Indigenous faith in Nagaland

The Zeliangrong people comprise three associated tribes (Zeliang, Liangmei and Rongmei) that live in South Nagaland and parts of Manipur (Tamelong District) and Assam and they share cultural similarities.   The 29th of August is remembered by the Zeliangrong as the day that Haipou Jadonang became a martyr eighty years ago to the cause of independence from the British.

Jadonang was born in 1905 as the second of three sons in a family of modest means.  From childhood there was something unusual about him; He would sleep for several days continuously, and on waking up to find his family mourning for him, he would tell them that he had been disturbed from his dialogue with God.  It was also noticed that he talked to himself and whenever he predicted events in the future they came true.  The rare flowering of bamboo and the rodent infestation it brings is feared as a time of famine.  But when the bamboo flowered, young Jadonang told people not to worry but to sacrifice a mithun (buffalo) instead to God.  They listened to him, and they were saved from the terrible fate of starvation.  Jadonang was also a spiritual healer with the ability to cure many illnesses and everyone concluded that he had special spiritual powers.  

At that time, the British ruled both Assam and Manipur, and in 1927 charismatic Jadonang mobilized the people and declared “Naga Raj” implying freedom from British domination.   He was first arrested in 1928 and imprisoned for three days.  On 19 February 1931 he was arrested for the final time in the Kachar Hills.  He had visited the mystic Bhuvan cave with his young female follower, Rani Gaidinliu, and he had received a premonition of his impending death.  The invitation for a discussion turned out to be a trap and he was jailed and hung to death.  After his arrest Rani Gaidinliu took his place in the fight for independence. 

During his time, Jadonang did not receive much recognition but his impact is still felt today.    He insisted on preservation of culture, religion and identity and to unite his people on one platform he built temples, beginning with the first in his own village. There are now 12 houses of worship known as Kalum Kai in Assam, Manipur and Nagaland where followers come and worship on the full moon and on every Sunday.  “The time in which Jadonang lived was a time of backwardness and he spoke the language of the people.  He was intellectual, and he was ahead of his time.  His songs, hymns, dances and costume designs have made the Zeliangrong culturally great”, points out Som Kamei, Director of the North East Zone Cultural Centre and Chief Guest at a commemorative event held in Dimapur in honour of Jadonang.  He adds that “to nurture solidarity the Government recognizes and promotes Jadonang as a freedom fighter, and in general, we are all proud of the freedom fighter of the Nagas, although he has also inspired insurgent activities.   He sacrificed himself for his people and country.”

The religion advocated by Jadonang was the cult of Heraka, also known as Tingkao Ragwang Chapriak (TRC).   Tingkao Ragwang literally means “supreme God of the sky” and he is the supreme deity of the Zeliangrong tribes.  Beyond time and space, he is believed to be “eternal, good, the source of life, the giver and ultimate goal of the human soul, source of holiness, architect of man’s destiny and source of knowledge and wisdom.”[1]

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[1] Gangmumei Kamei:  The Zeliangrong Primordial Religion, Imphal 2005, pp 5-6

Meetings with animators and artists

“It is high time that digital media technology came to Nagaland!”

 

Moasenla Jamir read about the 3 day Animation Workshop at the Nagaland Institute of IT and Multimedia in the newspaper, and she decided to meet the resource person, Tara Douglas.  She left Kohima on 27^th August with her mother, Dr. Watikala, and they reached the institute by late morning. 

Moasenla has studied outside Nagaland - in Chennai, Bangalore and she finally specialized in animation from Delhi.  “It is high time that digital media technology came to Nagaland!” She observed.  “I have always been interested in folktales, even before I got into animation.  Because I studied outside I am aware of these things and I am now taking interest in our culture.    Animation is a very sophisticated way of portraying culture and presenting it in a more visually interesting way”.

Moasenla is presently working on six episodes of public service announcements, each a minute long, for the Department of Health and Family Welfare.   She explains that the topics were given to her and she then spent a month doing medical research around the subject, before preparing a script for the series.  The script was approved and she has been working on the production since April, with a delivery deadline in September for the completed 2D animation.

