‘Remarkable historical and cultural parallels between Wales & Nagaland’

Singer-Songwriter, Seyievinuo Chuzho reflects on UK Tour

Vishü Rita Krocha 
Kohima | August 10

As a child, Seyievinuo Chuzho vividly recalls how she would stand on a chair, pick up anything resembling a microphone—a broomstick, a bamboo stick, or any object within reach—and begin singing with enthusiasm and confidence. In those early years, as she recalled, learning was entirely self-taught, driven by sheer curiosity and a deep emotional connection to music.

By the age of six, she had already begun performing in school competitions, where she not only participated but also won awards. This eventually extended to church performances and beyond even as she went on to perform as a guest artist for several significant events across the state, country and abroad in the last two decades of her musical journey. 

In June this year, Seyievinuo Chuzho performed at the Nerhu Centre London, Tafwyl in Cardiff, and Bluestone Brewery in Newport Wales, as part of the musical collaboration with Cardiff singer-songwriter Mari Mathias with the support of the British Council. Throughout 2024 and into 2025, she related that, “we had the privilege of showcasing our work across various locations in the United Kingdom and India including the Festival of Festivals at the 25th Hornbill Festival in 2024.” Sharing her experiences on the one-of-its-kind collaboration between Nagaland and Wales, she expressed that, “each performance served as a cultural exchange, blending distinct artistic traditions while staying true to the authenticity of our respective heritage.”

She also maintained that the experience not only strengthened international artistic ties but also allowed them to highlight the beauty, depth, and relevance of traditional folk music on a global stage.
Terming the UK tour as “a deeply educational and transformative journey”, she highlighted that she learnt about the remarkable historical and cultural parallels between Wales and Nagaland, dating back 3,000 to 4,000 years. 

“I was particularly fascinated to discover that during the Iron Age, Wales possessed advancements in certain aspects of life that, in some ways, surpassed those found in a typical Naga village even today”, she shared.

Stating that one of the most profound aspects of the tour was witnessing how fascinated people were by the traditional attire she wore and the folk songs she performed, she articulated that “these moments became powerful opportunities to share the story of Nagaland—its cultural heritage, history, and land—with audiences who were genuinely curious and appreciative.”

“It was an experience that allowed me to serve as a cultural ambassador, proudly representing my roots while building bridges between communities through music and tradition”, she said while also acknowledging Theja Meru, Chairman of the Task Force for Music and Arts (TaFMA), for selecting her as a suitable candidate to collaborate with Welsh artist, Mari Mathias.

‘Preserving authenticity of Naga traditional attires & folk songs’
Stating that in the Naga community, cultural organizations place great importance on preserving the authenticity of our traditional attires and folk songs, she underscored that, “this commitment to cultural integrity is something I personally uphold with utmost seriousness.”

This is also why whenever she performs, she ensures that the traditional attire she wears remain true to its original form, without modification or alteration. Similarly, she related that, “I maintain the authenticity of our folk songs, refraining from altering their melodies or lyrical structures so that their cultural essence is preserved.”

In the meantime, while she remains faithful to tradition, she also explores creative ways to enhance the storytelling and emotional depth of her performances. She does this by incorporating natural sounds—such as the rumble of thunder, the patter of rain, the gentle flow of a river, and the calls of animals seamlessly blending them with the limited range of traditional Naga instruments available. 

Substantiating to this, she said, “this approach allows me to create a rich, immersive musical experience that remains free from the influence of Western instruments, thereby keeping the soundscape authentically indigenous.”

For Seyievinuo Chuzho, this is not only about maintaining artistic authenticity but also about honoring the deep connection that the Naga culture shares with the natural world. 

She is also currently a PhD research scholar in the Department of History and Archaeology at Nagaland University. While “academic life can often be demanding and stressful”, whenever she feels mentally exhausted or overwhelmed by research work, she turns to music to take a break and rejuvenate her mind. 

For her, music serves as a refreshing escape from academic pressures, but she also ensures that she is maintaining a clear balance between the two, never allowing her passion for music to interfere with her academic responsibilities.

‘Let your cultural identity be the foundation of your artistry’
Emphasising that Music is not merely a talent or a pastime, but a language of the soul, a bridge between cultures, and a powerful tool for storytelling, she encouraged young aspiring musicians to remain rooted in their culture. 

In the Naga society, where music and oral traditions have always been woven into our identity, she maintained that, “you have the opportunity to carry forward a legacy while also carving out your own unique artistic path.”

Further impressing upon that our folk songs, traditional instruments, and indigenous languages are treasures that cannot be replaced, she called upon aspiring musicians to learn them, perform them and to take pride in them.

Authenticity, she underscored, will not only set them apart but will also give their music a depth and meaning that resonates far beyond entertainment. Even while exploring other genres and styles, she articulated, “let your cultural identity be the foundation of your artistry.”

Chuzho also advised them to embrace discipline and perseverance while pointing out that talent alone is not enough. “Practice relentlessly, learn continuously, and be willing to challenge yourself”, she put across. 

Further sharing how her experiences working with artists from other cultures have shown her how beautifully tradition and innovation can coexist, she also called upon them to stay open to opportunities for learning and collaboration, both locally and internationally. 

As a musician, she also felt that one is not only an artist, but also a storyteller, a cultural ambassador, and an inspiration for future generations. In this regard, she articulated that, “your voice, your compositions, and your performances have the power to influence how the world perceives Nagaland and its people.”

“Use that power responsibly, with humility and purpose. Believe in your craft, stay authentic, work hard, and let your music carry the soul of Nagaland to places you may have never imagined,” she conveyed.