Ahuna Festival 2012, Zunheboto (III)

The final performance at last week's Ahuna festival in Zunheboto was by the boys from North Point Colony, Zunheboto. They performed the game/dance called Imu no pi 'süjo süjo', which translates as 'My older brother said 'sujo sujo'.' The word süjo is a verb meaning 'to pull out'.

Here are some photos and videos of the game.

One guy has a 'tiger's tail' attached to his behind.

 

 Despite the fact that it's quite a famous game here, I'd never actually seen it before. I tried asking friends about the rules of the game, but no one could really tell me what they were.

A few days later, I asked H. S. Rotokha what the significance of the game was. He told me that there was once a man who had three sons. When the man was about to die, he called his sons together to tell them not to fight among each other after his death, lest their enemies take advantage of this.

Unfortunately, at this point in our conversation, dinner was ready and he had to stop the explanation.

So now, I'm still pretty clueless as to the rules of the game, or its cultural significance. Perhaps someone who comes across this blog post can explain it to me?

With that said, I hope everyone had a happy Ahuna!

My only disappointment was that I didn't get to eat any ahuna, i.e. the newly harvested rice cooked in a bamboo vessel (read here)!

Ahuna Festival 2012, Zunheboto (II)

So the turn-out at the Ahuna celebration in Zunheboto was small in comparison to the one in Dimapur, but here were some of the highlights of the cultural performances. I was a little disappointed that the organisers decided to make all 4 cultural troupes perform at the same time, so you'd have to rush from performance to performance, with no clear sense of what you were seeing if you didn't already know what the troupes were doing (and also only if you were lucky enough to be able to enter the performance area - most of the spectators from the town had to sit at a distance).

Thankfully, I was allowed into the performance area, and was already familiar with most of the performances because of the cultural documentation project.

The villagers from Chishilimi perform the rain invocation ceremony called Tala Dala (or Dala Dala). According to them, they are the only Sumi village to perform this ceremony, which involves two rows of men taking turns to hit a raised mound of earth with long sticks. The action of hitting the mound is quite similar to the action of hitting the creeper called ayichi during community fishing (called ayichi küvvü).

In addition to the men hitting the raised mound with the sticks, others stand to the side pulling strips of bamboo (I think), while others swing bits of bamboo attached to a piece of string, all of which make a sort of buzzing noise, that I believe is supposed to 'call the thunder'.

They also performend hango leh, which is a song sung while sowing.

The men from the village of Khükiye-Lukhai did aphila kuwo, which is often mistranslated as a 'war dance', since it was never performed by warriors before they went off to battle, or by victorious warriors. It was simply a dance performed during festivals.

The women from Khükiye-Lukhai performed thigha leh, a song sung while breaking up the soil with sticks, usually performed after hoeing (phushe) has been done.

Some men from Zunheboto performed winnowing of the paddy. According to H.S. Rotokha, the proper way was to have one man waving the paddy sifter up and down (along the vertical axis), while another waved his from left to right (along the horizontal axis).

And the women from Lazami village performed a thread spinning song called aye küzü, while 'spinning' thread from balls of harvested cotton.

They also demonstrated how fabric used to be dyed black and red (the most important Sumi colours). Here we have a pot of black dye.

Here's the red dye.

The GB (at least I think he was the GB - someone can correct me on this) of Lazami village showed me the plant used to make the red dye, called aghüsa in Sumi.

And here we have a close-up of the aghüsa plant.

Alright, just one more post about Ahuna!

Ahuna Festival 2012, Zunheboto (I)

I was in Zunheboto town all of last week for the Ahuna / Ahunah (post-harvest) festival, and to get some project work done. I'm still recovering from the trip back to Guwahati, but here's a quick recap of last week's events.

Monday night, we had the premiere of the film The Silent Field, or Yenguyelei Qha in Sumi. It's something that has come out of the cultural documentation project that Abokali and I have been working on the past 2 years with H.S. Rotokha and Pukhazhe Yepthomi. Most of the work on this film was done by Abokali and our wonderful video editor Vito Sumi (who had to work with most of our amateur footage), but I'll get to that in another blog post. Just to be clear, it's still a first edit that we were trying to rush for this year's Ahuna festival, but we hope people still enjoyed it.

From L to R: Me, H. S. Rotokha, Abokali Sumi, Pukhazhe Yepthomi.

