Session 117 summary
The Ziro Festival of Music, held in the Ziro valley of Arunachal Pradesh, showcases India’s independent music scene. Founded in 2012 by Bobby Hano and Anup Kutty, it has featured notable artists such as Lee Ranaldo Steve Shelley, Damo Suzuki, Shye Ben Tzur, MONO, Divine, Acid Mothers Temple, Louw Majaw, Shaa’ir n Func, Indus Creed, Mohit Chauhan, Lucky Ali, Peter Cat Recording Co, Menwhopause, Guru Rewben Mashangva, and Barmer Boys among others. The festival spans four days and is hosted by the Apatani people, known for its eco-friendliness and use of locally sourced materials for infrastructure. Supported by the Ministry of Tourism, Government of India, and the Department of Tourism, Government of Arunachal Pradesh, it has gained acclaim as one of the world’s most eco-friendly festivals.
Bobby Hano, alongside his partner Anup Kutty, embarked on the journey of founding the Ziro Festival in 2012, driven by the mission of promoting independent artists and indigenous tribes from Northeast India while spotlighting the country’s independent music scene. The festival, nestled amidst the scenic Ziro Valley, serves as a unique fusion of music, art, and culture. For Bobby, the valley holds sentimental value as his birthplace, and he strives to uphold sustainability practices by utilizing locally sourced materials such as bamboo and wood for festival infrastructure. Notably, bamboo and locally sourced wood are exclusively employed in constructing festival structures, with cloth replacing plastic for tying bamboos, showing their commitment to eco-friendliness. Over the years, the Ziro Festival has prioritized skill development, empowering community members to actively participate in organizing the event and engaging local artisans in crafting bamboo infrastructure. Through outreach initiatives like workshops and residencies, the festival fosters meaningful connections among artists, artisans, and local youth, enriching cultural exchange. Partnered with the Ministry of Tourism, India, and the Department of Tourism, Arunachal Pradesh, the event has received consistent support, helping in its growing prominence. Today, the festival serves as a vibrant platform for showcasing the diverse culture of the Northeastern region, firmly establishing the Ziro Valley as a sought-after destination for music enthusiasts and nature lovers alike.
Their vision is for the Ziro Festival to become the most eco-friendly festival in the country while also showcasing some of the greatest emerging acts in the Indian musical scene. They strive to create environments that not only celebrate music and culture but also promote sustainable practices benefiting the environment and the local community. Their goal is to minimize their carbon footprint by utilizing renewable energy resources, reducing waste and plastic consumption, and implementing eco-friendly infrastructure. They believe that by creating a sustainable festival, they can set an example for others to follow and inspire positive change in the music industry. Their commitment to the environment is matched by their dedication to showcasing the best emerging artists, providing a platform for them to connect with their audience and grow their fan base. Their ultimate vision is to create a festival that embodies the spirit of sustainability, creativity, and community.
Since the festival started in 2012, they started with a meagre audience of around 150 which included artists as well and this had grown exponentially over the years and they have kept it now at 10,000 keeping in mind the ecological feasality of the region and their commitment to waste management. Even though the attendees are kept at 10,000, the ripple effect is felt throughout the country through the amplification of social media and their various media partners.
Could you provide more insight into Arunachal Pradesh, particularly the Ziro Valley, and elaborate on its significance to the Apatani community? Despite the often exotic imagery associated with the Apatani tribe, there seems to be limited knowledge about their community.
Ziro is the headquarters of the Lower Subansiri District, and Bobby belongs to Ziro, where his tribe, the Apatani, resides. They are primarily agrarians and harvesters. One of the unique aspects of the Apatani tribe, which was practiced earlier but not anymore, was nose-plugging for women and facial tattoos. Even men used to have them, but this practice was abolished around 1971. What further distinguishes the Apatani tribe and adds to its allure is their unique method of cultivation, specifically their wet cultivation or paddy cultivation. Additionally, they engage in fishing simultaneously. These practices make the Apatanis stand out among the various tribes of Arunachal Pradesh. Arunachal Pradesh has 26 major tribes, with the Apatani being one of them, and more than 100 other tribes. Each of these tribes has its own distinct culture and dialect, contributing to the rich diversity of Arunachal as a tribal state.