“I would be interested in working on stories from 16 tribes.  Once this current project is over, we plan to visit all the places mentioned in the Ao folktale of Jina and Etiben, as I am considering making it into a film.  It would probably have to be done in live action with actors first and when a team has been established it could be adapted for 3D animation.” 
“There are lots of folktales that my mother and grandparents know that would be interesting in 3D animation, though first she needs her team.  I support her fully in her work;  At the moment we are constructing a building in Kohima and we have already promised the top floor to my daughter to use as her studio”, adds Dr. Waltikala, who is the Joint Director of the Government Department of Health and Family Welfare, and is presently serving as the Chief Medical Officer for Phek District. 

“I have a tug of war going on,” says Moasenla.  “I am feeling a bit claustrophobic knowing about all those big studios out there.  It is too early to be a one man team!  During my training as an animator we were a group of 25 students in each batch, but there were only 3 or 4 girls.  That gender issue is prevalent.   Here it is very male dominated and it will take years to shed the conditioning.  Girls do not have the exposure or the confidence that comes with it.  Here the whole thing is the government.  Right from the beginning I decided that I did not want to be part of the government franchise.  It is high time to break the mould; In fact, there should be a campaign on this topic!” declares Moasenla, adding that when you do something outside on your own, you enjoy it. 

I was impressed by Moasenla’s attitude and I requested her to address the participants of the workshop: She agreed without a moment’s hesitation.  “You need support from your families because animation is new here.  You are the first batch of animation students and there is an advantage to being the first as you are pioneers.  You need sincerity, commitment and dedication and it all depends on your interest.  Seventy five percent of what I know is self taught; Maya is very vast software and you have just seen one layer in this workshop.  You will need 4-5 years of coaching and it might help to download tutorials from the net.   You must also develop your own technique of working and you have to start to think out of the box.  The hardest thing is to apply what you learn and this is why it is so creative.  Experiment with the software and remember that it is just a tool and that you need creativity to convey your message through it.  I was interested in animation even as a schoolgirl.      I have always been into cinematography.  In our group project at Picasso Animation College, I was the cinematographer.  My instructors advised me to watch a movie everyday with the volume turned down, because before handling the software you need to know how a story works, and then when you master the software you can apply it to the story.   There are resources and organizations ready to support animation here, but you need to arm yourselves with the skills to implement it.  I feel strongly about it here in Nagaland.  There is hardly any one for me to form a team with, but if we can catch up again in a few years and work as a team that will be really good!”

Press Release: Animation Explosion, 3 day Workshop in Animation at the Nagaland Institute of IT and Multimedia, Naharbari, Dimapur.

A three daylong event to introduce young people in Nagaland to the medium of animation as a tool to explore and preserve culture began today at the Nagaland Institute of IT and Multimedia in Dimapur.    Titled “Animation Explosion” the workshop is providing exposure to a variety of artistic styles of animation, though it focuses on 3D.  Mrs Chanmayo G. Aier, (Advocate) was invited as the Chief Guest for the inauguration and a welcome address was given by Dr. Rongsenrenla, the Academic Advisor for the Institute.  “Today animation has captured our imagination” she declared, and she encouraged the participants reminding them that animators can command high salaries in an industry that is expanding in India because of outsourcing from Western countries where production is much more costly. 

Tara Douglas, the leading resource person for the workshop, was invited to give an overview of animation. First she explained how she became involved in animation and she spoke of the benefits of job satisfaction that an animator experiences.  She also pointed out that the first 3D animation studio in Nagaland has in effect been set up right here at the Institute, and she urged the group to make the most of the opportunity and to ask for a three month orientation course in computer generated 3D animation as a follow up to the brief introduction offered in this workshop.    Tara informed them that she had volunteered for this workshop as she has been working in Nagaland to make an animation film of  a local folktale and had found it difficult to find Naga animators to assist in the project.  She explained that this first short film is just a sample of what can be done with local resources, and she intimated that it might be appropriate to produce an animated folktale from each of the 16 tribes.  “Funds can be applied for, interest has been expressed for such a project, but we also need to know that we have the ability to do it.  A team is required for it”, she concluded.

Mrs. Aier recollected her own experiences and the decision of her peers not to go for government jobs rather preferring to become their own boss.  She also spoke of a legacy that the group will leave behind through the work ahead and instructed them to be fearless and not put off by hard work,  posing the tentative question as to how many would take it on as a means to express themselves and Naga society.  She explained that Nagas are still a young society, with previous generations engaged in hard agricultural work.  She expressed confidence that Tara’s association with Adivasis through the Trust will lead to sensitivity in the adaptation of culture and she reminded everyone that the Adivasis in Central India are in a more vulnerable situation than Nagas, who still maintain their land rights.  While Nagas can earn their bread through animation they should also bring some of their philosophy to the world through it.  Mrs. Aier reminded the group that of global competition and expressed her hope that more people come and share technology for the benefit of Naga people. 

