Akangjungla
Music is fundamental to the Nagas. Nagas are known for their treasures of music narration, which encompass every area of the life-style, identity and cultural legacy. While staying grounded to the rich history, over times the contexts of music to the Nagas have also evolved. Today music is no more just about story-telling or history. It is a whole industry valued in terms of generating revenue in billions.
As World Music Day is celebrated on June 21 across the globe, Nagaland included, it brings an opportunity for a sincere reflection on where music industry positions in Nagaland.
Any conversation on music industry in Nagaland has always led to the initiatives of State Government. The assertion of music industry in Nagaland was made legitimate during an event in 2012 when Nagaland Chief Minister, Neiphiu Rio announced that music would be declared an industry in the state. He, however, informed that the government role would be limited to being a ‘facilitator’, offering support to musicians without ‘owning’ music or pushing only particular genres. Thus, the path was paved for Nagaland to become the first ever state in India to have recognized music as an industry.
The sincerity of the Government to endorse music is evident in its initiative of Task Force for Music and Arts (TaFMA) which was ‘born out of the long-standing and well-established Music Task Force (MTF)’ and has been in action since 2019 with “a keen eye on how to promote artists in Nagaland.” There is no denying that the Government has earned for Nagaland international and national music collaborations and it has successfully navigated Hornbill Music Festival as ‘the crown of Nagaland’s art spectrum.’
Nevertheless, the need arises to ponder if the burden of music industry should be on the state Government? And more so, to reflect on whether it is operating as an industry contributing to the state economy by creating sustainable livelihood and services in the field of music?
Essential aspects of the music industry in general involve production, recording and performance, promotion, managing the profitable business of music and also making sure it is sustainable and growing.
It is a sad reality for most musicians in Nagaland that musical career is a ‘one-man-army.’ It is working out only for the rare artists who are outstanding-talented-adventurous-affluent-skilled. Many have moved on from the misreading that there is actually a music industry under the wings of the Government. ‘Project proposal’ for supporting musical career has turned illusive for those who dared to put up the files. There is no shying away from stating that few expected artists have become the predictable faces of music industry when it comes to Government sponsored events and projects.
Another aspect to take into consideration is that with the explosion of modern technologies and social media platforms, music industry trends are making very quick shifts. With the #hastag popularity in YouTube, Spotify, Instagram and other platforms, Naga performers are becoming more visible and gaining global attention with or without support of the Government.
The same popularity, in a different circumstance, was enjoyed by musicians in the 80s and 90s. But since then the world has progressed from the idea of concert, live music and raw sound experiences. After past the prime age, owning a sound system or musical store has becomes the last resort for many seasoned musicians in Nagaland.
In the face of such discontentment, it could be considered rational to reflect, evaluate and determine a new approach to whole idea of the music industry in Nagaland.
The reality calls for the need to shift from visibility to validity. The equivalent amount of time and financial resources put into one-time projects would bring lasting benefits, when diverted to empowering human resources and building stronger infrastructures. Funds like the Chief Minister’s Scholarship for Music need to be elevated from short-term intensive program to inclusive course for anyone who associates with music as profession.
Mentoring, empowering and educating a new generation of musicians can shape the future. Unless new breed of musicians are created, the music industry in Nagaland might be just another ‘benchmark’ project.