How was your upbringing as a member of the Apatani tribe? Could you share more about your childhood environment and how you became involved in the world of music, festivals, and events?
Coming from a middle-class background, Bobby pursued his schooling at Vivekananda Kendra, a boarding school. Due to familial constraints, he was unable to complete his studies beyond 10+2. However, during the lockdown, he took the opportunity to enroll himself for graduation, aiming to complete his education after a hiatus of two decades. After discontinuing his studies, Bobby ventured to Delhi where he embarked on a small business venture—a restaurant situated behind Kirori Mal College. The proximity to the college facilitated interactions with students, leading to the formation of friendships. Bobby keenly listened to their conversations, fostering connections and expanding his social circle. In 2005, Bobby returned to Arunachal Pradesh with the idea of organizing small gigs. In his quest to find bands for performances in the region, he crossed paths with the Menwhopause band, featuring guitarist Anup Kutty. Establishing a friendship, Bobby and Anup found themselves stranded in Ziro during one of the band’s shows in Itanagar due to a sudden curfew in 2011. Utilizing the time, they deliberated and conceived the idea of a festival. The following year, in 2012, they materialized their plans and launched the festival.
Were you always drawn to music, or did you discover it as an opportunity later on?
No, Bobby was never involved with any form of music, even during his school days. Therefore, he saw it as an opportunity that he should pursue further.
When you initiated these events in 2011 and connected with Anup, finalizing a format by 2012, how did you go about spreading awareness about the festival? What challenges did you encounter, and how did you manage to rally a community to kick-start the inaugural Ziro Festival of Music?
Communicating with the world posed little challenge for them. Organizing a festival in an unconventional location like Ziro, where infrastructure for such events was lacking, and gathering artists in one place, especially in 2012 when transportation to Ziro from Guwahati took nearly 27 hours, presented significant hurdles. Despite the challenges, Bobby and his team found the experience enjoyable. They didn’t perceive it as a struggle but rather as an opportunity to indulge in what they loved. For them, establishing the festival was more demanding than promoting it to the world. Their growth was organic, without the luxury of billboards or posters in airports and railway stations. Instead, they relied on the love of participants and artists, whom Bobby and Anup had successfully convinced to participate. These artists served as ambassadors, sharing their positive experiences at the Ziro Festival of Music and spreading the word to others.
What specific aspect of Arunachal or Ziro do you think convinced Anup that it would be an ideal location for a festival like this?
Bobby is pretty sure that even Anup never imagined this conversation would unfold in such a way. Initially, it wasn’t even about a festival. It started with a discussion about why Manipur’s performance in Itanagar couldn’t be moved to Ziro instead because of curfews. That’s how the conversation began. Then, it was like, “Okay, maybe not this time, but next year?” Then Anup suggested, “Why not invite other friends as well?” And suddenly, there were two bands, three bands, and it kept growing. It was all very random. Bobby doesn’t think Anup had that kind of vision initially, but he was definitely positive about what they were doing.
In many rural or tribal communities, when there’s a significant influx of urban visitors, it often raises concerns. These concerns can range from resistance and opposition to curiosity and insecurity. So, when you began organizing the festival and more outsiders started appearing, it’s likely that locals had various reactions. What kinds of opposition did you encounter, and why do you think this resistance occurred?
Apart from the logistical challenges of organizing the festival and managing his community, Bobby found himself facing another major task. Initially, some locals were quite resistant, expressing their opposition even on social media, criticizing the festival as promoting Western culture. Bobby realized he couldn’t address each criticism individually, but he remained patient, working to explain the potential benefits of the festival as a source of income and employment opportunities. Despite initial resistance, Bobby managed to involve some local individuals, including his own relatives, in the festival’s organization during the first and second years.
