Tribal heritage unfolds at ‘Cultural Show’ on day-6 of Hornbill Festival 2025

DIMAPUR — The sixth day of the 26th edition of the Hornbill Festival 2025 unfolded with a colourful array of traditional dances, songs, and cultural expressions, as tribes from across Nagaland and neighbouring Arunachal Pradesh showcased their rich heritage on the cultural stage.

The ‘Cultural Show,’ hosted by KG Kenye, Minister of Power & Parliamentary Affairs, and co-hosted by A Pangjung Jamir, Advisor for Fisheries & Aquatic Resources, was attended by key dignitaries including NEC Secretary Satinder Kumar Bhalla, Lt. Gen. Abhijit S Pendharkar (GOC, 3 Corps), and senior executives from the Bank of Baroda, Dr. Debadatta Chand and Beena Vaheed.

The Ao cultural troupe presented Yimdongsü Yar, the traditional male street festival dance performed exclusively by men during festive occasions.

The Tikhir troupe showcased Kuhlangnyi Tsin, the post-harvest dance performed by men to celebrate friendship, sharing of food, and thanksgiving after harvest, often accompanied by feasting and animal sacrifice.

The Angami troupe performed Tephrie Metsa, an indigenous game played with a stick by the menfolk, reflecting traditional agility and strength. The Garo troupe sang Nanggorere Goserong, a light-hearted folk song sung during festivals and gatherings.

The Chakhesang troupe presented Khuho Li, the song of paddy field hoeing. The Kachari troupe performed Jarafaglamwsanai, a sacred folk dance presented during Kherai Puja .

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The Chang troupe showcased Kongkin Dookbü, performed during the Naknyu festival. The Khiamniungan troupe presented a traditional act depicting the customary haircut of Khiamniungan men.

The Konyak troupe performed Kak-goi-bih, showcasing traditional methods of healing practiced before the advent of modern medicine, many of which are still followed today. The Kuki troupe showcased Savailhun, meaning “a grand reception after a great hunt.”

The Wancho Fusion Crew from Longding, Arunachal Pradesh, showcase a powerful cultural presentation titled ‘From roots to rhythm,’ blending traditional Wancho war dances with modern fusion styles.

The Lotha troupe performed Rüjungro-To, a folk song comparing a handsome man to a hornbill as he seeks the affection of a woman who rejects him.

The Phom troupe presented Elou Moksham Sham-a Konpo Pühnyü Nyeng, a dance praising the striking patterns of the python and celebrating the beauty and abundance of nature.

The Pochury troupe showcased Chieh Chieh, a traditional combat sport where participants use foot strikes and blocks to topple opponents. The Rengma troupe performed La Kethyü, narrating the traditional art of pottery before aluminium utensils arrived.

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The Sangtam troupe sang Kihkha Khidong, the water fetching folk song. The Sumi troupe performed Kimelepu Ajuyebo, an insect mimicry game traditionally played by the youth to foster unity and teamwork.

The Zeliang troupe presented Kantung Lin, in which the dancer is complimented for dancing beautifully with raised arms. The Yimkhiung troupe showcased Hüh Tsah Peh, a traditional bamboo walking performance demonstrating balance, rhythm, and graceful movement.