Documente Academic
Documente Profesional
Documente Cultură
Topic
Name
: DIEZEVITSO CHASIE
: atsochasie@yahoo.com
Modulation of Folksongs
and its Functions
in
NAGALAND
Angami Nagas
Project duration
Present reporting period
01-8-2014 to 31-08-2016
1stAugust, 2015 to 31th January
2016
Table of Contents
I.1.Modulation of Folksongs and its Functions in
Nagaland (Angami Nagas)
Introduction
Different types of folk songs
I.2.Livo
(eg.A3) Avoneihu
I.3. Lide
(eg.A4) Zievinyii
I.4. Lita
(eg.A.5) Uramia
I.5. Lima
(eg A .6) Garipheju
I.6. Cha-ii
I.7. Shieli
(eg.A.8)
III.Theoretical Framework
IV.Contemporary Culture
V. Social function of Folksongs
VI. Expected Research contribution VII.Conclusion
I.1.Introduction
This paper sets out to argue that the social functions of
folksongs has not changed but rather it has undergone a
process of modification and negligence as a result of
westernization of culture, ideals and education. This
aspect of modification has assisted folksongs to be made
available to different regions over the Naga tribes and
assisting it to gain a wider coverage nationally.
Functionalism and contemporary culture therefore forms
the theoretical frame of a dissection and understanding
of the changing social functions of folksongs.
Gbadeges in (1997) observed that, oral tradition is an
indispensable source of history, indicator of deep
thought, and transmitter of cultural and religious values.
It is through the ocean of the oral tradition of a non
literate culture that we explore their historical being and
their contribution to the philosophic world.
This not only goes to reflect the importance that can and
should be attached to oral literature, it also brings to
awareness the overwhelming need to preserve and
transmit cultural aesthetics. Oral forms emanates in folk
tale, myths, epics, legends, lyrics, songs, dirge, chants,
invocations and many others. Folk song is an aspect of
the oral traditions of any tribe which is used to address
topics or issues that concern the natives of a community.
The use of folksong is peculiar to the community it
originates from but one common feature is that it often
borders on social and political issues of that land. Folksong has been associated with rural communities and
lower socio-economic classes, but in the 21th century
the pattern of dissemination changed, with greater
I.4. Lita
The songs are continuous and by the end of the first song
the other group joins in with different songs. An example
of Lima song is interpreted below.
(eg A .6) Mehovi-ii
Mehovi-ii ze ketsu metse
Lu Kediju Moriisie kinu
Tie rie pie cii zu rei chiipie krie
Kebie hawe hau khrii tele
Avo lhu sie sono ki dze chii
Tuoii dinu lhurii mo caii
Everytime i took mehovi-ii to the fields
That place, home of Moriisie
Feasting with foods and local beer
Was during this time of the year
With laments, we are not born to be like them feasting
alone.
I.6. Cha-ii
In olden days bachelors together make planes and go
dating or visit a ladies home of the same age group.
While on the way to the selected home imaginative words
and past romances are expressed through singing. Songs
that are sung on the way to a ladies home.
An example is given below.
(eg.A.7) Azuo viphrii
Azuo Viphrii Vilhunyii no zou
A zetsu di Vilhunyii riili
A kipu thie, a riinyii tuolie
Vicharii nu ga keda nhiro
Riiiinomia bitho the rile
Awe riakho rhielieya nyii
Rhielie nyii theziethic gwimu
I.7. Shieli
This type of songs are short and poetic in lines only to be
sung at the other side of the river or beyond the village
gate.Two examples are given below.
(eg.A.8)
a) Tsa zotie yie ho adziigweo
Getting older and older
U kromia nicu la yagwe
Why dont we get young again
b) Khor tuoro aki pumo dinu
Without informing me that you are comming
Khor asieku nu
From my back side
Rishii athukha
Hiding, with cruel intension
Aphirhe lolie
Pulled me down
II a. Tati song
(eg.A9) (A Mothers song)
This song is about a Mothers encouragement to her only
lovely daughter.
( Neinuo is the pet name, where the Angami tribe
addresses to a young lady)
Neinuo krahie, Thenu nie riibei
Weep not,my only daughter
Azuo kedi unuosuoyamu
Your mother though in sadness
Thenumia sii chiedoki riibei
The only days of a lady
Telhe modi shie vo mia ra lhou
Will one day be in a different place(married)
Hatsa unuo Latsa miaphou chii
My daughter, sooner will be a mother
Zotatuo mu Unuoruohielo
Be happy and embraced it positively
II b. Tati song (Lhisemia)
(eg.a10)
Thinuo harei Lhisemia siinuo
The clan of Lhisemia
Nourhe zoshii lhisemia bu nu
Let there be unity within
Peli thekhrie kerekenie ko
The Twelfth age group
Thinuo mhokuo chiituo-ii di nu
Protectors of the clan
Rakelie nhie phichii theja cha
The faithful day, yearns the fathers blessing
Kelie hala riinou hu vuo-ii
In glee with satisfaction
Tsiedi seshii theja rukeduo
With names inscribed on the Monolith
Rheicha huluo kerekenieko
From the above score, a love song we can see that the
arrangement was harmonised in four parts (SATB)
contemporary style. It does not follow the traditional way
of composing i.e. four-five syllables respectively, though it
uses So hi mo jo thoroughly. The mood of the song is
non-indigenous
audiences.
Such
domestic
positive
and
milieu
international
will
facilitate
Resource persons:-
a) Mr.Nikeriisie Punyii
b) Thekrusalie Sophi
Tenyidie
Sazonuo
Zhiinyii(M.A Tenyidie)
Ruokuo Suokhrie
Ruokuosie-ii Yhome