Before I get into the cultural activities in my next post, I thought I'd just talk about the entrance to the festival ground.

The photos below [WARNING: some nudity] are of what I think was a modern take on an old tradition: the genna post. The word genna appears to come from the Angami kenna, which according to Hutton, in his book The Angami Nagas, translates as 'prohibition' (1921: 190), though the meaning of the term is quite broad and would deserve a blog post of its own. [Note that the Sumi equivalent is chine, presumably related to the Angami word, but with the initial velar stop palatalisating before the front vowel /i/.]

The post was erected at the entrance to the local ground, with the words sasüvi, meaning 'welcome' in Sumi.

On the right side, we see the chief guests for all the various events this Ahuna festival. Since every single event needs its own chief guest, a very important part of modern Naga culture.

And on the other side, we have pictures of the moon, sun, pieces of meat (steak actually), tiger, a pair of and a mithun head. Yes, disembodied breasts. I had to do a double take on that, especially given the highly conservative nature of Baptist Zunheboto.

I have no idea who commissioned the post, but it does bear the elements of a traditional Sumi genna post. Of such posts, Hutton (in 1921) wrote:

Genna posts, whether the front centre post of the house or the forked posts set up outside it, are carved both in high relief and with incisions, the latter taking the form of horizontal lines, crosses, circles, or arcs, and used to fill in space not devoted to the serious carving, which generally consists of mithan heads more or less conventionalised, and highly conventional representations of the article of ceremonial dress known as "enemies' teeth " (aghühu). ... The only living thing other than mithan which seems to be represented in Sema art is the bird, which is carved out of a piece of wood and fixed to a crossbar between the "snail-horns" of the house. ... The sun and moon are also represented, usually as plain circles or concave discs, also breasts, singly, not in pairs, significant of success in love, and wooden dao slings. - The Sema Nagas (1921: 48)

I'm not sure if anyone was offended by them (I suspect some people might have been ), but as you can see, there was some cultural precedent for them, even badly photoshopped ones. Of course, it doesn't completely match Hutton's description, but I'm sure there were others types of genna posts that he didn't get to document.


For most of the festival I was actually busy at the Sumi Cultural Association stall (since the members were busy with the main festival events.) We were selling DVDs of the film, as well as calendars for 2013.

The calendars (tsalaphi) are unique in that they are completely in Sumi, with short explanations about the Sumi names for the various months. They are also accompanied by photos depicting the traditional agricultural activities / events typically associated with each particular month.

Here's our little (unofficial) calendar mascot. The girls helping us run the stall picked him up on the first day.

If you're interested in purchasing a calendar and live in Zunheboto, you can contact the Sumi Cultural Association in Zunheboto town. Alternatively, we will be trying to make them available in Dimapur, and also at the Hornbill Festival in Kohima. More information to come.

The Silent Field (Yenguyelei Qha)

As part of the festivities for the annual post-harvest festival Ahunah (or Ahuna) in Zunheboto, the Sumi Cultural Association will be premiering the documentary The Silent Field (Yenguyelei Qha) today at 4.30pm at the Zunheboto Town Hall.

Shot over two years in villages across the district of Zunheboto, this film presents a selection of recorded material that covers over 25 groups performing different cultural activities associated with the traditional Sumi agricultural cycle. The film is part of a larger project aimed at documenting traditional rituals and songs that are no longer being transmitted to the next generation. Its title reflects the current anxiety associated with the loss of culture and identity among the Sumis.

A collaboration between old and young, foreign and local, this project hopes to create awareness and interest in traditional Sumi customs, and to help preserve the Sumi language and its various verbal art forms.

The makers of the film acknowledge and are grateful for the support of the Hans Rausing Endangered Languages Project, the Firebird Foundation for Anthropological Research, and the Sumi Cultural Association.

Zunheboto Church (under construction)

A few weeks ago, a friend saw a photo I had posted of Zunheboto town asked me what they were building on the hill. I suppose from afar one might think it was some kind of stadium, but anyone who's familiar with this part of the world would know that it's typically large churches you find at tops of hills.



It's been a few years (five?) since they demolished the main Baptist church in Zunheboto to build a larger one that can house most of the town's population (and that can provide sufficient parking). When I first visited Zunheboto back in February 2009, a friend took me into the construction site of the new church. Back then, it was only two storeys, but what shocked me was that pretty much anyone could just walk inside the construction site, climb up the makeshift bamboo stairs and go for a walk around the 1st floor.