As the festival grew, nearby villages began to see the positive impact, especially as local materials like bamboo became essential for infrastructure construction. This influx of revenue and employment opportunities for unemployed youths contributed to a shift in perception. Additionally, the rise in tourism led to the establishment of more homestays and hotels in the Ziro Valley, further benefiting the local economy. Over time, the community embraced the festival, and now, everyone is actively engaged in its success. Bobby finds it easier now as compared to the initial stages, as the positive impacts of the festival are more widely recognized and understood by the locals.
In a remote area with limited infrastructure, managing logistics becomes increasingly challenging as foot traffic grows. You mentioned earlier that there were initially only a few homestays, which have now expanded. Could you provide an estimate of the current number of homestays, or have any new hotels been established in response to the festival’s growth?
There are currently around 15 to 20 well-established hotels in the area. Additionally, there are over 70 homestays, providing a source of income for numerous families. Furthermore, the concept of campsites has gained popularity, catering to visitors who prefer staying amidst nature. Initially, there were no campsites in the first year, but by the second year, one company introduced around 5 to 10 tents. Now, there are over 70 campsites, each offering approximately 100 to 150 tents, all managed by locals from the area.
I’m curious about how, besides providing employment opportunities, the festival has served as a platform for showcasing local indigenous culture, particularly the Apatani culture. Has the festival managed to highlight and make visible aspects of the Apatani culture to the diverse visitors who attend?
Yes, now that the festival has evolved into an experiential event, not solely focused on music, there are various activities organized to offer diverse experiences. Several NGOs based in Ziro, such as the bird watching club, butterfly club, and trekking team, facilitate activities like organized trekking, cycling, village walks, and heritage walks. These activities aim to showcase the local culture and attractions beyond the festival venue itself. By providing opportunities for visitors to explore the culture and places of Ziro, the festival has created additional avenues for locals while offering insight into their culture.
How has the aspect of local community culture becoming visible and accessible to visitors impacted the people from the local communities? Have they been open and receptive to this idea? Do they feel a greater sense of pride compared to before 2012? How have you observed this transformation unfold?
Bobby shares an intriguing story that highlights the impact of the festival on interpersonal connections within the local community. He has noticed a trend where festival attendees, spending a total of six days in Ziro, form friendships with locals and subsequently travel to various cities like Bombay, Delhi, Guwahati, and Kerala to visit their new friends. This newfound comfort and familiarity have fostered stronger bonds between visitors and locals. During the festival, Bobby has observed that many attendees bypass traditional accommodation options like campsites, hotels, or homestays, opting instead to stay with their local friends. This trend of forming lasting connections extends beyond the Ziro Festival to other local events like the Cultural Dree Festival and the Myoko Festival, a month-long celebration of the Apatani tribe. During Myoko, villages in the Ziro Valley host the festivities in rotation, with each host opening their doors to visitors, offering hospitality and local delicacies. This inclusive atmosphere has led to encounters between locals and visitors, forging new friendships and cultural exchanges. Bobby believes that these experiences have transformed the local community, broadening their perspectives and fostering a deeper understanding of diverse cultures. He sees the Ziro Festival as a catalyst for expanding horizons and promoting cultural appreciation among locals.
The festival began with a small group of individuals before gaining support from local communities. At what point did the government become involved, and what prompted their support for the festival? What’s the story behind the government’s backing of this initiative?
The journey of government support for the festival has been a mixed experience. Initially, during the first year in 2012, the current Chief Minister, Mr. Pema Khandu, who was then the Tourism Minister, attended the festival as a personal friend of Bobby’s. However, there was no official government support during that time. In the subsequent years, there was minimal support, but it wasn’t until the third year that they began to receive some assistance. While the amount of support wasn’t significant, the endorsement from the Chief Minister, who had previously served as the Tourism Minister, played a crucial role in garnering support from other government departments. However, this support was limited to a few years, serving as more of a temporary arrangement. Currently, the festival operates independently without monetary support from the government. However, they still receive logistical assistance from various government agencies, such as the district administration, which remains essential for the smooth execution of the event.
