3rd Quarterly Research Progress Report.

This document summarizes the proposed process for conducting

Research during the period (1st August 2015) through (31th Jan
2015) under the Government of India, Ministry of Culture, New
Delhi-110115.

Topic : Folk Fusion to Greater heights

Name Atso 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

Modulation of Folksongs
and its Functions
in
NAGALAND
 Angami Nagas

Project duration 01-8-2014 to 31-08-2016

Present reporting period 1stAugust, 2015 to 31th January 2016

Table of Contents
I.1.Modulation of Folksongs and its Functions in Nagaland (Angami
Nagas)
Introduction
Different types of folk songs
I.2.Livo
(eg.A3) Avoneihu
I.3. Lide
(eg.A4) Zievinyii
I.4. Lita
(eg.A.5) Uramia
I.5. Lima
(eg A .6) Garipheju
I.6. Cha-ii
(eg.A.7) Azuo viphrii
I.7. Shieli
(eg.A.8)
II. Contemporary Folk songs
II a. Tati song (A Mothers song)
II b. Tati song (Lhisemia)
II c. So hi mo jo (without you, i got no lovers)
III.Theoretical Framework
IV.Contemporary Culture
V. Social function of Folksongs
VI. Expected Research contribution VII.Conclusion

I.1.Introduction
This paper sets out to argue that the social functions of
folksongs has not changed but rather it has undergone a
process of modification and negligence as a result of
westernization of culture, ideals and education. This aspect of
modification has assisted folksongs to be made available to
different regions over the Naga tribes and assisting it to gain a
wider coverage nationally. Functionalism and contemporary
culture therefore forms the theoretical frame of a dissection and
understanding of the changing social functions of folksongs.

G.badeges in (1997) observed that, “oral tradition is an

indispensable source of history, indicator of deep thought, and
transmitter of cultural and religious values. It is through the ocean
of the oral tradition of a non literate culture that we explore their
historical being and their contribution to the philosophic world.”
This not only goes to reflect the importance that can and should
be attached to oral literature, it also brings to awareness the
overwhelming need to preserve and transmit cultural aesthetics.
Oral forms emanates in folk tale, myths, epics, legends, lyrics,
songs, dirge, chants, invocations and many others. Folk song is
an aspect of the oral traditions of any tribe which is used to
address topics or issues that concern the natives of a community.
The use of folksong is peculiar to the community it originates
from but one common feature is that it often borders on social
and political issues of that land. Folk-song has been associated
with rural communities and lower socio-economic classes, but in
the 21th century the pattern of dissemination changed, with
greater emphasis on written transmission and especially on
recordings. At the same time many of the original functions of
 folk-song have been taken over by popular music of the west. In
pre-literate society before the influence of westernization Nagas
had always transferred their wealth of knowledge, skills, tradition
and religious belief to generations after them through oral
means. This for them has served the purpose which the
prevalent society they lived in was established for and so, fables,
stories, folksongs, myth and legends were kept alive in the minds
of the younger generation through telling and rote-learning to
enrich the social and moral life of the people and ensuring the
continuity of their culture.
The social roles which folk songs played was not limited to this
alone, it also serves as an effective means of expressing and
inculcating the ideals, morals and values of a society. The
progress of this paper is an attempt to study the various kinds of
folk songs sung by the Angami Nagas. The lyrical meanings and
the progress of modulation to the present day folk music.

The folk songs of the Angami Nagas are well versed with poetic
structure. Many songs are also composed during the life span of
a whole clan or family. It has nine syllables in all the songs
following the traditional structure and tune, where new songs can
be composed and sang with the traditional tune. An example is
given below, where each nine syllables are underlined.

Eg A1. Riikehulo

Riikehulo anei vari zo – Rii ke hu lo a nei va ri zo

Kehu nyiirei nie kinumia we- Ke hu nyii rei nie ki nu mia we
Thezie loii tsu dziinha rienu – The zie lo ii tsu dzii nha rie nu
Biese yhushii si-u no ba khrie- Bie se yhu shii si-u no ba
khrie
Avo yusho kechii bie riigwii – A vo yu sho ke chii bie rii gwii
So riekesho tzu dziinha rienu- So rie ke sho tzu dzii nha rie
nu
Avo khwe chii ser puya die - A vo kh we chii ser pu ya die
Themie avo kengui-u moii – The mie a vo ke ngui -u mo ii
 Prii mezii rei avo ze molie - Prii me zii rei a vo ze mo
lie
Tei kijii nie sieii pfii riakho - Tei ki jii nie sie ii pfii ria kho
Kenonie ki riikhro yie nholie. – Ke no nie ki rii khro yie
nho lie.