Mr. Imtiba Pongen, a finalist in Naga Idol 7 entertained the group with a romantic song, and refreshments were served. 

During three days participants will have screenings of animation films made by masters of the profession.  They will also be exposed to indigenous animation films made in other countries and they will engage in practical sessions in 2D cut-out animation, stop-motion animation and computer generated 3D.

The Adivasi Arts Trust would like to thank local collaborators at the Nagaland Institute of IT and Multimedia for organizing a very successful opening day to the Animation Explosion event.

Meetings with artists and animators

My name is Throngkiuba Yimchungrü, but I am also known as Athrong for short.  I am 20 years old and I am an art student studying at the Indian College of Arts and Draftsmanship in Kolkata.  In 2009 I participated in the State Art Exhibition in Nagaland, and in 2010 I was selected in a national competition to participate in a group show organised by ICCR in Kolkata.  In 2011 I was honoured with the Young Talented Artist Award by the North East Zone Cultural Centre (Government of India).

I am from the Yimchungrü tribe in Eastern Nagaland.  Our culture has changed so much and we are losing touch with our heritage.  Unfortunately I do not know of any other artists from my community nor am I familiar with our folktales.  I use charcoal, pencil, acrylic, oil, watercolour – even dental tools and any other materials that I can find around in my creative activities.  I am mostly inspired by political and social corruption in my art, and I really appreciate classical paintings. 

My ambition is to achieve my Bachelors Degree in India and then perhaps to study abroad for my Masters.  When I am fully qualified, I will work to promote my people and culture through the field of art and in that way I will also be contributing for a better Nagaland. 

It was instinct that inspired me to take up art.  I grew up without a father and my childhood was not easy.  My mother had to bring up five of us alone and this hardship continues to shape me as an artist.  I began taking art seriously after a motorbike accident in 2009 which limited my mobility for a while and I began practicing art for up to nine hours a day.   At first my family discouraged me from art, but now they support me fully.   My mother has a lot of intuition and now I am also developing the ability to interpret dreams. 

So far I have not tried using digital tools or animation in my artwork, but I look forward to getting into this after I have achieved my degree.  For the time being, I am totally into painting and sculpture. 

I have joined the Adivasi Arts Trust so that I can meet other artists and get involved in more projects in the future.  I am starting by illustrating some Yimchungrü folktales.

Independence Day in Nagaland

I ought to make a point of learning the words to the Indian National Anthem.  Having never participated in anything nationalistic before, it was an interesting experience to stand in solidarity with the staff of the North East Zone Cultural Centre early on Monday morning for the flag raising ceremony to commemorate Indian Independence, though when it came to the National Anthem, the best I could do was hum along. I hadn’t even noticed the flag pole standing in front of the Centre before, and now there was a colourful crowd gathered respectfully in front of it.  With impressive back up from the home guard,  the Director of the Centre, Mr. Som Kamei, dressed in formal suit and tie saluted the flag as it unfurled, and I reflected on other possible ceremonies of this style that might be taking place today, and the flags receiving salutes from senior representatives of the Indian Government.

I looked around at my companions; the crowd consisted of the families of the staff of NEZCC – wives dressed in their Sunday best and children in fluffy, frilly white dresses - but there was also a special Naga flavour provided by cultural troupes that had been invited and were decked out in their bright tribal costumes.  The cultural programme was inaugurated with a prayer by Rev. Lipok Jamir from the Ao Baptist Church and it was followed with a speech by the Director.  The Lotha Students Union from Diphupar performed a harvest dance in which Lotha Naga maidens sing a song that gives signals to their admirers about their ability, beauty and strength, and the message that they will be inspired to be as loyal as the Hornbill bird.  The Rongmei cultural dance by the Tragopan Cultural Club that followed is usual during the post harvest festival.  I was surprised and pleased to meet Lani, a student from the Rongmei tribe who had participated in the animation workshop organised in 2009.

