The much awaited Silver Jubilee celebration of the famed Hornbill Festival of Nagaland, at Kisama Heritage Village is being celebrated with much fanfare and elaborate arrangements with international and national dignitaries gracing the event. The Government of Nagaland has indeed gone all out to make the event to what it is. Kisama, also stands with a sea of changes in terms of the infrastructure additions replacing some of the original structure which could have been termed as “heritage”
Today, the Hornbill Festival of Nagaland has become global event with an amalgamation of different cultures and events. This is expected in the process of any growth, but the fact remains that it had a beginning and the historical facts of “how, why and when it all began”. This aspect has been acutely felt since the Government had not come up with any Souvenir, while commemorating such a milestone of the 25th year of the Festival. For a deeper meaning and understanding of the Festival and for posterity, the Government owes it to the public and the future generation a proper documentation of the Festival which is normally released as a Souvenir on such occasions. It’s still not too late for the Government to bring out a Souvenir within this 25th year of the festival. With its resources and manpower, the Government can through request and advertisement call for photographs and information. Many of the local papers had covered the Festival since 2000, and may have archived their publications. Concerned Government departments should also have their record.
Another noticeable absence was that none of the founding members of the Hornbill Festival of 2000, were acknowledged or even invited to the Opening Ceremony of the 25th Edition of the Festival. One would expect some amount of magnanimity and basic courtesy to extend invitations to them, most of whom have retired. It’s also a matter of respecting the elders, which the Nagas, so proudly declare as one of their ingrain culture.
This article is being published not to dis-credit or applaud anyone, but to make known the facts behind the 25 years of the Hornbill Festival’s journey, and with the hope that many more years of milestones will be celebrated in the future.
Hornbill Festival was conceived as a tourism promotional event. Prior to this event Nagaland as a tourist destination was almost unknown. The state spite of its rich cultural diversity, beautiful landscape, verdant hills and valleys and salubrious climate, was little known for these assets and strengths. At the most, it was known as a conflict area, with advisories as an unsafe travel destination. Moreover the cumbersome process of the Restricted Area Permit (RAP) for foreigners and the Inner Line Permit (ILP) for domestic travelers, made it less attractive for many.
It was therefore strongly felt that a unique selling proposition (USP) be developed to promote Nagaland as a destination, showcasing the cultural mosaic of diverse multi ethnicity of Nagaland in its totality. Different districts of Nagaland is replete with its diversity and ethnicity. The Northern districts of Nagaland, are characterized by their log drums and morung culture, while the southern districts has its own unique wood carvings, housing structures and stone pulling ceremonies. The one thing that stands out distinctively is that, the Nagas are the most artistic and talented people in the entire North East, in so far as bamboo architectural structures/housings, bamboo crafts and weaves, and wood carvings are involved. These aspects, along with the diverse culture, costumes, languages, indigenous tribal festivals, dances and songs and cuisine, all encompasses the total Nagaland. Though each tribal community celebrate their myriad festivals revolving around the agrarian calendar, throughout the year, it is not possible that these can be witnessed by all. It was thus felt that all these elements be showcased in an annual event, to promote Nagaland as a destination, that is unique, ethnic, diverse and enchanting. It was also felt that an event to revive and protect the rich culture of Nagaland was needed, as at that time, as such traditional festivities was almost dwindling with the exception of a few villages, where traditional festivals were still celebrated.
Thus the idea of a major event/festival took shape, and while considering an appropriate name for the same, that would be distinctive and exclusive to the state, and after much deliberations, the name ‘Hornbill Festival” emerged as the winner. This was unanimously accepted, as the Hornbill bird, holds significance in most Naga folklores. The Hornbill feathers, also features in most Naga tribal traditional head gears and is indicative of a “commonness”, amongst the Nagas. It was also felt that naming a festival after a bird which was endemic to Nagaland, would create awareness amongst the people for conserving the diminishing wildlife. The Festival not only witnessed the coming together of all the traditional and tribal aspect of the state, but also saw the convergence of government departments, civil societies, social organisations in actively supporting and organising the event.
The Hornbill Festival was first held in the year 2000, under the patronage and unflinching support of Dr. S C Jamir, who was then the Chief Minister, Nagaland, as well as the Minister of Tourism. The festival had its humble but challenging beginning in Khouchiezie, at the Kohima local ground, initially for five days (not three days as mentioned by some papers) and till 2002 it continued in the same location. Without any infrastructure or facilities, the preparation of putting up 16 tribal morungs/huts/structures, display/food stalls, a performing stage etc. (these structures had to be dismantled after every event), allotting stalls, coordinating with various tribal organisations, other agencies and departments was all done in a matter of 10-15 days at a total coast of Rs.25 lakhs only. Matters of security, water and light connectivity, toilet facilities and maintenance, crowd control and monitoring by the local youth organisation etc. had to be executed and coordinated as well. The issue of selling of the local traditional rice wine during the festival faced strong objections from the churches and was a burning issue then. The day programs of Hornbill Festival, was confined to the traditional dances, songs, sports and food and the sale of local handicrafts etc. The night programs saw the finale of the Miss Nagaland pageant, fashion shows, and western music competitions etc. Attempts were made to include choir competitions, but due to the lack of response, this was discontinued after the second year. In spite of the tight schedules, constraints in space, and its critics, the festival went off well, without any hitches.
