Naga musician Moa Subong, who received the Padma Shri this year for his contribution to folk music, could be regarded a Man of Many Arts. He created a world music genre called howey and invented musical instruments such as the bamhum and the tikzik. Moa composes and sings originals and has founded Nagaland’s “first folk fusion band” named Abiogenesis along with his wife, eminent vocalist-composer Guru Arenla M. Subong. He is the band’s lead bamhum player, equally adept with the guitar and the harmonica. Moa has been an actor and a sportsperson, too, and is skilled in audio and video editing.

At 56, Moa enjoys a popularity that he has consistently gained over the decades since teenage. Those were the eighties, when he met Arenla for the first time in the Naga culture hub of Mokokchung while working in a band. Marriage at 23 followed their romance, and Moa, a father of three sons today, believes the start of his musical flight happened in those days. The couple would soon form their band Abiogenesis, a folk-fusion outfit that creates original English numbers using the sound of tribal music. The significance lies in their lyrics that narrate tales from Naga folklore, reiterating the tradition of oral storytelling. In an increasingly Americanised society, the songs of Abiogenesis entertain and take the audience back to their roots.

The Dimapur-based musician and his band have effectively popularised howey, the world music genre Moa invented. True to the character of the band’s songs, howey uses Naga folk tunes but blends these with contemporary sounds and rhythms. The indigenous essence of their melody is highlighted by the band’s use of the bamhum and the tikzik.

The bamhum, a wind musical instrument made of bamboo, has become particularly popular among the band’s fans. Moa coined the name of the instrument using the words bamboo and humming. The name actually explains the process of how the instrument is played: One hums the tune in question into its hum hole and the bamhum in turn produces the corresponding melody.

There is an interesting account about how Moa’s band found its name. He would tell you the name Abiogenesis is rooted in a cause they believe in. The band has been consistently spreading positivity and Naga ethos through their music for over two decades now, to prevent youth in the Northeast from falling prey to drug abuse. Their effort is in sync with what the word Abiogenesis means. The Collins Dictionary defines the word as a “hypothetical process by which living organisms first arose on earth from nonliving matter”. Over the decades, Moa and his musical associates have strived to make a mark with their campaign against the drug menace. They cut an album for Nagaland State AIDS Control Society (NSACS) in 2002. A year later, Arenla scripted and directed a feature film centred on AIDS titled Big Time Buddies, and in 2004 the state’s Department of Health & Family Welfare assigned Moa and his band to make a health awareness album.

For the Padma Shri winner, one of 91 achievers to receive the award this year, the recognition isn’t merely an individual feat. He deems the honour as an acknowledgement for every Naga who has made a difference, including Arenla, who is also a writer, dramatist and choreographer. The NorthEast Stories caught up with the multitalented Moa for a tête-à-tête.

Your wife Arenla and you founded Abiogenesis, which is really the first, or the best-known folk-fusion music band from the state. What do you think were the reasons for its success?

Moa: Yes, Abiogenesis is the first folk-fusion band in Nagaland. I guess the success is attributed to many factors. For instance, our lyrics are about our love for the land and its people. We look within to and every word comes out from the core of our heart. There is authenticity in that. We narrate stories through our lyrics – and that is something we continue to do. We also believe that we have to move with times and keep innovating with music while holding on.

What are the challenges for musicians in the Northeast? Has the scope of music as a full-time profession become better with time?

Moa: The Northeast has plenty of talented singers and musicians. Unfortunately, it is a remote region and there are limited performance venues and platforms to promote bands of the region. There is also very less media attention given to them. If satellite music channels in India played music videos of indie artistes, I am sure there would have been many recognised bands from the Northeast.

Times has now progressed for the better, for the artistes and the music scenario are much better. With the advent of the internet, social media is playing a very big and important role. Many artistes now use Facebook, Instagram, Twitter, YouTube etc. for promotions very effectively.

You invented the bamhum, an instrument made of bamboo. Where do you see this instrument going forward? How can the future generation be made to understand its value and how can we encourage them to play the instrument?

Moa: Slowly and gradually, the bamhum is picking up tempo. I am very happy that many artistes now play it. An advantage of the bamhum over other musical instruments is it can be played almost instantly, and with talent one can become a pro in a short time with a little practice. I am sure with many known faces playing the instrument; youngsters will be inspired to play it.

Practically speaking, how can awards and recognitions benefit fellow Naga musicians, innovators, and craftsmen? What is really the way forward for musicians, who in many ways are the custodians of culture and tradition?

Moa: Artistes put in a lot of time and effort in their works and awards bring recognition and a feeling of satisfaction, besides inspiration and motivation for the upcoming artistes.

Do you think the states should have cultural institutions to set up high standards for the music teaching profession?

Moa: Talent, hard work and perseverance are the criteria for success, but having such institutions would definitely play a very important role in shaping and moulding upcoming talents.

What is your musical plan for your family — your wife, who is your musical partner and life partner — and your three children? Are your sons into music, too?

Moa: Of my three sons, the eldest, Meren, used to play the lead guitar and my second son Imli used to play the drums for us. However, they are now tied up with their businesses and are unable to play with us now. The band has plans to record and release new songs and music videos and, of course, performs, too.

You had recorded an album in 1989 titled Rapture. Did logistic challenges stand in your way while producing albums? Have things changed today for musicians?

Moa: Our album Rapture was released by Magnasound in 1989 and during those days, albums were sold as cassettes. There was no internet in India and I guess Doordarshan was the only TV channel. Yes, with the advent of internet and social media, there are a lot of promotion avenues and also (the probability of) being spotted by talent scouts. There are now instances of artistes becoming popular overnight through YouTube views. In the days of yore, the crowds would only demand popular cover songs but nowadays they love to hear original songs.

What would be your advice to young and upcoming musicians?

Moa: Along with passion and talent, one needs to put in a lot of work, perseverance and zeal to reap positive dividends in one’s career.