I hear that Nagaland Independence Day is remembered on 14 August.  The Naga National Council (NNC) became the umbrella organization for the fight for Naga independence, declaring independence for Nagaland the day before India declared Independence from the British in 1947. Angami Zapu Phizo was elected NNC president in 1950.  Charles Chaisie writes:  “S.S. Khaplang, Th. Muivah and Isaac Swu broke away from the NNC and formed their own National Socialist Council of Nagaland (NSCN) in January 1980. The Accordists, as they came to be called, were, literally, hounded by those who opposed it and several killed.  But, differences within the NSCN split the organization further into the Khaplang faction and the Isaac-Muivah group in 1988”, adding that  “…by the turn of the present decade, the Naga Undergrounds were divided into four factions.”  Over the weekend the local newspapers have carried emotional declarations by the members of the “Underground” factions about poignant Naga issues that have fuelled insurgent activities for decades.    On this day in memory of India’s independence from British rule, what are the implications of Naga independence?  B.G. Verghese writes about Phizo - “Liberal Naga leaders criticized him for changing the meaning of “independence” from “freedom to enjoy our Naga way of life” to sovereign statehood.”

“Politics and religion are the two obsessions of the Naga” writes Charles Chaisie, and I have certainly
observed that politics is a favorite past time in these parts.  Spending time with a group of Nagas the conversation is likely to turn to politics, and no doubt there are plenty of strong feelings on such matters, but I have yet understand who would benefit from independence.  The impression is that Nagas have the best of both worlds, receiving lavish benefits to cajole them in solidarity to the Indian nation and yet largely left to their own devices as a result of obvious restrictions imposed on outsiders.  
As the Secretary of the Adivasi Arts Trust and all too aware of countless injustices inflicted in history on indigenous people, I support indigenous rights: Here are a people who will not allow their culture to be submerged by the majority.  These Nagas are stubborn, and history has shown that they would prefer to die than surrender and the notorious war-like past still echoes in the Naga Hills today.

A friend of mine in Kohima tells me that Nagas are good storytellers but are less adept at working hard.  They love to enjoy themselves and the tradition was to show off through lavish displays of generosity. Feasts of Merit were given to gain prestige in the community and this extravagant display of generosity would inevitably lead to shortage of resources and a drive to raid and loot neighboring villages.

I suspect that that independence is a sublime state of mind; in a world where we are all increasingly dependent on each other, can we be independent of media and peer influence or the government?  Here in Nagaland, government jobs are cherished for the promise of security. “To reduce the flight of central funds into the pockets of a few corrupt individuals, lakhs of government jobs have been created in every field of endeavor and millions spent on their wages without any work”, writes Verghese, adding that,  “…nearly 10 percent of the Naga population has been provided government employment.  The total salary of these employees accounts for 75 percent of the total budgetary provisions”.
The criticism goes further, expressed by Verghese when he writes that “the refusal to develop themselves and the incessant pumping of funds by the government of India has resulted in the inevitable: extreme sloth.  This lethargy and disinterest in ‘earning’ an honest livelihood has encouraged patronage and corruption.  It has also created a government monopoly in employment, which again has destroyed the work ethic necessary to build a modern economy.”
Without skilled labour or entrepreneurial skills, a generation gap exists with today’s youth who are scornful of traditional mores and structures but lack opportunity.  With just eight percent  of the economy as state revenue, my friend Richard thinks that independence is only viable when Nagas can earn their own income,  “Are we fighting for Independence, or are we fighting to get back to our roots?” He asks.

Meetings with artists and animators

Lepden Jamir is a senior artist in Nagaland.  He is based in Kohima, and I went to meet him to discuss a workshop for young artists in Nagaland to create illustrations for a book of folktales from Nagaland that will eventually be published by the Indian National Trust for Cultural Heritage, in Delhi. 

