The day begins with the Cultural Show, led by the host K.G. Kenye, Minister of Power & Parliamentary Affairs, and co-host A. Pangjung Jamir, Advisor for Fisheries & Aquatic Resources, and attended by key dignitaries including NEC Secretary Mr. Satinder Kumar Bhalla, Lt. Gen. Abhijit S. Pendharkar (GOC, 3 Corps), and senior executives from the Bank of Baroda, Dr. Debadatta Chand and Beena Vaheed.
The 6th day of the 26th Edition of the Hornbill Festival 2025 unfolded with a colourful array of traditional dances, songs, and cultural expressions, as tribes from across Nagaland and neighbouring Arunachal Pradesh showcased their rich heritage on the cultural stage.
Ao Cultural Troupe presented Yimdongsü Yar, the traditional male street festival dance performed exclusively by men during festive occasions. The dance symbolizes unity, strength, and ancestral heritage. The Tikhir Cultural Troupe showcased Kuhlangnyi Tsin, the post-harvest dance performed by men to celebrate friendship, sharing of food, and thanksgiving after harvest, often accompanied by feasting and animal sacrifice.
Angami Cultural Troupe performed Tephrie Metsa, an indigenous game played with a stick by the menfolk, reflecting traditional agility and strength. The Garo Cultural Troupe sang Nanggorere Goserong, a light-hearted folk song sung during festivals and gatherings, often used to playfully tease one another.
The Chakhesang Cultural Troupe presented Khuho Li, the Song of Paddy Field Hoeing. January is regarded as the ideal month for hoeing dry paddy fields, believed to produce higher yields than fields hoed in other months. The Kachari Cultural Troupe performed Jarafaglamwsanai, a sacred folk dance presented during Kherai Puja under the guidance of the Doudini, the dance invokes the supreme deity, Bwrai Bathou, blending martial and ritualistic movements.
Chang Cultural Troupe showcased Kongkin Dookbü, performed during the Naknyu festival. Houses and pathways are decorated with Ngounam leaves, and traditional bamboo flute (kongkin) music accompanies the festivities. Khiamniungan Cultural Troupe presented a traditional act depicting the customary haircut of Khiamniungan men.
Konyak Cultural Troupe performed Kak-goi-bih, showcasing traditional methods of healing practiced before the advent of modern medicine, many of which are still followed today. Kuki Cultural Troupe showcased Savailhun, meaning “a grand reception after a great hunt.” The return of a successful hunter is celebrated with songs, dances, and Vaiju offered by the village chief, honouring his bravery.
Wancho Fusion Crew from Longding, Arunachal Pradesh, presented a powerful cultural showcase titled “From Roots to Rhythm,” blending traditional Wancho war dances with modern fusion styles. Founded in 2012, the group highlighted four thematic performances. The War Dance Team depicting unity after the loss of a village warrior, the Shield Team demonstrating traditional defence techniques, the Girls Team promoting women’s empowerment, and the Stunt Team portraying the community’s transition from headhunting traditions to harmony. Bringing all teams together, the presentation reflected how the Wancho community has evolved from its fierce past to a future, built on cultural pride, creativity, and unity.
Lotha Cultural Troupe performed Rüjungro-To, a folk song comparing a handsome man to a hornbill as he seeks the affection of a woman who rejects him. Phom Cultural Troupe presented Elou Moksham Sham-a Konpo Pühnyü Nyeng, a dance praising the striking patterns of the python and celebrating the beauty and abundance of nature.
Pochury Cultural Troupe showcased Chieh Chieh, a traditional combat sport where participants use foot strikes and blocks to topple opponents, highlighting strength, agility, and skill. Rengma Cultural Troupe performed La Kethyü, narrating the traditional art of pottery before aluminium utensils arrived, using special black clay called Ging.
Sangtam Cultural Troupe sang Kihkha Khidong, the Water Fetching Folk Song. Villagers collected water from deep forest wells called Kihkha, singing cheerful melodies on their way to and from the well. The Sumi Cultural Troupe performed Kimelepu Ajuyebo, an insect mimicry game traditionally played by the youth to foster unity and teamwork.
Zeliang Cultural Troupe presented Kantung Lin, in which the dancer is complimented for dancing beautifully with raised arms while being reminded to secure her attire properly, reflecting the tenderness of a lover’s concern. Yimkhiung Cultural Troupe showcased Hüh Tsah Peh, a traditional bamboo walking performance demonstrating balance, rhythm, and graceful movement.
(Mainodi, IA)
