Dipak Kurmi
The air around Nagaland House in New Delhi thrummed with an electric energy that transcended the usual pulse of the capital city. For two magnificent days, the boundaries between India’s political heart and the cultural soul of its northeastern frontier dissolved completely as the fourth edition of the Autumn Festival unfolded with breathtaking grandeur. This wasn’t merely another cultural exhibition in a city accustomed to hosting countless such events; it was an intimate conversation between two worlds, a prelude to something far greater, and a testament to how tradition can illuminate the path forward in modern India.
As dusk settled over the capital on the opening day, Minister Temjen Imna Along of Tourism and Higher Education from the Government of Nagaland stepped forward to address the assembled crowd with words that carried the weight of genuine emotion and cultural pride. “Aaj ki sundar shaam, Delhi walo ke naam,” he began, his voice carrying across the venue. His Hindi greeting immediately established a connection that would define the entire festival—this was not about showcasing an exotic culture from afar, but about celebrating the deep, organic bonds between Nagaland and Delhi.
The minister’s words resonated with particular poignancy as he spoke of how lakhs of Naga people arrive in Delhi for higher education, not as transient visitors but as people who have made the capital their second home. This relationship, he emphasized, transforms Delhi from being just India’s capital into something far more personal—the heartbeat of countless Naga lives.
The festival’s inauguration brought together an impressive constellation of dignitaries, each representing different facets of India’s federal structure and international relationships. Kapil Mishra, Minister for Tourism, Art and Culture from the Government of NCT Delhi, eloquently captured the essence of the Delhi-Nagaland relationship by describing it as being “like that of brothers.” His announcement of wanting to make this an annual cultural celebration signaled an institutional commitment to sustaining these cross-cultural exchanges. The presence of Dr Jitendra Singh, Union Minister of State for Personnel, Public Grievances, and Pensions, alongside Abu Metha, Adviser to the Chief Minister and Chairman of IDAN, and Arenla Jamir, Commissioner Secretary of the Tourism Department, underscored the governmental commitment at multiple levels to celebrating India’s northeastern heritage.
What elevated the Autumn Festival beyond a regional cultural event was the significant international presence it attracted. Chavanart Thangsumphant, Ambassador of Thailand to India, graced the occasion, reflecting the broader Southeast Asian connections that Nagaland has maintained through history and geography. Even more remarkably, Kevin Kelly, the Ambassador of Ireland to India, Bangladesh, Nepal, Sri Lanka, and the Maldives, took time from his diplomatic schedule to immerse himself in the enriching culture of Nagaland. His participation spoke volumes about the universal appeal of Naga traditions and how authentic cultural expression transcends geographical and political boundaries. The presence of such distinguished international representatives transformed the festival into a soft diplomacy platform, showcasing how India’s internal diversity can captivate global audiences.
Minister Along’s invitation to attendees carried an important clarification that challenges common misperceptions about tribal festivals. The Hornbill Festival, he emphasized, is not merely a tribal gathering confined to ethnic interests. Instead, it represents a celebration of life itself, an exploration of culture in its most vibrant form, and an embodiment of the Naga way of being. This framing repositions what might be dismissed as niche regional events into something with universal human appeal—after all, every culture’s attempt to preserve and project its identity through festival and ceremony speaks to fundamental human needs for community, meaning, and continuity.
The Autumn Festival brought Nagaland’s artistic soul to life through performances that had audiences thoroughly captivated. Naga artists including Tiatemsu & Kiki, Colored Keys, The Eastory Project, and The Mahila Band—the latter having gained national recognition through India’s Got Talent—delivered performances that masterfully blended contemporary sensibilities with traditional musical heritage. Each performance became a journey, carrying listeners from soulful folk melodies that echoed ancient hills and valleys to lively, foot-stomping rhythms that made even the most reserved audience members tap along. This musical diversity showcased how Naga culture is not frozen in amber but continuously evolving, absorbing new influences while maintaining its distinctive character.
Traditional dance performances added visual splendor and narrative depth to the festival. Dancers adorned in vibrant tribal regalia moved with precision and expressiveness, their movements telling stories of valor, community bonds, hunting expeditions, agricultural cycles, and spiritual beliefs. These weren’t mere entertainment; they were living archives, each gesture and formation preserving knowledge systems and historical memories that predate written records. The performances illuminated why the Hornbill Festival has earned its sobriquet as the “Festival of Festivals”—it brings together sixteen major Naga tribes, each with distinct traditions, into a magnificent tapestry of shared celebration.
