Debasis Reang talks about the traditional Hojagiri dance form from Tripura
Close your eyes and form the image of a dancer balanced on an earthen pitcher, the feet hardly touching the rim; the hands, balancing a lamp or plate and the wrists swaying gently to the music of the flute. This is the Hojagiri dance originating from the Bru/ Reang community from Tripura. It is believed to be an offering to the Goddess Lakshmi so that she showers the tribe with fortune and fertility. Through the dance, one showcases the entire harvest process, right from (Jhum) sifting to the cultivation. This also reflects how the community relies and respects nature encouraging and worshipping the man-nature coexistence. Recently, Debasis Reang’s troupe introduced Delhi to this performance during the SPICMACAY Folk and Tribal Arts and Crafts Festival. We spoke to him to know more about this piece of tribal tradition.
Could you tell us about your journey with Hojagiri dance?
My father inspired me to build my knowledge about the preservation of culture. Song, dance, music and drama intrigued me from a young age. Moreover, with time, promoting and preserving cultural events became necessary and unavoidable. Thus, I stepped in and got involved with the Hojagiri dance form.
What motivated you and your group to dedicate yourselves to preserving and promoting Hojagiri?
Preserving the culture has a prominent role in preserving the origins and identity of a particular community or tribe for the future. Our Bru / Reang communities prosper and progress through the continuation of the Hojagiri dance. And my troupe and I are a part of that process.
Hojagiri is famous for its balance-based movements. What kind of training is required to master such skills?
Every artiste has to go through training for a long time because the dance involves body balance, right from the head to the toe. Performers not only pay attention to their physique but also hone their concentration and mental fitness to make them a successful Hojagiri dancer.
What traditional musical instruments accompany Hojagiri?
Several instruments play a crucial part during the performance. Among these, the Ksumu (flute) has a major contribution. The Kham (drum) matches the balance and the rhythm and draws complete attention to the performers. The cymbal is sometimes used to create the sounds of Bengi (leg ring).
Can you describe the traditional performer’s costume?
The male artistes who play the instruments or sing wear the Kamsoih or turban, Kutai Bura (shirt) and Longkla (Dhuti), all made of handloom. For the female artistes, who perform, their clothes are made of handloom, but the jewelleries and accessories make them more attractive. Traditionally, they wear Sangai (hair clip) that is used to tighten their buns. The Nabawh or earring is worn on the bottom lobe of the ear. Along with it, the Wakhom or traditional short pipes are worn in the bottom lobe. The Chondroha is a string necklace which is left hanging from the neck, while the Rangbawh is a coin necklace which is also worn. The Rangbwah Sanang or the string coin necklace, Antli (necklace) and the Lkoih or string beads are worn on the neck as well. The Wareih is a tube-shaped ornament worn in the ears. For the hands, one wears the Taar of the upper arm cuff and the Trwo or the wrist bangle. Made of handloom, the Rsa is a chest band, and the Rnai is a scarf.
How do you choreograph your performances—do you stay traditional or incorporate contemporary elements?
While the overarching performance is still traditional, certain bits of choreography may involve individual perceptions shared by musicians and senior performing artistes, making it slightly modern.
What are the biggest challenges in keeping Hojagiri alive today?
One major challenge is poverty or financial insolvency. This makes artistes take up other works thus depleting the artiste pool for this performing art. There are no aides from the Government either. Also, the youth is attracted to the new and modern and not age-old culture. If the performers get employment, monthly honorarium or pensions, then more people might take up this art form. We also propose to open a Hojagiri and other folk arts Academy in Bru / Reang populated areas.
Why do you think traditional folk arts like Hojagiri struggle to gain mainstream attention?
I think to gain mainstream attention it is important for performing arts like Hojagiri to get support facilities, more youth involvement, solution of financial problems in artiste’s families and more.
What is your vision for the future of Hojagiri dance?
I hope that in the future Hojagiri dance becomes a prime identity of our tribe which is the Bru / Reang tribes. It ensures that the artistes lead a good life relying on the performing art. I also wish that the dance form garners audiences in the National and International levels.
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