Nagaland had entered into a Cease Fire Agreement in 1997, and the tension and fear amongst the people still existed in 2000. Understandably, the state was devoid of any forms of entertainments and recreational outlets and night life was non-existent, at that point of time. It was therefore, perhaps, a much needed respite for many to have some form of entertainment and outings. However, initiating social change is never smooth sailing and the initial years of the Hornbill Festival had its fair share of criticisms and disapprovals. But the fact that it has survived and grown in the last 25 years is testimony to the fact that it was appreciated, needed and has stood the test of time.
In 2003, the venue of the Hornbill Festival was shifted to its present location at KISAMA, under the able leadership and visionary zeal, of Shri. Neiphiu Rio, the present Chief Minister, Nagaland, and since than he has continued to nurture it. Kisama, was named after the two villages of Kigwema (Ki) and Phesama (SAMA), as the site is between these two villages. Preparations for the development of the site, which at that time was a jungle, started in mid-October 2003, after the monsoon rains. The Ministry of Tourism, Government of India, sanctioned an amount of Rs.3 Crores, for creation of the infrastructures and organising the festival. In addition to the above amount other departments pooled in for water connectivity, power connection, the road constructions etc. The initial layout comprised of the sitting arena with the central space for the cultural performance, with a podium for the dignitaries. Behind and above this arena, were the various stalls for display and selling of handicrafts and some food stalls. As one enters the arena, on the left are the various tribal morungs/houses, 17 in total initially, representing all the tribal inhabitants of Nagaland. With just a month and a half for the commencement of the Festival, it was a race against time in setting up the basic infrastructures and preparation of the venue with all the participants. The departmental officers/staffs, tribal groups, workers and volunteers etc. all worked late into the night in the freezing cold, punctuated with some unexpected challenges. However the comradeship and support from all kept everyone going to meet the deadline.
The location of the tribal morungs/houses at Kisama is in the shape of the map of Nagaland, and each morungs/structures are strategically placed as per the actual locations of the districts in the state. This was done so as to give a sense of direction to the visitors on the geographically location of the different tribes. The log drums in the morungs of the Konyak, Phom, Sangtam, Ao, and the Khiamniungan tribes were originally brought from their respective districts, in 2003, after performing their log pulling ceremonies. These are now vintage items, and care should be taken to preserve these artefacts as heritage displays. The bamboo hall was added in 2004 by the Nagaland Bamboo Mission. Behind this hall is also an open auditorium, which was to be the venue for the musical events.
As one enters the arena to the venue of the festival, there use to be a majestic gate “Window to Nagaland”, appropriately named to give a glimpse of Nagaland, its people and its culture, which no longer stands on its 25th year. Over the years, much of original minimalist venue saw the additions of more structures of multiple sitting podiums, etc. The Hornbill Festival, was summed up as the “Festival of Festivals” in 2012,
In all fairness, a mention may be made of the founding members of the first Hornbill Festival of 2000. It was a collective effort of all for a specific purpose.
- S. Pandey, Chief Secretary, Nagaland
- Alemtemshi Jamir, Development Commissioner
- Banuo Z Jamir, Commissioner, Power
- Late Temjen Toy, Secretary, PHE
- Thangi Mannen, Secretary, Tourism and Steering Committee Chairperson
- Kevinino P. Meru, Director Art and Culture,
- Alem Pongener, Director, Tourism
Departments like Industry and Commerce, Horticulture, Agriculture, RD, District Administration, R and B, IPR, NEZCC etc. the various Tribal HOHOs had all actively participated in the 2000, and continues to do so., Organisations, like BASN, with Sentinaro as its President coordinated the Miss Nagaland contest. The Fashions Society of Nagaland, with Ms. Rosemary Dzuvichu as its president organized the first Hornbill Open Beat Contest and also coordinated with the KVYO, for security and crowd management. A minimal Entry fees was also charged as revenue generation. All in all it was a collective effort to showcase Nagaland, at a time when conditions were not very conducive and with a lot of constraints. It was a challenge shared by everyone involved and now we witness its successful existence of the Hornbill Festival’s Silver Jubilee in 2024.
“Memory, is the diary hat we call carry about with us,” Oscar Wilde.
L.H. Thangi Mannen,
(Ex- Secretary Tourism, 1998-2004)
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