61 –year old Veswüzo Phesao from Nagaland recalls how he observed his father getting the house decorated with wood carvings and motifs. This led him to learn this popular local craftsmanship as a young boy. Decades later when modernisation engulfs everything and preservation of indigenous art forms becomes the need of the hour, he goes down the memory lane with Indulge during a woodcarving workshop held at Heirloom Naga Centre where Aku Zeliang curator of the workshop also chimes in talking about the necessity for the youth to recognise and hold on to their tradition, for its survival.
Rooted in Culture
Talking of the significance of woodcarving, Phesao mentions, “Wood carving plays a very integral role in Naga Culture. In every village it is necessary to make fencing. They were not only there for visual aesthetics but also held significant meanings where every carving told its own story.” He works with woods like Bonsun, Laly, Titachapa and Khokhon to carve motifs like “Mithun head, Pig head, Hen, Human figures, Moon and stars” which are popular in his community.
Stating the crux of the curation, Aku mentions, “It’s not just about showcasing finished works, but about sharing the process—the stories behind the carvings, the symbolism in the designs, and the voices of the artisans who keep these traditions alive. Social platforms allow me to document and visually narrate these journeys, while digital media helps connect our local heritage to a global community that is eager to learn and engage.”
Defining Practice
When asked about the start to end creative process Phesao states, “It involves identifying the size of the trees, especially those of fallen or dead trees meaning they are naturally treated and seasoned. Then my carvings follow. The tools which I use for carving include Zea(Machete), Mürü(Axe), Küche(Basuli), Cirieprü(Batali chisel), Süsüo (Wood File), Süvü (Hammer) and Zerütsi(Sharping Stone)”. Interestingly, many carvings have folklores associated with them. He elucidates, “For every carving, there is a meaning and stories. For example, a Mithun Head is the biggest cattle offered during a feast which is also carved into a panel to commemorate the occasion. An enemy head denotes becoming a strong warrior.” He also adds, “Nowadays, with modern designs we can always tweak and play around, and express our carving.”
Aku points out the progressive nature of the art and says, “What people rarely realize is that carving was once surrounded by strong social taboos—certain motifs could only be carved by specific clans or individuals, and some forms were linked to status, ritual, or even warfare. Over time, those taboos created distance, making carving feel inaccessible.” However, that is not the reality anymore.
The way ahead
But with modernisation, capitalism, commercialisation, digitalisation creeping in, what modern challenges pose significant threat to the art and the artisans today? Phesao answers, “Nowadays, in the mills one doesn’t get good source of wood and they are not properly seasoned or treated.” He also expressed his concern over the “lack of Artisans to continue the practice.” Opining on the interest of the youth he recalls, “ Few are interested but at the same time even if they are, they need a stable source of income for which they are unable to rely on traditional craft” According to him, “the solution for this is the collaboration between traditional craftsman and contemporary designers, for the continuation of the practice.” Before signing off he points out, “In the future, we may not have more skill and expertise in this type of artistry in our society, so I always urge the younger generation to pick up these skills and to preserve and share it within the community and the rest of the world.”
Aku points out, “More young Nagas are beginning to see wood carving as meaningful and viable—especially when it’s tied to design, workshops, and real opportunities. Platforms such as the Hornbill Festival also keep the craft visible and aspirational. We’re also seeing individual wins by young sculptors, which signal momentum. That said, elders still worry about shrinking apprenticeships—so structured mentorship and market linkages are crucial to turn interest into careers.”
He concludes, “For us, reviving this tradition is about reclaiming a cultural language that speaks of who we are as Nagas. Wood carving carries our stories, our rhythms, our relationship with nature, and a worldview that risks being forgotten if not practiced. At the same time, revival gives younger generations pride in their identity and opens up new creative and livelihood opportunities. We believe traditions must live, not just survive in museums; bringing them into today’s context ensures that this heritage continues to inspire, evolve, and remain relevant for the future.”
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