By Tümüzo Katiry
Introduction
Festivals in the Naga tradition serve as key markers of the annual agricultural cycle. This cycle is punctuated by a series of rituals, with the principal festival acting as the central axis that signifies both the end and the beginning of the cycle. In Lephori, a Pochury Naga Village in Meluri District, Nagaland, Nyavü Khü marks the culmination of the past year and the commencement of the new one. This essay will explore the festival’s sociocultural dynamics and symbolic significance.
The Clatter of the Akhrükhrü
In early February, villagers begin preparations for the celebration by acquiring a ritual cane and installing bamboo poles known as Awazho. An effigy made of bamboo and a gourd, known as Akhrükhrü, is hung at one end of these poles. The decorated bamboo poles are called Awazho, while the effigy itself is referred to as Akhrükhrü. With the arrival of
the pre-monsoon winds, the bamboo strips create a distinctive sound, adding a dynamic auditory element to the visual display–one that is deeply evocative of the festival for native ears. The clatter of the Akhrükhrü often stirs nostalgia for those who grew up in the village but have been away for extended periods. Seasonal migration to urban areas for education and employment has left many villages with a deserted appearance, except at Christmas and New Year. By February, the absence of children and young people in Lephori significantly affects traditional festivals, hindering the effective transmission of indigenous knowledge. These cultural ramifications are an unavoidable consequence of modernisation. Concerned elders in the village have voiced the urgency of addressing this issue to preserve the cultural heritage.
Symbolic Adaptation
Traditionally, the festival spans ten days, with the first five marking the conclusion of the old year and the remaining days ushering in the new one. However, with the advent of modern education, evolving economic and political systems, and changing lifestyles, the festival has been condensed to just two or three days, reflecting its adaptation to contemporary times.
The traditional practice consists of a series of rituals, many of which have faded with the advent of Christianity. However, certain ceremonial practices—along with folk arts, crafts, songs, dances, and traditional games—endure. Among the most significant rituals is the cane-pulling ceremony, where the chief inaugurates the event with a prayer. The cane, carried to the village by the youths several days earlier, is brought into the arena following the chief’s blessing, with all participants holding it.
Although the Naga traditional feast of merit has long been abandoned, the wooden structure called Athuotso,
formerly installed by the feast giver, continues to be planted in the festival arena each year. The structure, symbolizing merit and wealth, traditionally signified the feast giver’s generosity in feeding the entire village—and sometimes even friends from neighbouring villages. Today, it stands as a symbol of the festival and the perseverance of culture and tradition.
The Renaissance of Traditional Games
Traditional games are an integral part of the cultural fabric, fostering social bonding and cohesion. In Lephori, these games nearly disappeared due to a lack of preservation efforts. As a result, knowledge of their rules is now limited to a few older generations who grew up playing the games. With the rise of video games in the late 20th century and mobile phones in the 21st century, traditional games received less attention.
However, I was informed that some of these traditional games have been revived in recent years, preventing their permanent loss. One of the games played during the festival is the spear throw, where boys hurl sharp bamboo poles at a banana stem planted in the arena.
Another important game is Chokhrela, a traditional archery sport that utilises a crossbow. Archery might have become a lost art if not for its inclusion in the festival, as guns have become the preferred weapon for hunting. Other traditional games and skills showcased at the festival include fire-making, the spinning top duel, and a tug-of-war using the ritual cane.
The spinning top duel is a game in which players attempt to strike another person’s spinning top with their own. The tops, carved from wood, feature a bulging waist and a tiny head around which a rope is wound. The player pulls the rope sharply while throwing the top, generating torque for the spin. Beyond being a source of recreation, the game showcases craftsmanship, requiring players to carefully select the wood, carve their tops with a dao (machete), and master the intricacies of play.
Women’s games such as Akhozho, Khienyuo Khiepuo, and Etsü Lopa are at risk of being forgotten unless they are introduced to younger generations early in life. Akhozho incorporates the use of the African dream bean (Entada rheedii) as part of the game. As of 2024, many players lacked a comprehensive understanding of the intricate rules, as Akhozho had been neglected for many years.
Khienuo Khiepuo involves teams of five or six forming a circle, facing outward. Each player folds one leg backward, locking their foot onto another’s leg to create a connected formation. While singing traditional songs, the teams spin in unison. The team that maintains the formation the longest wins.
To play Etsü Lopa, women divide into teams, standing on either side of a line. The objective is to pull the opposing team across the line while singing a folk song, blending physical strength and agility with cultural expression.
Conclusion
Due to what is termed compact modernisation, rapid changes in Naga society have significantly impacted the cultural heritage. This is evident in important social events like Nyavü Khü, where we observe cultural modification, revitalisation, and adaptation to contemporary changes. It reveals the dynamic nature of culture and tradition that counters the idea that Naga tradition must be strictly separated from external influences. What we have witnessed here, I argue, is a dialectical process–one of conflict, negotiation, and resolution within our cultural system. With each passing generation, new ideas will inevitably reshape our tradition, sometimes through the revival and revitalisation of older practices. This is unavoidable, given our idealised perception of the past, which forms the core of our tribal identity. Nyavü Khü is not merely a celebration of the new year; it is also a symbolic act of resistance against cultural erosion and a testament to our tenacity in preserving our identity.
Nyavü Khü: Cultural Revitalisation of Lephori Village
By Tümüzo Katiry
Myanmar IDRC Canada, Research Fellow.