Bamhum hums peace message of Abiogenesis
|
There is more to Nagaland than head hunters and violence. It is a cauldron of several tribal cultures each of which has distinct identities,” says Arenla Subong of Abiogenesis when asked about music in Nagaland. |
Arenla and Moa Subong, the founders of Abiogenesis, are well-known names in the North East’s music sphere as well as outside it. Their style of folk-fusion, a reinvention of Howey music, is “energetic and soulful”.
But what makes Abiogenesis, which means evolution of life from inanimate substances, unique is the bamhum, a windpipe that was invented by Moa. The instrument gets its name from the basic roots, the bamboo and the effect of humming into this instrument.
“No musical instrument was invented in the last 100 years and bamhum is the first of its kind,” says Arenla.
The bamhum, which has a deep resonating sound, has earned Moa the National Award. “The National Innovation Foundation is helping me start mass production of bamhum,” says Moa, a quite person who lets Arenla speak for most part of the interview. The duo are planning to present a bamhum ensemble sometime this year.
The indigenous music of Abiogenesis, which is currently focusing on its new video ‘Up On the Mountains’ that will be released as a single, has travelled to different parts of the country as well as the world — to Thailand, Russia, Bhutan and Myanmar. But Moa and Arenla’s experiments with music are for a purpose, say the artistes who belong to the Ao tribe.
“Music is in our blood and that is what we want to prove. Nagaland is a faraway state and is almost detached from the rest of the country making it impossible for others to have a fair idea about the people and their culture there. Through our music, we want to break the barrier that separates the region from the rest of the country and also show it to the world that we have our own music and that it is part of our lives,” concedes Arenla.
Besides music, theatre is another medium that Abiogenesis uses to take its message through the invisible wall. When asked about the duo’s theatre venture, Moa says it is Arenla who mostly works on that art form and takes a back seat to allow her to speak.
The plays that Arenla writes and directs are musical and based on the Howey music. Though scripts are always in English, the stories are often adapted from Naga folk tales. “Theatre in Nagaland was in its nascent stage when I started directing plays. I am trying to modernise the stage and make theatre a strong medium of expression,” says Arenla animatedly.
Lichaba’s Daughter, which was first staged in 2009, is based on an Ao-Naga folklore that has been modified for a more dramatic appeal.
Arenla’s plays have staged in several places, including Delhi and at the Hornbill Festival. Now she is planning a feature film, also a Howey musical, and a book that will be a compilation of her plays.
Arenla says Nagaland is a trouble-torn area but “I always tell people outside the North East that the people in the State are welcoming and love music and a visit to my home state will only be in their good memories”.
“However, at times I scare them too. I tell them there are head hunters on the prowl and they are cruel and might kill newcomers,” the artiste chortles.
Abiogenesis is among the Naga music bands that is affecting change through indigenous beats and bringing the region closer to the mainland. “It is true that there are conflicts in the region. But peace will come through art and entertainment,” says Arenla as Moa nods in support.
~ NM