JUNIOR RESEARCH FELLOWSHIP ON TREDITIONAL NAGA INSTRUMENTS

Research Status Progress ReportThis document summarizes the proposed process for conducting Research Initiation stage during the period (1st August 2014) through (31st Jan 2015) under the Government of India, Ministry of Culture, New Delhi-110115.

Topic : Folk Fusion to Greater heights Name : DIEZEVITSO CHASIE File No: F.3-151/2014-S and F Field : Junior Fellowship for 2012-13, Folk Music (Folk/Traditional and Indigenous Arts) Address: T. khel Khonoma Village, Lower Email : [email protected] Contact No: +91 9774 154925

Project duration 01-8-2014 to 31-08-2016

a. This reporting period b. Next reporting period 1st August,2014 to 31st January 2015 1st February ,2015 to 31th July 2015

Abstract:The aim of this report focuses on exploring various kinds of folk music and traditional instruments present among different tribes learning and understanding the working principal of the instruments and its relationship harmonizing the traditional tunes. Understanding & exploration of the indigenous & tribal music to be the most important focus to take forward the project. Mainly the instruments and music of three villages were explored. Khonoma village and Dziileke village of Angami tribe under Kohima district and Chesezu village of Chakhesang Tribe under Phek district. Due to technical knowledge of modern gadgets and musical notations, which include introduction of fusing traditional musical instruments with additional modern instruments, was practically a new concept to the local Nagas, besides musicians, from the old cultured folks there was a miss- interpretation on this fusion concept. As our Naga folk songs and music were originally sung in the olden days. With the advent of Christianity in Nagaland, gradually the influence of western culture, songs and its musical advances gradually take over the essence of folk music. The common instrument of both the villages ,one stringed plucked instrument called Tati and musical tonic or the lyrical introduction of many traditional songs, So hi mo jo were rarely sung or played anymore. However the Tati instrument was placed as a decorative piece in many houses. With the knowledge and support from the old folks, a pure traditional piece titled, so hi mo Jo was well revived and presented in a number of occasions. Words of appreciation and encouragement were challenged upon. The other instrument was the Nraiibu (cup violin) a small instrument in use by the people of khonoma village. The survey was conducted with Interviews and questionnaires as well as experimental performances with different folk musicians, where the outcome was a positive response. The research brought about a need for evolution to enhance and revive the aged old musical talents and instruments which can bring about a closer connection of the olden folk music which were composed and sung centuries back.

Introduction: The relationship between Naga folk tunes and its instruments are interrelated .In olden days post victory folk tunes are composed or sung impromptu ,a nostalgic feeling of the victory over a certain tribe or a village . Poetic Naga musical tunes are only passed down verbally from one person to another. Thus losing many unsung Folk-lores. Nagaland consisting of 16 major tribes each has different contours of music and different types traditional musical instruments, each tribe celebrating festivals at least once in a year where culture tradition is re visited, while the folk music though had a very significant past now with modernization and globalization it is seemingly losing its flair over the young Nagas . Though efforts are being made to keep the folk culture and music alive the influence of west has been much stronger than the historical traditions of the past. More so Nagas by nature being music lovers if not known by any other name are so known to be musically inclined most Nagas able to play at least one instrument or sing, however, influenced greatly by western music. Over the recent past there has been a flood of various young Naga artists releasing music and winning different musical categories both in the national and international levels. Nevertheless much has not been done in the field of folk music except for the band of sisters called the Tetseo Sisters who has been ambassadors of Nagaland folk traditional music comprising of only one area of music designated to the Chakesang tribe of Nagaland which also is just pure traditional folk.The government of Nagaland and various Ngos has been trying to keep the tradition alive by organizing various programs and functions to showcase and exhibit and to impart such folk tradition through festivities like the Hornbill Festival held the first ten days of December every year and various other programs of the sort. However no written records were available, thus interview from the old folks was the only informative source to rely upon.The principle of the Naga Tati:

Vipiehu Chiicha from Khonoma village interacting with Diezevitso chasie. august. 2014.

There is no fixed pitch in ancient Naga music. Depending on the singers vocal range, the instrument is tuned to it. Two instruments, namely Tati and Nraiibu (cup violin) were studied.Tati is a one stringed plucked instrument mostly used to accompany various romantic traditional songs.The Tati is an instrument of both men and women not limited to a particular time or song. It is popularly used by the Angami Nagas and Chakesang Nagas to sing traditional folk. The instrument measuring about 3-4 foot in length is made of a dried caved-out Bottle Gourd. This Bottle Gourd is covered with thin film, such as the bladder of animals (originally) and attached to one end of a pole. A string is tied between the two ends of the pole over the film covered caved Bottle Gourd..It has only two musical notes, DO and SO or so and do(octave).The rhythm of the Tati is usually in time. When a musician plays the instrument, he uses his right hand to pluck the string and the left hand to mute or adjust the tension of the vibrating string.Like all the other string instruments, the Tati produces sound by the vibration of the string and the sound is enlarged by the resonance of the plate fitted at the top. To raise or lower note of the Tati, the player can adjust the pitch of the string by increasing or decreasing the tension of the strings Unlike the guitar or other stringed instruments, the Tati cannot produce loud sounds. Despite its limited notes the Tati produces a very unique sound, it is mainly designed to harmonise and to maintain a sense of rhythm to a song. Many a times it is also used as a decorative piece to hold during a performance.