Three and a half years on, the building's gone up a couple more storeys, but it's still pretty much open to anyone to walk in and take photos.

(Don't be fooled by the smile: I was quite terrified to be up there.)

My first thought was: occupational health and safety people would be having a fit! A few days later, I read a New York Times article a few weeks ago, titled "Safety Lessons from the Morgue", which reminded me of the current situation in India. One passage in particular struck me:

When Baker started her career in the 1960s, public health was still mostly about preventing disease, not injury. Tuberculosis and influenza killed tens of millions in the first part of the 20th century. To the extent that people were injured or lost their lives in accidents at home or at work or on the roads in between, corporate and government leaders generally viewed that as a cost of doing business, an unfortunate accompaniment to progress. It was the responsibility of the individual to keep himself safe from these dangers. [emphasis added]

Here, it's still pretty much the responsibility of people here to keep themselves out of harm's way. If I want to  wander around on a building site here, it's my responsibility to keep myself from falling off. In a similar vein, it's my own decision whether I want to use a seat belt or not, or to wear a helmet if I'm on a motorbike. Also, I'm not too sure about workers' 'rights' here, but I imagine that like early 20th century America, it's still seen as their 'responsibility' to look after themselves in such working environments (which by no means back home would be considered a 'safe working environment').

Still, one can only hope that as health risks decline across the country, occupational health and safety standards go up.

1st Sumi MT Literacy Development Workshop (Oct 2012)

For this special 200th post, I thought I'd cover something that I had the joy and honour of organising and running in Zunheboto last week. It was the very first Sumi Mother Tongue Literacy Development Workshop. The workshop ran from 23 Oct 2012 till 26 Oct 2012, and was conducted by the North East Literacy Network, represented by Palash Nath and Luke Horo, with the support of SIL International and also our wonderful benefactors in Melbourne, Inotoli Zhimomi and Nick Lenaghan.

Our very humble hand-written notice on the white board

It was hosted by the Sumi Literature Board and held at the Sütsah Academy in Zunheboto.

This workshop was meant to be a first step towards teaching Sumi as a subject in the private schools in Zunheboto (which mostly use English as the medium of instruction), with the further possibility of teaching content subjects in Sumi, along with a gradual transition to English. The philosophy here is that children learn better through a language they are familiar with. Importantly, they also learn to read and write more quickly in a language that they already know.

The first aim of this workshop was to introduce to the participants the importance and rationale behind the use of the mother tongue / home language in an educational setting. With a well-implemented program, research around the world has shown that children have the opportunity to to do better in school, and even learn other languages such as English better than children who are plunged into an all English-medium school from class 1, especially when they don't receive much exposure to English outside the classroom.

The second aim was to look at ways to develop a syllabus throughout the whole year. Here, the concept of a 'cultural calendar' was introduced, to get teachers to think about what the children are experiencing in the real world during every part of the calendar year, and using that to build the syllabus. Again, the focus is on moving from the familiar to the unfamiliar. This can then lead to 'reintroducing' children to more traditional practices that are no longer being transmitted from the older generation, and can serve as a kind of cultural revitalisation.

Participants on the 2nd day of the workshop. 2nd and 3rd from the left: Scato Swu and Hokishe Yeptho (Sumi Literature Board)

The final aim was then to bring the participants through the process of producing basic materials to teach children to read in Sumi. One issue that consistently pops up in these workshops, as noted by Palash and Luke, is that the first time people write such stories, they are usually suitable for adults. The stories are often too long, the language too difficult, and the stories don't lend themselves to being 'pictured' (having a picture accompany every line of text).

About half of the workshop was spent on producing materials that children would be able to enjoy. Other materials included: primers, riddle books, rhymes, posters depicting scenes familiar to them. Younger ones may not necessarily be able to read the words in the story books, but the pictures should be able to help them (and older non-literate speakers of the language) follow the story.

Here we have some teachers (along with the talented Mr Toino) writing and illustrating their own childrens' books.

Within just 4 days, the teachers managed to produce 10 books! Of course, they still need to be checked for spelling, grammar and punctuation, and also tested with children to see if the language used is appropriate, whether the pictures are able to tell the story etc. They will also eventually need to be graded by target age of the reader. 

