Redefining Naga Art: Workshop Challenges Stereotypes and Explores Identity

DIMAPUR: An art workshop titled “Reflecting Underlying Belonging” recently took place in Dimapur from October 30 to November 2, bringing together artists to explore the meaning of Naga identity in today's world.

Mentors Throngkiuba Yimchunger and Dharmendra Prasad from the ‘Deconstructing Morung’ initiative guided six participants in an exploration of Naga art beyond the usual frameworks.

Dharmendra Prasad said that with a bit of reflection, it could be noticed that many such art workshops do feel formulae in the context of art creation and almost treat the entire process as one to be completed within a few days. According to him, it is there that, often stereotypical representations of the Naga culture have been drawn solely for external consumption rather than any genuine artistic expression.

At the heart of this workshop was the idea of deconstructing the morning": a term that came from Naga society originally referring to a community house that had been repositioned as an attitude or a practice that may be located anywhere. As Throngkiuba said, "You can take a morning to New York; you can take a morning to Berlin." Under this vision, it became possible for the artists in contact with the core values of the morning—that is, community, collaboration, and knowledge sharing—but not necessarily bound by a location.

Through this Prasad motivated the artists away from mimicking the cultural icons and towards dialogue and reflection. This also makes him emphasize how mainly Northeast Indian artists work under the yoke of the Western art trends overshadowing the local cultural contexts.

Both mentors pointed out that the emphasis on individualism in the art curriculum poses a challenge since it places style uniqueness above communication. Throngkiuba highlighted that traditional Naga arts were/are a collective expression that differs significantly from the widely encouraged and often practiced Western-influenced individualism of most schools.

Prasad believed that artists were the ones who had to take Naga culture forward, not merely conserve it. Reflecting on historical conflicts and to economic pressure that Northeast communities face, he couldn't help but ask how artists could respond to these realities.

Throngkiuba also created the concept of a "living museum" that transformed changing cultural narratives into art. The young artist further noted the tendency to objectify Naga identity in many portrayals of the "Naga warriors" in traditional regalia. He pointed out that some of these representations have been made too light-headed and are done for the consumption of outsiders as far as Naga culture is concerned.

Artist Paimalie Chuilo suggests the tension she carries within herself between her Christian faith and her Naga heritage. Her family has always encouraged her to focus on religious themes, but her artistic drive compels her to focus more on her cultural identity. This struggle becomes further intensified by generational conflict, where elderly relatives view traditional Naga practices as coming into direct conflict with Christianity.

The workshop also discusses how Christianity, in coming to the region, and thereby defeating some of the traditional practices, mainly reduced craft, song, storytelling, and communal gathering. According to Ritsanok Longchar, one of the participants, such a change has restricted meaningful community engagements since the more solitary engagements replaced the communal ceremonies.

The four-day workshop was accompanied by engagements of notable artists and writers, among them being the co-founder of Heirloom Naga Centre, Veswuzo Phesao, Aku Zeliang, and author G Kanato Chophy.

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