There are two fixed points of each string. The mechanical wave which is generated by thePluck of the hand will be reflected at these fixed points. The overlap of the reflected wave and the progressive wave causes the vibration of the air and therefore produces the sound. Because the Tati is designed mainly to produce a harmony of rhythm to a song, the resonating box is selected randomly, regardless of its shape or size.

Jiviu Punyii holding a Tati instrument. Photographed at Dziileke sept.2014

Nraiibu (cup violin):

The Nraiibu stands for a gentleman and forbids Women to even touch it. A smaller instrument shaped like the Naga Tati, around 1half feet in length, which the player uses a bow. According to folklores, the strings are stolen or obtained from the back of a running horse.Through the friction of the bow and the string, a sharp piercing sound is produced. The Nraiibu has a wider range of notes and requires a well skilled player to execute it. It is the instrument of the strong and the brave where the player uses it to express any texture of emotions.

Visito Meyase holding a Nraiibu instrument.

Table 1.Working Schedule Village MonthDistance from kohima

1.Focus areaa. Khonomab. Dziileke

c. Chesezu1st to 31st August 2014.1st to 28th September2014.1st to31st October 2014 15 km 20 km 53 km

2. Focus Instruments a. Tatib. Nraiibu

3. Theoretical study1st to 27th November 2014.

4. Experimental study 1st to 20th Dec 2014.1.Folk song Performance at the 15TH State level Youth Festival.20142. Folk song Performance at the Hornbill Choir Festival(RCEMPA)Jotsoma.20143. Folk song Performance at the Royal Edinburgh Military Tattoo Festival.2014

Method: This Research was conducted both by questionnaire and experimental folk tunes presentation at various programmes .A total of 600 A total of 412 questionnaires were distributed to the audience at the performance venue. The questionnaire used Likert scale to assess the public opinion, the transition of folk fusion music and its usages. By the end of the programme the questionnaire slips were collected. The survey was a voluntary opinion to participate or unanswered. Through social media, face book the same Questionnaire was placed at various groups,namely Khwiino Link, Naga Tribal voice,Naga Musicians and Music promo,Western Angami friends page, with an expectation to get a positive response in a broader way. Participants: knowledge and data collected from the following tribal poets and musicians given below .a. Jiviu Punyii from Dziileke village. b. Vipiehu Chiicha from Khonoma village. c. Megriezo Chase from Khonoma Village .d. Dunulii Khesoh from Chesezu village. Experimental study: With the Tetso Sisters, at the Royal Edinburgh Military Tattoo Festival, July 2014.

b. Henosis group:

Presenting so hi mo jo at RCEMPA Hornbill choir festival December 2014. c. Folk singers from Khonoma village. Participation at the 15TH State level Youth Festival, October 2014.

Results: There was an 85% response rate to the questionnaire. A breakdown of the responses is listed below in Table 2. It can be clearly seen from the results that the need to revive Folk music is imperative.The research brought about a need for evolution to enhance and revive the aged old musical talents and instruments which can bring about a closer connection of the olden folk music which were composed and sung centuries back to the present generation.

Table 2:

Fusing Naga traditional music;Stronglyagree % Agree %

Disagree %

Strongly disagree %

Creates confusion of our identity to the younger generation.1030 43 17

Diminish the essence of traditional folk music.35 152030

- A necessity to promote cultural folklores.5625145

Can bring out a positive connection with past traditional roots among the youths.4733164

Can inspire the youths to explore and upgrade Naga musical instruments.45301510

Conclusion: Thus having seen the scenario of music in Nagaland the need to preserve the forte of folk music is imperative, while younger generations are becoming less and less interested in folk music, in order to resurrect and keep alive the folks if not in its original stat ,it some way or the other necessitates, in my opinion the fusing of folk with the various genres of western music, thus, creating an impending trend that can keep the people interested as well as keeping the folk tradition in the minds of people reminding of the forgone culture and music as a reminiscent of the past.

Next areas to focus:-a) BuraNamsang Village of Phom tribe under Longleng District.b) Poilwa village of Zeliang tribe under Peren district.

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