How have corporate entities reacted to the festival? Have they provided sponsorship or any other forms of support?
Yeah, that was one of the toughest parts. Since they needed monetary support to run the festival, they couldn’t rely solely on government funding. In 2022, they secured their first corporate sponsor after approaching numerous corporate bodies since 2012, most of which showed little interest. The sponsor, a liquor brand, aligned with the festival’s values of promoting green and sustainability, which resonated with Bobby and Anup. While there were other corporate offers in the past, they often conflicted with the festival’s vision, leading to disagreements. The liquor brand’s sponsorship was the first that matched their ideals, making it a natural fit for collaboration.
Since the festival’s inception in 2012, it likely began with primarily Indian bands and local artists, but now the line-up has expanded significantly, with over 40 top bands participating. How have you managed to attract international bands and artists, and what has been the response from these performers after their experience at the festival?
Every year, various countries host showcase festivals, and Bobby and his team are invited as festival organizers or artist managers. They attend these events, which feature multiple stages showcasing artists from different countries, often with embassy involvement. Bobby explains that they approach embassies for sponsorship to bring overseas artists to their festival. Over the past six years, they’ve collaborated with embassies like Israel, France, the US, and Korea, pitching their ideas and participating in exchange programs. Through these partnerships, they’ve been able to bring a select number of overseas artists to their festival.
Regarding Phoenix Rising’s involvement in organizing art residencies, I’m curious about the nature of these residencies and how they’re managed. Could you elaborate on the type of art residencies offered and provide insight into their structure and format?
They initiated an artist residency program in Basar, a village inhabited by the Galo tribe, after being invited to organize a community-based festival there. The format of the residency is straightforward: they invite five or six artists from various disciplines, such as painters, filmmakers, or photographers, to stay in Basar for a month. During this time, the local Galo tribe hosts the artists, allowing them the freedom to create without constraints. While some artists may struggle initially, the month-long residency typically yields substantial creative output. For instance, one photographer produced a photography exhibition, while a French musician captured sounds of everyday life, like women working in the paddy fields, to create a unique musical composition. Despite facing political challenges, they ran the Basar residency for four years before closing it due to ongoing issues. However, they are considering implementing a similar residency program in Ziro in the future.
What challenges do you perceive facing tribal communities in your region?
In his perspective, Bobby perceives the lack of exposure as a significant issue among local youths in tribal communities. He believes that reliance solely on government intervention may not address this issue entirely. Bobby emphasizes the importance of local exposure, citing the positive changes observed in the Apatani tribe due to events like the festival. He suggests that similar initiatives, such as exchange programs, could further broaden perspectives and foster openness among tribal communities.
In addition to the lack of exposure, what other factors do you consider significant challenges for tribal communities? For instance, do you see issues related to education or perhaps a reluctance among individuals to embrace their tribal heritage? Additionally, are there any other personal observations you’d like to share on this topic?
From Bobby’s perspective, education emerges as a significant challenge in Arunachal Pradesh. Reflecting on his recent journey from Liromoba, a village where he attended school in 1988, he notes the absence of network connectivity and the lack of teachers in the local higher secondary school. Bobby points out a systemic pattern where marginalized communities often lack essential resources. He illustrates this with the example of his alma mater, which, despite decades, still struggles with fundamental educational infrastructure.
How significant is the influx of visitors from neighbouring North-eastern states to Arunachal Pradesh, and what motivates them to visit?
The primary reasons for visitors from neighbouring North-eastern states to come to Arunachal Pradesh are often business-related or for matrimonial purposes. There isn’t a significant trend of people visiting other North-eastern states for reasons beyond these..
