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DIMAPUR — Wood carving artists from Thailand and Nagaland are participating in a unique exchange workshop at the North East Zone Cultural Centre (NEZCC), Dimapur, themed “relationship.”
The workshop, running from October 24 to November 6, features five Thai and nine Naga artists collaboratively carving Thai and Naga cultures onto logs.
Speaking with Eastern Mirror, Professor Wipawee Panjinda of Chiang Mai University, Thailand, explained that the workshop is part of a three-year research project, a collaboration between her university and NEZCC, which began in 2022. Five Naga carvers visited Thailand for a similar workshop in 2023, and this year, five Thai artists reciprocated the exchange.
The workshop aims to provide a platform for the artists to learn from each other, exchanging concepts and techniques.
There are nine logs in total, and the artists are working collaboratively on each. When a Thai artist carves the main part, Naga artists add small finishing touches, and vice-versa, she explained. The objective is to build a relationship between Lanna (Northern Thailand) and Nagaland, enabling artists to learn from each other and customize their work.
Communication barrier and lack of facilities
Panjinda expressed that communication is a challenge, as the Thai participants speak only Thai, hindering the sharing of experiences with the Naga artists.
Another challenge is the shortage of facilities, including electricity, which has prevented Thai carvers from using electrical equipment, forcing them to adapt to manual tools, similar to their Naga counterparts.
Panjinda opined that Nagas are struggling in the art market due to a lack of marketing knowledge and institutional support. She noted that while young Nagas are interested in arts, the absence of art institutions in Nagaland necessitates leaving the state for formal training. However, she maintained that this hasn’t stopped Nagas from pursuing art as a profession, citing several successful self-taught artists.
She suggested that the new generation of Nagas should develop new motifs while interacting with other artists, while also recognising that carvings of hornbills, mithun heads, and warriors will always be sustainable.
This is the final year of the research. Panjinda mentioned that, with future funding, she hopes to create a public exhibition space for the finished products, showcasing the collaboration and the wood carving of the two cultures.
Veswuzo Phesao, a Naga participant, appreciated the Thai artists' work and expressed renewed motivation after meeting a 77-year-old Thai woman artist. He noted stylistic differences: Thai artists carve mostly flowers and leaves, while Nagas carve figures, warriors, birds, and animals. He also observed that the Thai artists work more professionally and quickly.
The participants from Thailand are Ronnakrit Buratemi, Peerapong Duangkaew, Buakeang Kiwkaew, Sakchai Kiwkaew, and Chookiat Kewkeaw. The artists from Nagaland are Keditsu Vikuolelie, Robert James, Mhasiselhu, Mhaseveyi Phesao, Runoyhu Keppen, H Akup Buchem, Veswuzo Phesao, Shovezo Keyho, and Ato Lorin.