Kohima: The annual Hornbill Festival, dubbed the “Festival of Festivals,” celebrated annually from December 1-10, has evolved into more than just a celebration.
For the community-driven group like the Lidi Kro-u from Kohima Village, Asia’s second-largest village, the festival is a platform to revive and sustain the indigenous language, music, and traditions of the Angami Nagas.
Founded in 2012, Lidi Kro-u initially began as a small collective aimed at documenting folk songs and stories. By 2021, their activities were formally integrated into the Hornbill Festival at Kohima Village, where their efforts to showcase traditional Angami practices captured both local and international attention.
During the filming of Thejanuo, a documentary released in 2016, members of Lidi Kro-u realized a pressing issue—many traditional practices were unfamiliar to the younger generation. Neisakuonuo Solo, former president of the group, recalled how their children, who assisted on set, struggled with cultural nuances.
“It struck us that if we didn’t teach them, these traditions would vanish,” she said.
Preserving Culture Through Practice
In collaboration with the tourism department, Lidi Kro-u, since 2021, has been conducting intensive workshops on indigenous music, language, oral traditions, food, and other cultural practices.
Lidi Kro-u’s efforts go beyond performances, incorporating storytelling, folk music sessions, traditional cuisine demonstrations, weaving, bamboo crafts, and traditional games.
According to Solo, these activities are carefully crafted to bridge the growing gap between the younger generation and their ancestors, ensuring that cultural knowledge is passed down and preserved.
“Some traditional practices and ways of life taught to us by our parents are still part of our lives, but with changing times and modern influences, they are no longer practiced regularly,” she said. “We feel it is our responsibility to pass on this knowledge, or it will be lost in the transition.”
During the 25th edition of the Hornbill Festival, Lidi Kro-u organized oral storytelling sessions, a demonstration of cooking muodi (a traditional Angami Naga beef delicacy), indigenous games, bamboo craft sessions, folk music and dance performances, presentations on indigenous ways of life, and more.
Khriezohunuo Sote, 31, who joined Lidi Kro-u in 2017 when the group opened its doors for new induction, highlighted how the organization provides a unique learning environment.
“I always wanted to learn the Tati (a traditional one-string instrument), but there was no one to teach me at home. So when I joined the group, I not only learned the instrument but also gained a deeper understanding of our indigenous culture through music, games, and other traditional practices,” she said.
Sote explained how folk music has also helped her learn the Tenyidie language in its pure form. “Initially, I memorized the lyrics without understanding, but our culture became more meaningful to me as I learned what each sentence of the songs sung by our ancestors meant,” she said.
The Hornbill Festival, she added, is the only time when all members of the group fully commit to eight to nine days of learning and passing on indigenous knowledge. Time management, she explained, was a challenge for the group at other times.
“There is so much we need to learn, but time is a constraint. The group comprises people from all walks of life, so our schedules sometimes clash, making it difficult for us to meet. Since the Hornbill Festival became an annual affair for us, we all know that this is the time to set aside our work and come together,” Sote added.
For many in Lidi Kro-u, the Hornbill Festival is more than an annual event—it’s a bridge connecting past, present, and future.
“Through songs, stories, and hands-on learning, we are not just preserving our culture—we are living it,” said Sote.
A Meeting of Indigenous Cultures
Keiichi Ono, Japan’s Ambassador to India, was quick to play the Tati when he visited Lidi Kro-u at Ketsiezou in Kohima Village on December 1.
“I love the sound of Tati and like to practice it,” the diplomat commented during his visit. One member revealed that the Japanese ambassador highlighted the similarities between Naga and Japanese cultures, particularly in traditional bamboo instruments and bamboo crafts.
Self-Reliance: A Core Philosophy
Self-reliance is a recurring theme within the group. Neizoviü Sekhose, president of Lidi Kro-u, emphasized that their ancestors were self-sufficient—from farming to building homes. The group’s vision, she shared, is to instill these values in the youth, particularly in an era marked by urbanization and unemployment.
“We want to train the younger generation in self-reliant practices so they can navigate modern challenges while staying rooted in their identity,” Sekhose explained.
