Research Status Progress

Report
This document summarizes the proposed process for conducting Research Initiation stage during
the period (1st August 2014) through (31st Jan 2015) under the Government of India, Ministry of
Culture, New Delhi-110115.

Topic
Name

: Folk Fusion to Greater heights

: DIEZEVITSO CHASIE

File No: F.3-151/2014-S and F

Field

: Junior Fellowship for 2012-13, Folk Music (Folk/Traditional

and Indigenous Arts)

Address: T. khel Khonoma Village, Lower

Email

: atsochasie@yahoo.com

Contact No: +91 9774 154925

duration

Project
01-8-2014 to 3108-2016

a. This reporting period

b. Next reporting period

1st August,2014
January 2015

to 31

1st February ,2015

July 2015

to 31th

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Abstract:
The aim of this report focuses on exploring various kinds of folk music and traditional
instruments present among different tribes learning and understanding the working principal
of the instruments and its relationship harmonizing the traditional tunes. Understanding &
exploration of the indigenous & tribal music to be the most important focus to take forward
the project. Mainly the instruments and music of three villages were explored. Khonoma
village and Dziileke village of Angami tribe under Kohima district and Chesezu village of
Chakhesang Tribe under Phek district. Due to technical knowledge of modern gadgets and
musical notations, which include introduction of fusing traditional musical instruments with
additional modern instruments, was practically a new concept to the local Nagas, besides
musicians, from the old cultured folks there was a miss- interpretation on this fusion concept.
As our Naga folk songs and music were originally sung in the olden days. With the advent of
Christianity in Nagaland, gradually the influence of western culture, songs and its musical
advances gradually take over the essence of folk music. The common instrument of both the
villages ,one stringed plucked instrument called Tati and musical tonic or the lyrical
introduction of many traditional songs, So hi mo jo were rarely sung or played anymore.
However the Tati instrument was placed as a decorative piece in many houses. With the
knowledge and support from the old folks, a pure traditional piece titled, so hi mo Jo was
well revived and presented in a number of occasions. Words of appreciation and
encouragement were challenged upon. The other instrument was the Nraiibu (cup violin) a
small instrument in use by the people of khonoma village. The survey was conducted with
Interviews and questionnaires as well as experimental performances with different folk
musicians, where the outcome was a positive response. The research brought about a need for
evolution to enhance and revive the aged old musical talents and instruments which can bring
about a closer connection of the olden folk music which were composed and sung centuries
back.

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Introduction:
The relationship between Naga folk tunes and its instruments are interrelated
.In olden days post victory folk tunes are composed or sung impromptu ,a
nostalgic feeling of the victory over a certain tribe or a village . Poetic Naga
musical tunes are only passed down verbally from one person to another.
Thus losing many unsung Folk-lores. Nagaland consisting of 16 major tribes
each has different contours of music and different types traditional musical
instruments, each tribe celebrating festivals at least once in a year where
culture tradition is re visited, while the folk music though had a very
significant past now with modernization and globalization it is seemingly
losing its flair over the young Nagas . Though efforts are being made to keep
the folk culture and music alive the influence of west has been much stronger
than the historical traditions of the past. More so Nagas by nature being music
lovers if not known by any other name are so known to be musically inclined
most Nagas able to play at least one instrument or sing, however, influenced
greatly by western music. Over the recent past there has been a flood of
various young Naga artists releasing music and winning different musical
categories both in the national and international levels. Nevertheless much
has not been done in the field of folk music except for the band of sisters
called the Tetseo Sisters who has been ambassadors of Nagaland folk
traditional music comprising of only one area of music designated to the
Chakesang tribe of Nagaland which also is just pure traditional folk.
The government of Nagaland and various Ngos has been trying to keep the
tradition alive by organizing various programs and functions to showcase and
exhibit and to impart such folk tradition through festivities like the Hornbill
Festival held the first ten days of December every year and various other
programs of the sort. However no written records were available, thus
interview from the old folks was the only informative source to rely upon.
The principle of the Naga Tati:

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Vipiehu Chiicha from Khonoma village interacting with Diezevitso chasie. august. 2014.

