Hornbill Festival: Nagaland’s cultural diversity, heritage come alive on day-5

DIMAPUR — The fifth day of the 26th edition of Hornbill Festival showcased a vibrant array of traditional performances at the Naga Heritage Village, Kisama.

Advisor for Minority Affairs and Sericulture, Imkongmar, hosted the ‘Cultural Show,’ attended by Lt. General Vikas Lakhera, Director General of Assam Rifles, and Suneel Sachdeva, Director NFSSA & BP, Ministry of Food & Public Distribution, along with other dignitaries, a DIPR report stated.

The fifth day of the festival highlighted the cultural diversity and heritage of Nagaland, drawing visitors into the traditions, history and communal spirit of the tribes.

The Khiamniungan cultural troupe performed Khaozaosie Hok-Ah-Tsui, a January festival symbolising merrymaking, sharing of food and rice beer, and songs praising the village’s abundance and the bravery and adornments of its warriors.

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The Chang troupe presented a special folk dance, followed by the Kachari troupe performing Bwisagu, which marks the Mech Kachari New Year in mid-April.

The Chakhesang troupe performed Kharuso Su, portraying the construction of a village gate during the founding of new settlements, and Khuswo Li, associated with the rice transplantation period from mid-May to the end of June.

The Angami troupe showcased Omapfu, a male agility game played using a smooth round log traditionally used for pounding rice, along with Miro Teshu, a demonstration of traditional fire-making through wooden friction and bamboo fibre.

The Garo troupe performed Dim Dim Chong, a folk dance celebrated during the post-harvest season of the Garos. The Ao Cultural Troupe presented Nuknurar Yar, the traditional admirer’s dance.

The Yimkhiung troupe performed Tanji Nüt Khün, an agricultural folk song sung during millet harvest, synchronised with manual labour and passed down orally through generations.

The Zeliang troupe showcased Chareng Lin, a dance of merrymaking where boys and girls, compared to hornbill birds flocking together, gather to celebrate and call one another to join in the dance.

The Tikhir troupe performed Mulong Lai Khin, which portrays ancestral communication through musical instruments, and Sangpin Yan, depicting cotton planting, spinning, colouring and weaving processes practised by ancestors.

The Sumi troupe presented Thipugho Gha/Tsusughu Kumsu, a ritual invoking the spirit of rain during drought.

The Sangtam troupe performed Akoh Khi (song of victory), traditionally sung by warriors celebrating triumph during the headhunting era. The Phom troupe presented Sham Lipo, a game testing skill and teamwork to identify capable warrior-leaders, and Leipo Mangh Heungpo, based on ancestral burial customs and rituals for the departed.

The Pochury troupe performed Aho Süro Wanü, a celebratory song and dance presented by clan members during the feast of merit to honour the host’s generosity and social standing. The Rengma troupe showcased Phünsen Lyu, a joyful harvest song expressing gratitude when paddy fields turn golden, reflecting the community’s pride and deep connection with the land.

The Lotha troupe performed Chume Mhee Chum Chum, a traditional game preparing warriors in the art of handling dao (machete) combat and evasion techniques. The Kuki troupe presented Lamkol Lam, an age-old social gathering dance performed in pairs, with men extending their hands while women move gracefully, accompanied by drums, gongs and guitars.

The Konyak troupe concluded the sequence with Eak Me Gon-Bih, a post harvest children’s game testing strength, stamina and breath.