This year, the group also organized a practical farming session, teaching children the traditional peli system, where community members collectively work on each other’s fields, and indigenous farming practices.
Challenges and Hopes for the Future
While the Hornbill Festival offers a vital platform, challenges remain.
“We need to make a conscious effort to preserve these practices, or we risk losing our identity,” Kelhoulenuo Keyho, a senior member of Lidi Kro-u, said. Reflecting on the impact of urbanization and Western influences in Kohima, she noted that language and tools used in farming and at home are integral to preserving these traditions.
Akhrietuo Khezhie, 34, who has been with Lidi Kro-u for two years, recalled joining the group through a friend’s recommendation. Although not raised in the village, he longed to learn about his culture. Having studied outside the state, he realized upon returning that it was essential to reconnect with his heritage.
He shared his experience of learning the meaningful words in Tenyidie and mastering bamboo crafts. Khezhie noted the growing curiosity among both locals and non-locals to learn about Naga traditions, especially during the Hornbill Festival.
Khezhie observed that the current trend sees many people looking forward to the festival as an opportunity to reconnect with their roots. Despite busy schedules, locals make time to participate, recognizing the elders’ concerns about preserving their culture.
“The younger generation needs to step up, make time, and learn about our traditions, even amidst work and studies,” Khezhie added.
A Melting Pot of Cultures
The Hornbill Festival has also become a melting pot for global indigenous cultures.
At Kisama, the main venue of the festival, this year featured performances by the Native Jazz Quartet from the United States, blending indigenous music with jazz—a genre deeply rooted in American history.
The quartet, comprising Delbert Dale Anderson (trumpet artist), Edward William Littlefield II (percussionist), Michael Bartholomew Glynn (double bass player), and Reuel Vallester Lubag (pianist/drummer), shared what it means to share their native jazz music at an indigenous music festival.
Delbert, while emphasizing the deep-rooted values of respect and collaboration in jazz music often echoed by elders in his community, shared how jazz serves as an avenue to preserve their indigenous culture by incorporating old songs into the genre.
Reflecting on his experience as an indigenous musician, Delbert noted the lack of awareness about indigenous history but found a strong connection with the melodies of folk songs shared at the Hornbill Festival. “There’s a connection that transcends borders—it’s a collaborative story told through music,” he said.
Delbert highlighted the importance of cross-cultural exchanges at the Hornbill Festival. He expressed that platforms like these play a vital role in educating people about indigenous ways, which he described as some of the best approaches to life.
“It’s wonderful to have an indigenous festival that provides a space to share and exchange cultures,” he said. Delbert also appreciated the warmth and humor of the Naga people, which made the experience feel homely. Representing both the USA and his native culture, he said, was a “bittersweet” moment as he also represented the indigenous community of the country.
Edward, on the other hand, noted parallels in war cries, calling sounds, and even songs, such as one about feathers, which he suggested could resonate with the significance of the Hornbill in Naga culture. Edward also praised Nagaland’s representation of its heritage, citing Nagaland Coffee’s packaging featuring an indigenous figure as a beautifully crafted tribute.
“The more we embrace and share our culture, the more alive and special it becomes,” he shared.
As for Reuel, whose family moved to the States from the Philippines, he said, “Even across the world, there’s so much that connects us.” Reflecting on his upbringing, Reuel shared how he grew up learning American history and folk songs in school, which shaped his appreciation for cultural heritage.
Through his journey with the Jazz Band, he began exploring and connecting with other indigenous cultures globally. Representing the United States at an event like the Hornbill Festival, he noted, was a significant moment. “It’s a big deal to represent my country—a land of opportunity and diversity, which is the very reason my parents chose to immigrate,” he shared. He also emphasized jazz as America’s unique musical art form, blending diverse cultural influences into one harmonious expression.
The band’s bassist, Michael, remarked on his amazement at how the Naga people take pride in their culture. He expressed excitement about learning Naga traditions and highlighted the strength found in diversity, a common thread between India and the United States.
This story has been published as part of the AIPP-EastMojo Fellowship 2024
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