap "Toirul"
  50. Dörbet woman's cap
  51. Buryat man's winter costume
  52. Buryat woman's summer costume
  53. Buryat man's winter cap
  54. Buryat woman's summer cap
  55. Buryat man's winter cap
  56. Kazakh man's costume
  57. Kazakh woman's costume
  58. Kazakh man's winter cap
  59. Kazakh woman's summer cap
  60. Sakhchin woman's winter costume
  61. Sakhchin woman's winter costume, side view
  62. Sakhchin girl's winter costume
  63. Sakhchin man's winter cap
  64. Winter cap "Zharantai"
  65. Barga woman's winter costume
  66. Barga woman's costume, side view
  67. Silver cap and bobby pins of the Bargut woman with coral ornaments
  68. Silver hand
  69. Silver girdle ornaments of the Barguts
  70. Summer cap of the Barguts
  71. Costume of the Bayits
  72. Costume of the Bayit woman
  73. Cap of the Bayits
  74. Cap of the Bayits, the "Zoo"
  75. Winter cap of the Bayits
  76. Uzumchin woman's costume with silver and coral ornaments
  77. Headdress of Uzumchin woman
  78. Uzumchin woman's silver ornaments
  79. Uzumchin woman's winter cap
  80. Uzumchin woman's winter cap
  81. Uzumchin man's winter cap "Boolt"
  82. Uzumchin man's cap
  83. Dariganga woman's summer costume
  84. Dariganga woman's braid with silver and coral ornaments
  85. Dariganga woman's silver cap with pearls and corals
  86. Dariganga woman's winter cap
  87. Uryankhaits man's winter costume
  88. Uryankhaits woman's winter costume
  89. Uryankhaits woman's ornaments
  90. Khoton woman's summer costume
  91. Female piece of jewelry, rear view
  92. Khoton winter cap, the "Khaiv"
  93. Mingat woman's winter costume
  94. Half coiffure and headdress of a Mingat woman
  95. Torgut man's summer costume
  96. Torgut cap "Tortsog"
  97. Darkhat man's winter costume
  98. Olet woman's costume
  99. "Lovous"
  100. ???