Nagaland: Thai & Naga Artists Forge Cultural Bonds in Dimapur

DIMAPUR: A unique exchange workshop between artists from Thailand and Nagaland is underway at the North East Zone Cultural Centre (NEZCC) at Dimapur, on the theme of "relationship."

There are five Thai artists who will work with nine Naga artists to carve elements of Thai and Naga cultures into logs during the workshop between October 24 and November 6.

Chiang Mai University professor Wipawee Panjinda said to *Eastern Mirror*, "This workshop is part of the research work undertaken in 2022 which continues for three years. It was taken up under the collaboration between her university and NEZCC. In the year 2023, five Naga carvers had gone to Thailand for the purpose and now five artists from Thailand have visited Nagaland.".

This workshop will provide all artists with an opportunity to learn from each other and exchange thoughts, and methods.

There are nine logs in total, and artists work together on each one. For instance, the carvings of a Thai artist as the main design, while the finishing details are done by Naga artists, and vice-versa. The idea is to develop solidarity between Lanna (Northern Thailand) and Nagaland so that the artists can interact with each other and individualize their work.

Panjinda noted that communication has been the most challenging aspect since Thai artists only communicate in the Thai language, making it quite hard to share experiences with Naga artists.

Lack of facilities was another problem. They don't have electricity to allow the Thai carvers to use electrical tools. Consequently, they had to rely on manual tools as the Naga artists were using.

Panjinda further argues that even the art market is adverse for Naga artists. She attributes this to their lack of knowledge of marketing skills as well as a lack of institutional backing. Panjinda readily concedes that, unlike many other young Nagas, it is almost unheard of for one to pursue formal training within Nagaland. Yet she still manages to prove that this has not been a hindrance: many Nagas are self-taught and successful artists.

She said the new Nagas should come up with new designs but still talk to other artists, however, traditional carvings, such as hornbills, Mithun heads, and warriors, will always be around.

This will be the final year of research. Panjinda thus hopes that with future funding, a public exhibition space will be created to display the finished works, showcasing the collaboration as well as the wood carving traditions of both cultures.

A participant in the Naga, Veswuzo Phesao, recalled how he has grown to appreciate the effort put into the work of Thai artists. He said he drew new motivation meeting a 77-year-old woman artist from Thailand. Veswuzo noticed a difference in style: the Thai artists mainly carve flowers and leaves while the Naga artists focus more on figures, warriors, birds, and animals. He added that Thai artists work more professionally and efficiently.

The participants include Ronnakrit Buratemi, Peerapong Duangkaew, Buakeang Kiwkaew, Sakchai Kiwkaew, and Chookiat Kewkeaw from Thailand. Keditsu Vikuolelie, Robert James, Mhasiselhu, Mhaseveyi Phesao, Runoyhu Keppen, H Akup Buchem, Veswuzo Phesao, Shovezo Keyho, and Ato Lorin are the Naga participants.

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