Different types of folk songs

I.2.Livo

Livo songs can be sung anywhere , there is no restriction of place

or season to perform. Both male and female can participate in the
singing. However Livo songs are sung and composed mainly by
the younger age groups or bachelors.The songs comprises more
of love songs,admiration and praise of a particular person. An
example of Livo love song is interpreted below.The song is written
down in the common traditional way of composing, having nine
syllables in each line.

(eg.A3) Avoneihu
Avo neihu keri nyii chii
Nie kinumia yu avo dierhe
Liemoi mu so kesipfii rha
Nietsii zhii mu luha khasie nu
Nie kethaii chii arie si-o
(English translation) Even though we love each other
And wished to merry one day
My parents may disapprove
And settle for arranged marriage
With another lady whom i don’t love as i do to you’
Still it aches my heart to even think of you’ as another men’s wife
I.3. Lide

The songs categorized under Lide’ are sung with full

traditional attire at various village festivals or at the Morung
sittings.The songs are performed mostly by the elderly people.An
example of Lide’ song is interpreted below.
 (eg.A4) Zievinyii

Asi-u no haju lhu molie

We lu Thizie junu lhurii lie
Solhi-u no tsiedo nu vor
Lievipfiimia keviko zuze
Zuze tuoro puothe puora vo

(English translation) My good friend,you are not from this land

You roots are from a village called Thizie
Why would a stranger such as you
Come to our village and try luring away our beautiful ladies
To your village

I.4. Lita

The songs under this category are faster in rhythm and performed
or sung at small informal gatherings. An example of Lita’ song is
interpreted below.

(eg.A.5) Uramia
Uramia we sono rii kegei
Tsu pia liesho hiewe bie phekhwe
Hie hi shiipie hie kitie lorie
Anei-ii vaphi bie riigwii
Anei-ii no mia ketsu sie nu
Puo khwe tikhru hi dipfii mekhe
Mia do rie le niebi shii these
Nie ha jiiro niegwe nieze ri
Tie tuololie riiya zenyii o
(English translation)
There was a time when villages were not in good terms with each
other
With the uncertainty of time, people were apprehensive of
venturing out to the fields
On such a day I poured a rice beer and waited outside at the
veranda with a view of the paddy fields
Contemplating my beloved lady would be on its way to the fields

With few farmers on its way, She appeared with a basket on her
back, wrapped beautifully in a shawl, proceeding towards the
paddy fields
I ran towards her, grabbed her hand and uttered, ‘if you die now
Your wonderful stature, your beauty and everything will wither
away so soon.’

I.5. Lima

The songs are continuous and by the end of the first song the
other group joins in with different songs. An example of Lima
song is interpreted below.

(eg A .6) Mehovi-ii

Mehovi-ii ze ketsu metse
Lu Kediju Moriisie kinu
Tie rie pie cii zu rei chiipie krie
Kebie hawe hau khrii tele
Avo lhu sie sono ki dze chii
Tuoii dinu lhurii mo caii
Everytime i took mehovi-ii to the fields
That place, home of Moriisie
Feasting with foods and local beer
Was during this time of the year
With laments, we are not born to be like them’ feasting alone.

I.6. Cha-ii
 In olden days bachelors together make planes and go dating or
visit a ladies home of the same age group. While on the way to
the selected home imaginative words and past romances are
expressed through singing. Songs that are sung on the way to a
ladies home.
An example is given below.

(eg.A.7) Azuo viphrii

Azuo Viphrii Vilhunyii no zou

A zetsu di Vilhunyii riili
A kipu thie, a riinyii tuolie
Vicharii nu ga keda nhiro
Riiiinomia bitho the rile
Awe riakho rhielieya nyii
Rhielie nyii theziethic gwimu
Thezie morei sii puo motenyii.

