With competition intensifying in every area of human affairs, the desire for a more meaningful and productive human resource has also gathered momentum, which in the present day has come to be measured by originality. In fact, talent these days is perceived and considered on the basis of originality and creative expressions. Take for instance a musician, it is not just enough to have a good voice or to play an instrument well, the talent and caliber is assessed on the strength of ones originality, because it is originality that is creative, sustainable and finally compelling enough to be the difference.
One of the overwhelming stereotypes – perhaps rightly so to a certain degree – is the supposition that Nagas generally have a good singing voice and that harmony and chanting of music is innate to the Naga way of life. And modern history has witnessed every generation produce many contemporary young Naga women and men with the gift of voice and music. Yet, the common thread that generally unifies the diverse generations is the wanting need for something called originality. It will not be wrong to point out that the lack of originality has been a fundamental reason preventing Nagas from making valuable contribution to world music. The few that have made it, you will notice strive on either perfection or originality, and in even fewer cases, both.
The question of originality in the case of the Nagas is not just confined to the area of music alone. Everywhere around us we see the conditioning of the human mind stifling the human yearning to be purposeful through their distinct characters. The culture of imitation is fast eroding into one’s ability to be true to their roots. Hence, the need for originality is seen wanting in all areas of Naga life. And therefore the absence of originality is a social predicament; which requires a social and political response that will break the vicious cycle by creating a new spirit of life that breeds and forms critical consciousness.
There is no doubt that for Nagas to break out of this suffocating situation there is a need to rediscover originality. This necessitates challenging the status quo in all spheres of life and creating a new consciousness that nurtures a culture of life. At the center of this need is the role of music, which assumes great importance considering that Nagas are said to be musically inclined. Culturally located, Naga music is a reflection of the conditions of the mind and being. If one were to accept this view point as a basis for discussion, one will conclude that the present Naga mind like the contemporary Naga music, profoundly needs a ‘root and a soul’ that will give it meaning and purpose of existence.
By originality, it does not mean going back into time and space of history, rather it proposes that what is inherently innate and created from within and has been nurtured by the experiences of historical forces and has come to reflect who Nagas are as people. The issue of ownership therefore is central to the question of originality. Naga society will begin the path of transformation when Naga artists begin rediscovering their roots and originality; and hence assume the prophetic role of pathfinders through their creativity and imagination.