Fashion provided another lens through which attendees could appreciate Naga creativity. The festival hosted a fashion show that transformed traditional textiles into contemporary statements. Exquisite handwoven shawls, intricately designed jackets, and accessories demonstrated how Naga weavers blend ancestral patterns with modern style sensibilities. Each piece of clothing carries cultural significance—specific patterns and colors traditionally indicate tribal affiliation, social status, and individual achievements. Seeing these textiles reinterpreted through contemporary fashion highlighted how tradition need not be static; it can provide foundations for ongoing creative innovation.
The festival transformed Nagaland House into a bustling marketplace reminiscent of traditional village gatherings. Artisan stalls allowed visitors to witness craft traditions firsthand, with weavers demonstrating techniques passed down through generations. Visitors could purchase handloom products, intricate jewelry, and ceremonial attire, each item embodying hours of skilled labor and deep cultural knowledge. This direct interaction between artisans and audiences created economic opportunities while fostering appreciation for craftsmanship that resists industrialization and mass production.
No cultural festival achieves completeness without engaging the sense of taste, and the Autumn Festival delivered an authentic culinary journey through Nagaland’s hills. The cuisine served reflected the state’s unique food traditions shaped by geography, climate, and agricultural practices. Smoked meats prepared using traditional preservation methods, bamboo shoot curries that capture the essence of monsoon forests, rice-based dishes that form the staple of Naga diet, and fiery chutneys made from indigenous chilies and fermented ingredients offered visitors a sensory education. The bold, aromatic flavors challenged palates accustomed to more mainstream Indian cuisines, leaving many eager to experience more during the main Hornbill Festival.
Minister Along provided crucial economic context for understanding why the Hornbill Festival matters beyond cultural preservation. Each year, during just ten days in December, the festival attracts at least three lakh visitors and generates an economic impact of approximately two hundred crore rupees. These figures reveal how cultural celebration can drive tourism economies, create employment opportunities, and justify infrastructure investments in remote regions. However, the minister emphasized that the festival’s importance transcends mere economic metrics. It creates invaluable networking opportunities, allowing Nagas to connect with fellow Indians and international visitors. In what he termed “the new Bharat,” Nagas approach such interactions with confidence and security, eager for collaboration while proud of their distinct identity.
The Autumn Festival succeeded in creating something increasingly rare in our fragmented world—a genuine platform for cultural dialogue and mutual understanding. Visitors from across India and abroad didn’t merely observe Naga culture as museum pieces; they experienced the warmth and hospitality that characterizes Naga society. Through art, music, dance, and cuisine, the festival built bridges between communities, demonstrating that celebrating India’s diversity enriches rather than threatens national unity. This model of cultural exchange offers lessons for a country navigating the complex balance between maintaining regional identities and fostering national cohesion.
As the two-day celebration concluded, attendees departed carrying more than souvenirs and photographs. They left with expanded perspectives, new relationships, and inspiration drawn from witnessing a culture that maintains its roots while reaching toward the future. The festival served as a living reminder that culture knows no boundaries when presented with authenticity and pride. For Delhi residents who might never travel to Nagaland’s mountainous terrain, the Autumn Festival brought those distant hills into their backyard. For Naga people living in Delhi, it offered a taste of home and an affirmation of identity in a vast metropolitan landscape.
The Autumn Festival’s success as a prelude to the twenty-sixth Hornbill Festival demonstrates how strategic cultural programming can amplify regional voices on national and international stages. By bringing Nagaland to Delhi rather than waiting for Delhi to come to Nagaland, the festival organizers showed sophisticated understanding of cultural diplomacy. In transforming Nagaland House into a living canvas of Naga life, they proved that cultural heritage isn’t about looking backward nostalgically but about carrying forward the best of tradition while engaging dynamically with the present. As India continues evolving as a diverse democracy, such festivals become increasingly vital—not as exotic attractions but as essential conversations about who we are, where we come from, and how we might live together.
(The writer can be reached at dipakkurmiglpltd@gmail.com)