I.7. Shieli
This type of songs are short and poetic in lines only to be sung at
the other side of the river or beyond the village gate.Two
examples are given below.

(eg.A.8)
a) Tsa zotie yie ho adziigweo
Getting older and older
U kromia nicu la yagwe
Why don’t we get young again

b) Khor tuoro aki pumo dinu

Without informing me that you are comming
Khor asieku nu
From my back side
Rishii athukha
 Hiding, with cruel intension
Aphirhe lolie
Pulled me down

II . Contemporary Folk songs

Three contemporary songs are selected and carefully studied

about the structure ,the composers intension and the contrast
with the old folk songs. Three songs are interpreted below.

II a. Tati song
(eg.A9) (A Mothers song)

This song is about a Mothers encouragement to her only lovely

daughter.
( Neinuo is the pet name, where the Angami tribe addresses to a
young lady)
Neinuo krahie, Thenu nie riibei
Weep not,my only daughter
Azuo kedi unuosuoyamu
Your mother though in sadness
Thenumia sii chiedoki riibei
The only days of a lady
Telhe modi shie vo mia ra lhou
Will one day be in a different place(married)
Hatsa unuo Latsa miaphou chii
My daughter, sooner will be a mother
Zotatuo mu Unuoruohielo
Be happy and embraced it positively

II b. Tati song (Lhisemia)

(eg.a10)
 Thinuo harei Lhisemia siinuo
The clan of Lhisemia
Nourhe zoshii lhisemia bu nu
Let there be unity within
Peli thekhrie kerekenie ko
The Twelfth’ age group
Thinuo mhokuo chiituo-ii di nu
Protectors of the clan
Rakelie nhie phichii theja cha
The faithful day, yearns the fathers blessing
Kelie hala riinou hu vuo-ii
In glee with satisfaction
Tsiedi seshii theja rukeduo
With names inscribed on the Monolith
Rheicha huluo kerekenieko
Prayed for a long life.

II c. So hi mo jo (without you,no lovers)

(eg.a11)
From the above score, a love song we can see that the
arrangement was harmonised in four parts (SATB) contemporary
style. It does not follow the traditional way of composing i.e. four-
five syllables respectively, though it uses So hi mo jo’ thoroughly.
The mood of the song is expressed through various movements.
More emphasis is given on the harmony rather than the lyrics.

III.Theoretical Framework

Functionalism as a theory states that every form of oral

tradition fulfils a variety of functions such as promotion and
enhancement of knowledge and awareness of positive customs
and immoral actions. It hinges its argument on the fact that there
must be a reason why a song has been composed or sang at a
particular time.
Functionalism reveals the relevance of every folk song
in a community and this function could range from leisure,
physical, spiritual, festive, and philosophical to
communal reasons.

IV.Contemporary Culture theory is one that hinges on the

general cultural ideological perceptions of a community in their
speech, habits, dressing, songs, drama, etc that has public
appeal and motivation. It is often regarded as the ways of a tribe
of a community or referred to as inferior culture because of its
popularity. Though the general concept to this culture may be
different as a result of illiteracy. At all point in time, there have
always been particular songs or stories that are found common
and active within the public. The popularity of each folksong or
stories is achieved as a result of the performance or the
acceptance by the community. Often time these songs are simple
and straight forward with day to day themes like work,
play,melancholic,love,ceremonies etc.In olden days folk songs
serves numerous purposes to the people.During
festivals,mourning, work,invocation,etc until recently the purpose
and practices of different folk songs have been reviewed to a new
season by various artists.The acceptance and understanding of
folk music adds to the positive modulation of folk music to a
higher level.

V.Social function of Folksongs

Stories and songs are told orally to teach the young ones.It can
be a new story in a song about the gallantry of a person at war or
the moral life coping skills.
The songs are better understood and easily remembered through
singing.
An example of this is a kid’s song for arithmetic, singing and
counting once fingers called Chiino-Lalabu.