There is no fixed pitch in ancient Naga music. Depending on the singers

vocal range, the instrument is tuned to it. Two instruments, namely Tati and
Nraiibu (cup violin) were studied.
Tati is a one stringed plucked instrument mostly used to accompany various romantic traditional
songs.The Tati is an instrument of both men and women not limited to a particular time or song. It
is popularly used by the Angami Nagas and Chakesang Nagas to sing traditional folk. The
instrument measuring about 3-4 foot in length is made of a dried caved-out Bottle Gourd. This
Bottle Gourd is covered with thin film, such as the bladder of animals (originally) and attached to
one end of a pole. A string is tied between the two ends of the pole over the film covered caved
Bottle Gourd..It has only two musical notes, DO and SO or so and do(octave).The rhythm of the
Tati is usually in time. When a musician plays the instrument, he uses his right hand to pluck the
string and the left hand to mute or adjust the tension of the vibrating string.
Like all the other string instruments, the Tati produces sound by the vibration of the string and the
sound is enlarged by the resonance of the plate fitted at the top. To raise or lower note of the Tati,
the player can adjust the pitch of the string by increasing or decreasing the tension of the strings
Unlike the guitar or other stringed instruments, the Tati cannot produce loud sounds. Despite its
limited notes the Tati produces a very unique sound, it is mainly designed to harmonise and to
maintain a sense of rhythm to a song. Many a times it is also used as a decorative piece to hold
during a performance.
There are two fixed points of each string. The mechanical wave which is generated by the
Pluck of the hand will be reflected at these fixed points. The overlap of the reflected wave and the
progressive wave causes the vibration of the air and therefore produces the sound.
Because the Tati is designed mainly to produce a harmony of rhythm to a song, the resonating box
is selected randomly, regardless of its shape or size.

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Jiviu Punyii holding a Tati instrument.

Photographed at Dziileke sept.2014

Nraiibu (cup violin):

The Nraiibu stands for a gentleman and forbids
Women to even touch it. A smaller instrument
shaped like the Naga Tati, around 1half feet in
length, which the player uses a bow. According
to folklores, the strings are stolen or obtained
from the back of a running horse.
Through the friction of the bow and the string,
a sharp piercing sound is produced. The
Nraiibu has a wider range of notes and requires
a well skilled player to execute it. It is the
instrument of the strong and the brave where
the player uses it to express any texture of
emotions.

Visito Meyase
holding a Nraiibu instrument.

Table 1.
Working
Schedule

Village

1.Focus area

a. Khonoma
b. Dziileke
c. Chesezu

2. Focus

Instruments

3. Theoretical study

4. Experimental

study

Month

Distance from
kohima

1st to 31st August 2014. 15 km

1st to 28th September
2014.
20 km
1st to31st October 2014 53 km

a. Tati
b. Nraiibu
1st to 27th November 2014.
1st to 20th Dec 2014.
1.Folk song Performance at the
15TH State level Youth
Festival.2014
2. Folk song Performance at the
Hornbill Choir
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Festival(RCEMPA)Jotsoma.2014
3. Folk song Performance at the
Royal Edinburgh Military Tattoo
Festival.2014

Method:
This Research was conducted both by questionnaire and experimental folk
tunes presentation at various programmes .A total of 600 A total of 412
questionnaires were distributed to the audience at the performance venue.
The questionnaire used Likert scale to assess the public opinion, the transition
of folk fusion music and its usages. By the end of the programme the
questionnaire slips were collected. The survey was a voluntary opinion to
participate or unanswered.
Through social media, face book the same Questionnaire was placed at
various
groups,namely Khwiino Link, Naga Tribal voice,Naga Musicians and
Music promo,Western Angami friends page, with an expectation to get a
positive response in a broader way.
Participants: knowledge and data collected from the following tribal poets and musicians given
below .
a. Jiviu Punyii from Dziileke village.
b. Vipiehu Chiicha from Khonoma village.
c. Megriezo Chase from Khonoma Village .
d. Dunulii Khesoh from Chesezu village.

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Experimental study:

With the Tetso Sisters, at the Royal Edinburgh Military Tattoo Festival, July 2014.

b. Henosis group:

Presenting so hi mo jo at RCEMPA Hornbill choir festival December 2014.

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c. Folk singers from Khonoma village.

Participation at the 15TH State level Youth Festival, October 2014.

Results:
There was an 85% response rate to the questionnaire. A breakdown of the
responses
is listed below in Table 2. It can be clearly seen from the results that the need
to revive Folk music is imperative.The research brought about a need for evolution to
enhance and revive the aged old musical talents and instruments which can bring about a closer
connection of the olden folk music which were composed and sung centuries back to the present
generation.

Table 2:

Fusing Naga
traditional

Stron
Disagr
Agre
gly
ee
e
agree
%

Strongly
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music;

Creates confusion of
our identity to the
younger generation.
Diminish the essence
of traditional folk
music.
- A necessity to
promote cultural
folklores.
Can bring out a
positive connection
with past traditional
roots among the
youths.
Can inspire the youths
to explore and upgrade
Naga musical
instruments.

10

35

disagree
%

30

15

43

17

20

30

56

25

14

47

33

16

45

30

15

10

Conclusion:
Thus having seen the scenario of music in Nagaland the need to preserve the
forte of folk music is imperative, while younger generations are becoming less
and less interested in folk music, in order to resurrect and keep alive the folks
if not in its original stat ,it some way or the other necessitates, in my opinion
the fusing of folk with the various genres of western music, thus, creating an
impending trend that can keep the people interested as well as keeping the
folk tradition in the minds of people reminding of the forgone culture and
music as a reminiscent of the past.
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Next areas to focus:a) BuraNamsang Village of Phom tribe under Longleng District.
b) Poilwa village of Zeliang tribe under Peren district.

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