The teachers told us that the books they were working on at home generated a lot of interest and excitement amongst their families and neighbours. This is the kind of excitement we hope to continue to generate, as people see their language written down in formats they are not used to.

At the end of last day, the workshop facilitators were presented with these lovely traditional Sumi shawls / aqhumu. Technically, I think this particular shawl used to be worn only by men who had killed a mithun / avi / Indian bison. But I suppose nowadays it could be a symbol of any kind of accomplishment.

From L to R: Luke Horo; myself; Jekügha Assümi (principal, Step by Step School); H S Rotokha; Nihoshe Jimomi (Sumi Literature Board); Palash Nath.

A VERY big thank you to the hosts, especially to H S Rotokha who came every single day for the duration of the workshop. And to the teachers: Sharon K Jimo, Aghatoli Jimo, Aviholi Kiba, Atoyi Awomi and Amento Achumi. Also special thanks to Toino, for helping us with the illustrations and kindly acting as our driver.

If you're Sumi and would like to help out with this project, please get in touch by leaving a comment below, or by contacting the Sütsah Academy. This is a long-term project that requires a lot of community support. We need people to come up with more stories - you may also want to ask your parents / grandparents for more traditional stories to draw inspiration from. We need people to do illustrations. We need people to help train others to create new materials, with the possibility for some people to be sent to Guwahati and elsewhere in India to receive further training from international and local experts.

Most importantly, we need people to advocate for the use of Sumi in schools, at least in the Zunheboto district where Sumi is the predominant language used in households. We are certainly aware of the need for English (and possibly Hindi) to get a job in India, but what we are trying to make people understand is that by introducing English through the mother tongue, children can actually go further (than simply parroting what is being taught in class and regurgitating it during exam time).

Zunheboto Roads

Back in Dimapur now after another trip to Zunheboto, this time to help run a workshop on Sumi Mother Tongue Literacy, which I'll be blogging about as soon as I recover from the journey.

It's really sad that the roads to Zunheboto are all so terrible (see my previous post here), especially the Kohima-Chozuba-Zunheboto Road which has been abandoned now because they started expanding it, stopped work, then the rains came and you know...

Then once you get to Zunheboto town, the roads don't get any better. The roads aren't always resurfaced every year, and even when they are, they aren't done properly.


So during the monsoon, the main road through Project Colony becomes a mini-river whenever it rains.


Then when winter comes round and it stops raining, all you get is dust.


My friends came up to Zunheboto for the first time last week, and they were impressed by the natural beauty of the area, especially the neighbouring Tizu valley. I believe the phrase 'just like paradise' was used.

But they really weren't impressed by the road conditions! I know people from Zunheboto read my blog occasionally, so come on Zunheboto, you can do so much better!

Christmas 2011 in Nagaland - Vishepu (II)

On the day of the Christmas feast, the whole (or most of the) village gathered in front of I.'s parents' home (well technically the house owned by her father's brother - I think). I noticed that most of the people sitting in this area were kids. They brought their own plates - you can some of them just brought the usual asükhu, the wood plate with its own stand.

As with the Christmas feast I attended last year, the morning's festivities began with the cake ceremony, after a prayer or two of course. The cake here was brought all the way from Dimapur.


The entertainment programme began with ashi kimiki, where one (or two) guys(s) holds a large piece of pork meat and fat and other men try to bite off chunks of meat / fat. There's also some stylised jumping involved, but I'm not 100% certain what the rules are. Also, even though the name of the game contains the word ashi 'meat', most of it is really fat - maybe some people call it atha kimiki? The word kimiki is the deverbal noun derived from the verb miki 'to bite'.




There was also a comedy act - if you think people from villages don't have a sense of humour, you're sadly mistaken! The main guy was dressed like a tourist, while the other guys were... well one of them reminded me of George Michael. They danced to a Hindi song I didn't recognise. I'd post a video, but it already took hours just to get these photos up.




And after lunch was the bamboo climbing competition. Climbers took part in teams of 3 to 4, with no special climbing equipment allowed except for some ash which they can use to clean off the pork fat from the pole.




The happy winners and their bounty - a chunk of meat and 1000 Rs!

Alright, Christmas is over. Onward to 2012!