Lepden tells me that while anyone can study fine art there are some born artists who will give their life in dedication to their work, and I instinctively know that he is such an artist.  Lepden has many skills; he is an accomplished sculptor whose large impressive wooden carvings (masks and pillars) are inspired by traditional Naga sculpture with themes that have contemporary relevance to society here.  He also paints, illustrates, writes and plays music and he received the Governor’s Award in 2006.   He is enthusiastic about our project as he wants to establish an “artists khel” to bring local artists together, and he feels that the initiative could start with the illustration workshop.  He tells me of his deep concern for the youth in Nagaland.  “Artists should not go for survival first.  They should learn something and become something”,  he says, adding that he feels that young people in the state are in a dilemma about their future due to lack of communication between the generations.  He is in touch with young artists and supports several of them but impresses that it is equally important to reach out to their parents too, as their support is essential for art to develop in Nagaland.    Junior artists in Nagaland require guidance and direction from their seniors and the focus needs to be on the quality rather than quantity of artists. Good artists must be recognized and senior artists should be sponsored to organize workshops and they also need opportunities to gain new skills to bring back and share with the rest.    “I tell the young people who have studied outside to come back as we have so many things to do in Nagaland.  We have so many histories and stories, who will record that?”

Lepden has been a Government employee since 1997, holding the job of senior artist in the Department of Agriculture.  He points out the lack of understanding of the language of cinematography in the agricultural field, and that farmers neither read nor understand the terminology used so it is his role to convey information through mass media, including television, posters, leaflets and other visual aids.    When work is delayed in his office Lepden works at home, telling me that while he is immersed in his creativity, time and routine loose all relevance.  “People do before they think, we should think first before we do;   these hands are God’s gift and they are tools.  Good artists are hard to find, and you won’t find them in important places.  A happy man cannot be a good artist, because the artist will be tired and suffering.  Everyone wants to hear good music, but an artist cannot compose popular tunes because they are always many years ahead of their time.  Also, plenty of research is required otherwise the work is superficial.  This is the difference between a craftsperson and a sculptor; the sculptor should study history of art and will try to communicate a message through his work, seen in the expression.    

The illustration workshop is planned for mid November this year and it is hoped that it will help to revitalize interest for art in Nagaland.  

Adaptation

The Story of Man, Tiger and Spirit is unfolding scene by scene in the virtual world.  The short animation film, that will be part of the “Tales of the Tribes” collection, is based on an Angami folktale of three brothers, Man, Tiger and Spirit; it tells how they once lived together, and how they separated.

Storytelling was an oral tradition and folktales are embellished by the storyteller  who remembers certain details and elaborates on others.  This short film is an adaptation.  As Deborah Cartmell writes, “every cultural artifact is an adaptation”[1].

To make this film, the story has to be adapted for the audio visual medium to include movement and sound.  Films are a complex arrangements of shots that have been chosen and edited together to convey the story in a clear, interesting way, and as animation is  labour intensive, a lot of pre-production planning is done.  “Fidelity is tiresome as a critical strategy not least because it is an inexact science…”[2] writes Deborah Cartmell. 

Some folktales are oral epics with many characters and relationships.  “Adaptation is a process of identifying the story and focusing the story line…but this is no easy matter, since the story line is often hidden among character details, thematic statements, information and descriptions”[3]  writes Linda Seger.  Details and nuances may not translate across cultures and it is the animation script writer and director ‘s responsibility  to have sensitivity and a thorough background in research to decide how to adapt the story for the film;  with the theme of tribal folktales it is important to work in collaboration with members of the local community and avoid misrepresentation.   Experience shows that a group workshop is a good way of starting the adaptation process, providing  a “think tank” to  discuss the film at the script stage  where ideas are bounced about by the group and consensus is reached.   It is also recommended to circulate the drafted script amongst selected cultured people from the community, writers, storytellers and film makers.  

The perceived audience for the film has the largest influence on it.   Adaptation is “… repurposing for a new audience in a different time or cultural context”[4], writes Deborah Cartmell.  Understanding and interpretation of the story changes with both time and  exposure but as most tribal folktales have some common lesson of wisdom, the message that the story intended for the listener needs to be identified and communicated in the animation film.    Additional meanings and nuances will be read in the details and juxtapositions of the film, and while some are intended others become apparent.  The main story line demands to be received by everyone that watches the film but subtle details will only resonate with individuals.  “Film can give us the story information, character information, ideas and images and style all in the same moment”[5], writes  Linda Seger.  Through multiple layers the film gains an enhanced feeling of authenticity and members of the community recognize cultural details and their intrinsic meanings.

