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DIMAPUR — A recent art workshop titled ‘Reflecting Underlying Belonging,’ held in Dimapur from October 30 to November 2, explored the complex question of what it means to be a Naga artist in the 21st century.
Led by mentors Throngkiuba Yimchunger and Dharmendra Prasad of the ‘Deconstructing Morung’ initiative, the workshop brought together six participants to explore Naga artistic identity.
One of the key critiques raised by Prasad was the mechanical nature of many art workshops: "Usually...they give the canvas, the oil paints…and they have to finish within three, four days. Just for formality.” This “production-line” approach, he argued, often results in superficial and stereotypical representations of Naga culture, created more for external consumption than genuine artistic exploration.
The concept of “deconstructing the morung” became a central theme as discussions focused on embracing the morung as a conceptual space, a mindset, and a practice that can exist anywhere.
“You can actually take a morung to New York; you can take a morung to Berlin,” Throngkiuba suggested, adding that this deconstruction allows for a deeper engagement with the core values of the morung—community, collaboration, and the transmission of knowledge—without being bound to a specific location or architectural form.
Prasad emphasised the need for artists to move beyond simply replicating existing cultural motifs and instead examine deeper into the process of creating art. He suggested that artists should focus on generating questions and discussions rather than creating objects and rethink what constitutes art in the Naga context and the broader Northeast region.
He highlighted the challenges faced by Northeast artists in navigating the influence of colonial and global art trends. He argued that many artists in the region are still operating within a “dislocated” framework, replicating Western art practices rather than drawing from their own cultural contexts.
Both mentors addressed the limitations of the individualistic approach to art often taught in art schools. Prasad argued that art schools often emphasise the creation of a unique style or language for the purpose of selling art rather than communicating with audiences.
Throngkiuba further emphasised the dangers of applying Western art history and pedagogy to Naga art practices. He pointed out that Naga art traditions are deeply rooted in collective practices and community collaboration, in contrast to the individualistic focus of many westernised art schools.
Prasad also critiqued the tendency of artists to simply “take the motif from life to the canvas or a gallery or a museum,” arguing that this approach does not contribute to the extension of culture.
“The role of an artist is not to preserve the culture but to extend it forward in time,” he emphasised. “That is where we don’t know how to do it.”
Acknowledging the impact of neoliberal systems, market forces, and historical conflicts on Northeast communities, he questioned how artists can effectively engage with these issues and contribute to the preservation and evolution of their cultures.
“What should be the role of an artist in this particular scene? The Northeast has a history of separatist movements and ethnic clashes. So, how can an artist work in this context of conflict and history or exploitation, of cultural loss?” he posed.
Throngkiuba meanwhile, introduced the concept of the “living museum,” urging artists to document and integrate cultural narratives into their work.
Commodifying culture
Throngkiuba highlighted the irony of artists often selling their culture to “outsiders” while simultaneously perpetuating stereotypical representations of Naga identity. He pointed to the frequent depiction of “Naga warriors” in traditional regalia as an example of this trend.
He argued that there is a tendency for artists to portray a romanticised and often inaccurate image of Naga warriors, based on superficial observations rather than a deeper understanding of the culture.
“This guy is just working somewhere in an office,” Throngkiuba said. “He just came to Hornbill (Festival), and for one occasion, he put on the headgear and posed for the photograph. And all of a sudden, he became a warrior. And all the artists are just painting him, describing him as a Naga warrior,” he opined.
He also drew a parallel between this commodification of Naga culture through art and the recent controversy surrounding the attempted auction of Naga human remains in the UK. He urged for a reflection on how artists themselves might inadvertently contribute to this commodification through their work.
Supplementing this, Prasad stressed the need for artists to be more conscious of the power and impact of their work.
Paimalie Chuilo, a participant, described a central conflict in her artistic practice: the tension between her Christian upbringing and her Naga cultural heritage. She said her family encourages religiously themed art that glorifies the church, while her creative instincts pull her towards exploring her cultural identity.
This internal struggle, she said, creates hesitation and indecision, leaving her feeling torn between these two powerful influences. She illustrates this dilemma with the example of her grandmother, who, as a devout Christian, rejects all aspects of traditional Naga culture, viewing them as taboo. This generational divide and the pressure to conform to Christian values within her family contribute to her artistic hesitation and the challenges she faces as an artist in Nagaland.
The participants also discussed how the arrival of Christianity, while offering certain advantages like education and economic upliftment, led to the suppression and loss of traditional Naga practices and a disconnect from nature. This loss includes the devaluation of traditional arts, crafts, songs, stories, and communal practices, as well as the erosion of traditional ecological knowledge.
Another participant, Ritsanok Longchar, lamented the decline of meaningful conversations within communities, attributing it partly to the shift away from traditional gatherings and the rise of individualistic pursuits.
The four-day workshop, sponsored and supported by state department of Art and Culture, also included talks with artist Veswuzo Phesao, co-founder of Heirloom Naga Centre, Aku Zeliang, and author G Kanato Chophy, as well as field visits. Other participants included Lonenu Savi, Mughaka Swu, Rahul Alam, and Sanenti Longchari.