Where do most of the tourists visiting Arunachal Pradesh usually come from? Is it primarily from other states within India, or do you have any insights into the breakdown of tourist origins?
In Arunachal Pradesh, the tourist season spans about six months due to the monsoon dominating the rest of the year. During this period, there’s a diverse mix of tourists. For instance, Tawang, renowned for its monastery, attracts many Indian tourists. Ziro appeals to those intrigued by culture, while Daporijo, with its distinct tribal identity, also draws visitors. Additionally, foreigners typically visit during the months of October, November, and December, often for cultural exploration or adventure tourism.
Are there any indigenous art forms or crafts in Arunachal Pradesh that specifically captivate visitors from abroad, aside from pilgrimage-based tourism to monasteries?
In Arunachal, Bobby isn’t entirely sure. However, there might be some appeal for textiles. Additionally, locally made handmade paper, particularly from the Tawang region on the western side, tends to attract quite a few visitors.
So, Bobby, considering your extensive experience running the festival, you’ve also ventured into the agricultural sector. What motivated this shift, and what opportunities did you see in this field that made it worth your while? Could you elaborate on your involvement in this sector and what projects or initiatives you’re currently undertaking?
During the two years of the pandemic, Bobby found himself contemplating new ventures, eventually leading him to delve into the agricultural sector. With the festival on hold due to the pandemic, he saw an opportunity to explore other fields, including agriculture, an area he had long been intrigued by. Collaborating with a friend from Assam, they founded a platform called Bhoome, aimed at addressing the challenges faced by farmers in accessing markets for their produce. Bobby’s motivation stemmed from his previous encounters with farmers who suffered due to middlemen controlling the market and witnessed instances where produce went to waste due to lack of buyers. The initial plan was to establish a pig farm in Arunachal, but land issues prompted a shift in focus towards developing an app to connect farmers directly with buyers. Alongside their software expert partner, they embarked on developing the Bhoome app, which is currently in the data collection phase as they compile information about farmers and their products. The ultimate goal is to create a platform where farmers can bypass middlemen and directly engage with buyers, empowering them and providing them with better market access.
In addition to their efforts with Bhoome, Bobby and his team also provide consulting services to farmers. During a recent visit to a village, Bobby assisted in installing a food processing machine. Recognizing the importance of ensuring that the villagers make informed decisions with their investments, Bobby felt compelled to offer guidance on selecting the right machinery and navigating the market effectively. He intervened when it appeared that there were attempts to mismanage the resources, stepping in to lend his expertise and support to ensure a positive outcome for the farmers.
What are the key agricultural products that you aim to assist Arunachal Pradesh farmers with through your app?
They focus on assisting small-scale farmers, regardless of the produce. This includes individuals cultivating chili in their kitchen gardens or growing kiwi on a larger scale. They particularly target retired individuals or those who maintain kitchen gardens as a pastime.
Have you ever considered how design and designers could contribute to your endeavours, such as the music festival? What specific contributions or expectations do you have in mind for integrating design into your activities?
Certainly. Bobby is open to any kind of input or discussion regarding how design and designers could contribute to their activities. Whether it’s through meetings or phone calls, they welcome the opportunity to explore and discuss potential ideas.
About the Speaker
Bobby Hano
Bobby Hano, an entrepreneur and promoter based in Arunachal Pradesh, is renowned for co-founding the Ziro Festival of Music. Through his company Phoenix Rising, he specializes in various event-related services including festival consultations, artist management, and audio/visual content production. Recognized for his contributions, he was listed among the “50 people to know in the Himalayas” by Condé Nast Traveller in 2017 and has received the Arunachal Pradesh State Award. He actively supports local communities and young artists. Currently, he is focusing on his new start-up, BhoomE, which aims to connect farmers, scientists, markets, vehicles, buyers, and consumers in the agricultural sector.