Filmic conventions include postmodern intertextuality.  Based on one central story of a competition between Man Tiger and Spirit, adaptation for the film script attaches references to several other tales from the Naga Hills.   Two prominent symbols of Nagaland are the Hornbill bird and the wild bison (Mithun);  I wanted to include both in the film.  That myth that man first emerged either from a hole in the ground or a cave is shared by several Naga tribes, and there is another folktale that tells of a deal made by the Mithun with the first Man,  so that he would be able to roam freely.  
The main story, about the three brothers, is clear about how Man and Tiger became separated, but Spirit’s alienation needed to be understood,.  In the animation film Man’s arrogant self importance on winning the race (through devious means), was repulsive to Spirit who felt that he could no longer relate to his human brother; This leads on to the eerie climax of the film, when  Spirit swaps Man’s eyes with  Dog – and  he has not been able to see Spirit since;  This detail  and a scene of head-hunting ants that motivates  Man to achieve his identity as a warrior,  have been incorporated from other Naga tales. 

A detail that was omitted from the story in the film was when Mother was  buried under the hearth after her demise, as I felt that this would not be understood by youth today.  On the subject of unintended meanings – I wondered if anyone would associate pregnancy caused by a passing cloud with the virgin birth of Christian ideology. 

Naga  woven shawls have been used to create the environment for the story.   Mapping photographs of hand woven shawls  from various tribes onto 3D computer generated geometry is an experiment that gives an  unusual and undeniable “Naga” look to the film.  That it is an Angami tale is reflected in the selection of textiles used in the home environment of the characters (around and inside the cave);   Textiles of other tribes are used to suggest the tribal diversity of the Naga Hills.  Jewelry, accessories and props in the film are mostly faithful to the Angami tribe, with exception of the spectacular Konyak beaded belt worn by the “Mother”  character and the head pendant acquired by Man at the end of the film;  though from the Konyak tribe, it is the most recognizable symbol of the headhunter warrior. 

The Narrator of the story is now the Hornbill bird.  This seemed to be suitable as the exotic hornbill is the kind of bird that one might expect to talk.   Now that the first rough cut of the short film almost done,  I will be going to Kohima next week to liaise with musicians.  The musical soundtrack of the film will be a fusion mix.  A catchy tune with a distinctively Naga flavour is required, while avoiding the musical influences of the church yet giving space for contribution by young Nagas.

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[1] Deborah Cartmell,”Screen Adaptation, Impure Cinema”, Chapter3, Literature on Film: Writers on Adaptations in the Early Twentieth Century, p55

[2] Deborah Cartmell,”Screen Adaptation, Impure Cinema”, Chapter 1, Adaptation: Theories, Interpretations and New Dilemmas, p20

[3]  Linda Seger, “The Art of Adaptation: Turning Fact and Fiction into Film”, Chapter 5, Finding the Story, p 77

[4] Deborah Cartmell,”Screen Adaptation, Impure Cinema”, Chapter 1, Adaptation: Theories, Interpretations and New Dilemmas, p21

[5] Linda Seger, “The Art of Adaptation: Turning Fact and Fiction into Film”, Chapter1, Why Literature Resists Film”, p 16

Launch of “Fading Ink – The Dying Art of Naga Tattoos”, a documentary film

The premiere screening of a documentary film, “Fading Ink – The Dying Art of Naga Tattoos”, was held at the North East Zone Cultural Centre on Friday 5^th August 2011.  The 60 minute film was made by the team at Design Stash: Akanito Assumi, Lipok Yanger and  Inotu Nawang Khulu, and it was commissioned by the North East Zone Cultural Centre.  The film is an pleasing and entertaining production “not as a scholar, but as a seeker of truth”.  Aptly described as a “travelogue” on the cover of the DVD, the young Naga film-makers toured Nagaland visiting the tribes that had a tradition of tattooing (Ao, Chang, Konyak, Khemungan, Yimchungrü and Pochury) to find out more about the reasons for tattooing and the cause of its demise.  In the Ao tribe it was only women that were tattooed, showing commitment to her husband and family, and there were also associations with the notorious headhunting past when murdered women would be recognized by their clans by their tattoos.   

In the Konyak tribe tattoos proclaimed the exalted status of headhunting warriors.  I felt that the most interesting sound bites in the film were the charming, amusing reflections from a few of the remaining old opium fuelled warriors of bygone days.  “How is it better when we live like sissies?  Show them to me!  Instead of being fierce like this we have become meek, useless cowards”, declares one elderly warrior, adding that, "now all we do is say Hallelujah and tell lies….”  