(eg.a12) Chiino, Lalabu ,Khwebuba, Kitiebu, Ka-la-li

Another example that taught us the importance of responsibility is
given below.
Back in the olden Naga villages, on the a sunny day, the elder kid
is responsible for babysitting or protecting the families
property,where the parents usually placed the paddy cultivation
for sun drying. This is the time where we sing the song,Thevii
Riichii Pesoulie’. It is a song shouting to the preying eagles on the
Hens preying on the cultivation. A shout intimidating the eagle
and the naughty hens to hide away deeply, that they’ are not
taken by the fierce eagle.The song scares away both the birds
and also an entertainment to the younger kids crying for their
parents.

(eg.a13) Thevii Riichii Pesoulie

Thevii Riichii Pesoulie,

Chiizhariimu chaho –hocha-cha

VI. Expected Research contribution

Indigenous people’s contribution in Folk music and music industry
will be recognized. Better understanding of how indigenous music
contributes to sustainable livelihood and surely promotes positive
attitudes of human life and will help the social life of indigenous
people in the music industry while considering folk music. Such
type of development would be people-centred based on self-
reliance and preservation of culture and traditions.
Besides well being of the Indigenous musicians, business
opportunities, cultural exchange will be generated by promoting
the folk music, instruments and musicians. This paper also
focuses on the contemporary folk fusion music where
contemporary folk music does not become a mere entertainment
product to the audience, but keeping intact the important social
function of music. In this way cultural and indigenous music can
be successfully promoted and packaged to benefit the creative
industry and economy as a whole. This will result in better
understanding of the opportunities for mainstreaming cultural
activities for economic development.
The overall result would enable the environment to attract non-
indigenous domestic and international audiences. Such a positive
milieu will facilitate preservation and conservation of the
indigenous people’s culture. The study will also show how music
contributes to poverty reduction and help marginalized people
and most overlooked groups of folk musicians in Nagaland to
improve their livelihood. Through music, this paper will help
identify wide range of opportunities and choices that indigenous
people have in order to pursue their livelihood goals.

VII.Conclusion
The report find out that there is a need to promote creative
entrepreneurship as an important source to promote and develop
folk musicians ( and all artists) of the future. There are more songs
composed for ladies in harmony, usually in thirds or in sixth.Most
musicians have few financial safety nets and find themselves living
the creative industries ethos daily. Thus have to ensure that they
connect with performers and audiences in various modes by using
ideas that have cultural relevance. The necessity to provide
platforms and encourage younger musicians, the importance of
cultural roots of folk music.
The older folk songs are simple in tune with fewer changes in
phrases. It solely depends on a main theme which proceeds to the
end repeating .In other words more importance was given on the
lyrics and its social function rather than the harmony of the tune.
The theme of contemporary folk songs are mostly derived from the
the old folk songs.Some lightly fused with western instruments or
musical background. The system of pending down lyrics were
lighter with creative and more attractive tunes. Importance of
harmonizing was also emphesized. Musicians are also
encouraged to promote the cultural importance and not progress
through the popular culture alone. Creating music that is relevant
to our culture, be that from an indigenous theme or one that is
value-added finely from the outside culture.
“Folk is no longer, if it ever was, a minority music. This report
celebrates its position as an historic part of our national heritage, a
hobby, a passion, an industry and clearly a source of
entertainment for thousands of people.
Folk music and folk festivals are key to the socio-economic and
cultural life of our communities”.
Morris Hargreaves McIntyre

Resource persons:-

a) Mr.Nikeriisie Punyii b) Thekrusalie Sophi

Nungoi Nyekha (M.A Tenyidie) Sazonuo Zhiinyii(M.A Tenyidie)

Ruokuo Suokhrie Ruokuosie-ii Yhome

References:-
a) Khwiino Khweda

by Mr.Nikeriisie Punyii and Mr.Medokerhe Yalie.

b) Morris Hargreaves McIntyre-

Impact of Folk Festivals on Cultural Tourism, January 2003
b) A Ra Kezievi – Published by Khonoma Riiffiino,Kohima

Enclosed sample audio/mp3 of different types of Angami Naga

folk songs for references
1.Traditional folk songs
a. Plantation song(june season ) (b)Tati song(autumn season)
(c)Thie tieso (d) Cultural vibrant (e) O Ho (f) Thevii Riichii
Pesoulie
g. Chiino lalabu
2.Contemporary Folk songs
a) Hiyo hi (b) Male voice fusion (c) So Hi Mo Jo