I want to share something from a place of genuine concern and love — not as criticism, but because Hornbill Festival, Nagaland’s culture, and our music ecosystem deserve thoughtful reflection.
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I want to share something from a place of genuine concern and love — not as criticism, but because Hornbill Festival, Nagaland’s culture, and our music ecosystem deserve thoughtful reflection. Things have changed over the years, and while progress is good, some areas need attention. I also understand that not everyone may feel the same way, and that’s perfectly fine; some may agree and some may not — we all have our own perspectives and I wish not to argue or have a debate with anyone.
1. HORNBILL MUSIC FESTIVAL LINEUP: Talent vs Repetition
First, let me say clearly: TaFMA has done amazing work in organising the music festival and supporting musicians. Their initiatives, workshops, and collaborations are commendable.
But one of my biggest concerns is the visible repetition in the Hornbill Music Festival lineup. Every year, some artistes return 3–4 years consecutively, while many talented musicians from Nagaland, who have never performed, are still waiting for a chance. You can just look at the previous year's line up on their social pages.
This starts to look biased, even if that’s not the intention. Even international acts are often relatively unknown. If we can’t bring big global names every year, why not focus on homegrown talent instead of repeating the same faces?
Imagine giving deserving yet undiscovered artistes a real opportunity.
2. NURTURING LOCAL ARTISTES: A Mentorship Bootcamp
One possibility that could meaningfully enrich the festival experience is the idea of an open audition specifically for Naga artistes who have not yet had the opportunity to perform at the Hornbill International Music Festival at the main stage. If new talents are identified through this process, TaFMA could consider offering them a short 1–2 week intense mentorship program leading up to the festival.
With TaFMA partners already present in every district, this existing network could play a valuable role in supporting such an initiative, beyond the usual ‘Open House’ activities. It could become a platform that helps first-time performers feel prepared, confident, and celebrated on one of the biggest stages in the state.
During this period, mentors could guide them on:
- Stage presence and performance techniques.
- Showmanship and audience engagement.
- Professional and confident communication on stage.
- Song selection and setlist planning according to genre.
- Coordination with sound engineers and stage crew.
- Styling, outfits, and visual identity.
- Professional etiquette, timing, and overall artist preparation.
This would not just polish performances — it would empower artistes to feel celebrated, giving them pride, confidence, and experience to perform like true professionals. Imagine local musicians being nurtured the same way international artistes are — this is how Hornbill Festival can truly uplift homegrown talent.
3. TICKET TO HORNBILL: Fairness in Selection
Ticket to Hornbill is an incredible platform, with a prize pool of INR 40 lakh and the valuable opportunity for the winners to perform at the Hornbill Music Festival.
That said, when I saw this year’s list of nine finalists, it appeared — at least from the outside — that each band represented a different state. It made me wonder whether this pattern was intentional or just coincidental. If multiple outstanding bands happen to come from the same state, it would be encouraging to see their talent recognised purely on merit, rather than appearing limited by geographical diversity.
A system that feels transparently merit-based not only strengthens the competition’s credibility but also reassures both participants and audiences that the focus remains on musical excellence.
4. SPOTLIGHT FOR THE WINNER: Giving Credit Where It’s Due
Another concern is how the "Ticket to Hornbill" winner is treated at Hornbill Festival.
Winning bands currently receive:
- Little promotion.
- No dedicated performance slot on a major night.
- Minimal audience focus.
- No proper introduction or recognition.
- Most festival-goers don’t even know the winner is performing.
This should change. The winner deserves a full-length, spotlighted performance, ideally on the closing night, with proper advertisement, stage lighting, and recognition. They should feel like champions, not side acts. Proper visibility honors their achievement and inspires future musicians.
5. MISSING THE SPIRIT OF THE OLD HORNBILL ROCK CONTEST
Anyone who witnessed the old Hornbill Rock Contests will understand how special those years were. (Details such as dates and formats changed over time, so some figures may not be exact.)
- Live auditions where bands watched each other perform.
- A set of 8–12 songs per band, including mandatory common songs for fair comparison.
- Multiple rounds from October to the last day of the Festival.
- Winner announced on the final day - the last of Hornbill Festival.
Huge audience turnout because of transparency and excitement. Today, online auditions and a two-day semi-final have taken away that energy. The excitement, fairness, and raw community vibe are diminished.
6. INTERNATIONAL COLLABORATIONS: Growth without Losing Identity
TaFMA has expanded the music festival through workshops, handshake concerts, global collaborations, partnerships, and various capacity-building initiatives. These are positive and necessary steps for strengthening Nagaland’s music ecosystem, especially in a rapidly progressing and competitive cultural landscape.
But sometimes, it feels like the festival prioritises dignitaries, PR events, and international appearances over Nagaland’s cultural heritage. Hornbill Festival should grow globally, but never at the expense of its soul — the rich traditions, tribal practices, and stories that made it iconic.
I was watching the official launch programme on YouTube, one thing became very clear: Naga culture is present — but not central anymore.
The schedule is packed with:
- Political launches
- Institutional programmes
- Celebrity appearances
- Delegate introductions
- Modern events and showcases
Meanwhile, cultural troupes, dancers, performers, and heritage displays feel squeezed in between these segments.
Hornbill Festival should not become a showcase for guests, delegates, tourists, etc. BUT it should remain a "showcase of Naga culture first". It began as a cultural festival so it should continue to look and feel like one.
7. SEPARATING STAGES: Respecting Each Segment
At the moment, cultural troupes, music performances, and official programmes often share the same stage, which can unintentionally dilute the experience for both performers and audiences. A long-term approach that could enhance the festival’s flow is the idea of gradually developing dedicated stages for each segment:
Stage 1: Music Festival — focused entirely on musical performances.
Stage 2: Cultural Arena — uninterrupted folk dances, storytelling, and tribal showcases.
Stage 3: Official/VIP Events — launches, MoUs, speeches, and formal programmes.
Of course, creating separate spaces requires planning, resources, and time. It doesn’t need to happen immediately or all at once. But even as a phased vision for the coming years, it could help ensure that nothing feels overshadowed and each part of the festival receives the spotlight it deserves.
This way, culture gets its space, music gets its energy, visitors get clarity, and performers receive the respect and focus they deserve.
Hornbill Festival is one of Nagaland’s greatest treasures. Everything I’ve shared comes from a place of care — not criticism.
We want:
- Fairness for local artists
- Opportunities for new talent
- Proper recognition for winners
- A festival rooted in culture, identity, and heritage.
By nurturing talent, celebrating achievements, and maintaining Hornbill Festival’s essence, we can create an event that is authentic, inspiring, and globally respected, without losing what makes it uniquely ours.
Nagaland’s culture and talent deserve nothing less. Modernisation is good, collaborations are good but a festival must never forget its soul.
Nagaland has the talent.
Nagaland has the culture.
Nagaland has the stories.
All it needs is a festival that reflects them deeply and honestly.
If any of these thoughts resonate with you, then you already understand the intention behind sharing them.
KUKNALIM
Chumdemo Yanthan
Musician/artiste manager
Dimapur