Conversion to Christianity spelt the end of many animist traditions, including headhunting and tattooing.  Nowadays the youth are not getting tattooed for the same reasons as their forefathers, though some are turning to it as a fashion.  Well researched and backed up with quotes from renowned anthropologists  and a good standard of production,  the film has obvious appeal for young people and I suggest that it be submitted for screening on national TV encouraging the young film-makers and  fostering general understanding of Naga traditions amongst the urban mainstream audience.

The screening was attended by the Commissioner of Art and Culture, Mr. Himato Zhimomi and it was introduced by the Director of NEZCC, Mr Som Kamei.  It is encouraging that young Nagas are taking such initiatives to explore their roots and that they are receiving support in this from NEZCC.  It could also be the first of a series of such films on Naga culture, through the eyes of the modern generation.   

Press Release: 4 August 2011

Students of Christian Mission Secondary School in Dimapur were invited to the North East Zone Cultural Centre for an animation film screening programme and presentation by visiting British animator Tara Douglas.  Tara is currently working at the Centre to complete a short animated folktale from Nagaland.  She is also Secretary of the Adivasi Arts Trust, an NGO based in London that collaborates with indigenous artists in India for digital media projects.  This animation project received a grant for its completion from the State Government of Nagaland (Department of Art and Culture), with a request that young Nagas become involved in the project to gain exposure to new ways of preserving their culture.   Tara felt that the 3D software used to animate characters based on traditional wooden sculptures would be too complicated for beginners to learn, but as she was determined to turn the youth on to animation in Nagaland, she felt that screening events would raise awareness of the potential of animation as new tool for artists and storytellers.

  

Films screened at the event today included “The Tallest Story Competition” collection of animated folktales in various indigenous art styles from tribes of Central India as an example of what could also be done  here in the Northeast.  To inspire the group Tara also screened “Nopokliba”, the first short animation film from Nagaland made by Meren Imchen,  and  few short films by international animation masters showing that animation is not limited to commercial cartoons on TV, and that it can be achieved beautifully using  all kinds of mediums from cel drawings to cut out puppets and even beads.    Students felt shy to share any of their own folktales at the occasion though one student admitted that he knew the Angami story of Man, Tiger and Spirit that has been chosen for the new animation film. 

As her fourth week in Nagaland concludes, Tara is convinced that the animation medium can provide a way for young Nagas to contribute to their cultural heritage where ancient traditions are suspended in time and according to one, “monotonous”.  Change is inevitable and artists always find new forms and means of communicating through their work so why not animation, when it holds so much appeals to the youth?  All the children at the screening event expressed their enjoyment of animation, and it is hoped that on the journey of understanding identity, animated storytelling may one day be an option in Nagaland. 

Press Release: 30 July 2011

An animation film screening programme was held at the Delhi Public School in Dimapur on Saturday 30 July. 

Students of class 8 expressed their enthusiasm for cartoons when they met Tara Douglas, Secretary of the Adivasi Arts Trust.  Tara was one of the animators who worked on a collection of tribal animation films called “The Tallest Story Competition”, for a Scottish company, West Highland Animation, in 2006, and she wanted to share the animated folktales from Chhattisgarh, Orissa, Jharkhand, Madhya Pradesh and Maharashtra with the students.  After the screening, Tara asked the students to vote for their favorite story, and she explained how local art styles had been chosen to give a unique look to each of the films.   The students had not heard any of the stories before, nor could they recollect any from their own tradition, but they all thought animation was a fun way of learning new things. 

Tara is presently in Nagaland for two months to complete an animated folktale from Nagaland for a new series of stories from the Northeast.  Students of Delhi Public School were intimated to look out for the first screening of the short film planned to be held at the Hornbill Festival in December. 

She encouraged the youngsters by telling them of her own experiences as an animator and she proposed it as something they could do in the future but she also warned them that animation is very hard work. “An animator really needs to be interested.  Unlike other jobs, it goes on long after regular office hours, but because it is magic an animator is happy to work hard,” she said, reminding them that “we do not mind working hard to do something that we enjoy.  An animator first has to imagine the film in his mind.  Each scene has to be sketched as a storyboard which is quite like a comic book, and you really have to get to know the characters before you can start using software to bring them to life. The first step anyone who is interested in animation can take is to keep alert for good stories.”