Session 126 summary
As their story goes, once upon a time in Nagaland, there were four little girls and a brother who lived with their parents in a place called Kohima. These four little girls came all the way from the village where their parents were born and raised. When the family settled in Kohima, their parents felt that they had left a gift for their children, something which came from the land, and this gift was a few songs. The songs were, of course, difficult. To ease the children into the process of enjoying the songs, they first learned a few nursery rhymes in the language called Chokri. Eventually, from the nursery rhymes, they moved on to the more complex folk songs. Now these little girls are successful, along with their little brother, who produces their music.
Their mom taught them their first songs, and their dad taught them how to play the tati instrument. The story began a long time ago, in the early ’80s and ’90s, when Lulu and Kuku joined their elder sisters, Mercy and Azi. Their mother would also adorn the young sisters in the traditional Chakhesang attire, which she would painstakingly make for them. All these experiences together built the sisters’ love for their culture and music.
At that time, there was little appreciation for anything cultural, and to wear something exotic and different when everyone else wanted to dress up as fairy-tale princesses was quite adventurous for their parents. They are grateful to their parents for sowing the seeds of love and appreciation for where they come from. Their parents always told them it was important to remember their roots. Even though it was difficult for the sisters to visit their village often when they were much younger, their parents made sure the children understood what was happening in the village by telling them stories through songs.
When their parents first taught them the songs, they were just songs. But the children came to love and really appreciate their songs, and through these songs, their culture, because of the stories embedded in them.
They performed the classical folk song “Bethi Zhosho (Natsi zho zü),” and Mercy goes on to explain that there are three stories to this song. First of all, it is a song sung as a tabali, which means two people could be sitting on a stone while coming back from the field or even when heading out to the field, singing it to each other. It is a beautiful form of communication because, while they are singing for their own enjoyment, it could also be a way to communicate a message to someone passing by. So, they are singing for their enjoyment but also communicating to passersby. Tabali means a song sung while sitting (taba = seat & li = song), hence it’s a seated song.
The second part of the story in the song is lamenting the brevity of childhood. The song tells that childhood is so brief, and we don’t realize how quickly time flies. Ahead of us, one thing is certain: old age is just around the corner, trying to catch us, and we will be stuck in old age forever. So, make the most of your childhood, create a lot of memories in youth, and make it worth everyone’s life.
The third part of the song is that you can make any song out of it. It can be your story, or it can be a story about what is happening at present. You can put words to it – that’s the beauty of li, and that is the most fascinating part of learning li and growing with li. Hence, there are endless opportunities with li.
One thing the sisters are really grateful for is their mom’s weaving. Over the years, she has made significant efforts to teach them and many others how to weave. While the sisters haven’t pursued weaving as a career and instead became singers, their appreciation for it, their culture, and li is deeply embedded in anything cultural, including the unique weaves their mother introduced to them. From a young age, they have been fascinated by all the designs their mom created and made them wear. Their musical journey has become even more colourful because of all the accessories and weaves they wear during their presentations. Over the years, one unique aspect of the Tetseo Sisters is undoubtedly the colours, beads, tapestries, and weaves they showcase.
The four sisters eventually started performing in schools, and from there, they moved to bigger stages at the state level, celebrating various events. They began receiving invitations to perform at different festivals and outside the state. They took long train journeys to reach various venues and share their songs, which have been a wonderful part of their learning experience over the years.
Sharing a picture, Mercy says that the image is of them performing at one of the most important platforms they have received so far – the Hornbill Festival, an annual festival of culture and celebration held in Kohima, Nagaland. The picture is from around 2012-2013, showing them performing during the inaugural session.
From the Hornbill Festival, a major state event, the sisters have been able to take their music not just to different states in India but to various parts of the world. This journey has been a very enriching experience for these four sisters and their brother. They have shared stories of their land and people through their songs in places where the Naga culture was previously unknown. This has allowed people to feel connected to their music and has sparked curiosity about the sisters and their heritage. It has also enabled them to facilitate visits to Nagaland, helping others understand their culture through the songs they perform. Sharing another picture, Mercy mentions that they can be seen playing traditional musical instruments like the tati and other traditional instrument. These instruments were on the brink of extinction, and it has been a huge privilege for the sisters to connect with craftsmen, including their father, who reached out to the last remaining artisans to learn and revive these instruments. Traditionally made from seasoned gourd and mithun horns, the tati was difficult to source in their early days. Mercy recalls a concert at the Academy Hall in Kohima, where their group of about 14 people marched on stage, each holding a tati made from various materials, including tin cans. After their performance, someone backstage shouted, “Oh, that’s an Amul dabba tin can!” It was a hilarious moment, showcasing their ingenuity and adaptability over the years.
Thankfully, nowadays, there are many artists using these instruments. Mercy feels that their journey has helped raise awareness about the tati, contributing to its revival. The artisans making them can now sustain a livelihood by recreating these traditional instruments. The sisters are glad to be part of creating awareness about the instruments. Another traditional instrument they use in their performances is the shushu and the bamhum, the latter being a creation of musician Moa Subong. This instrument is very interesting, has won many awards, and the musician who created it has also been awarded the Padma Shri.
The picture also shows various beads and shawls they are wearing, each telling different stories. The shawl worn is called Tsakü Khwü – a small shawl that the youngsters wear, symbolizing innocence. Sometimes when they wear this shawl, they are reminded of what it means to be a child.
The Tetseo sisters have been a part of many people’s research and documentation. Mercy highlights that a very important aspect of their journey has been not just to enjoy and pass on the songs but also to capture and document different aspects of their songs, culture, and heritage. For them, li, or the songs they sing, is a way to reconnect with themselves, their village, their tribe, and to understand all the nuances of the different shawls they wear, the different festivals they celebrate, and why they hold certain things at a higher value than others. For them, li became the window to their world—a world to which they no longer have access because, unfortunately, in the last 20-25 years, most of the storytellers in their village have passed away, taking with them many stories the younger generation could have learned. These stories will be lost if they are not captured, which is why the sisters feel it is imperative to do so in their music—capture all those moments and stories and maybe pass them on. If they are not able to pass them on, at least they can capture them in a place where people have access, ensuring that the stories live on forever.
Lulu shares an image of the sisters performing with children, emphasizing that the most rewarding aspect of their music is sharing it with children. They believe children are pure and honest, providing genuine feedback. The sisters cherish performing and conducting storytelling sessions for young children in schools across the country. They find it heart-warming to witness the children’s curiosity and quick learning.
Sharing another picture, Mercy says that it was taken when they were representing not just Nagaland but the whole northeast India at Edinburgh, where they performed about 45 gigs. They were able to showcase Nagaland to the rest of the world—a proud moment for them. They not only shared their music in the UK but also represented Nagaland in the US, Europe, and other South Asian countries.
Mercy mentions that stepping out of the country is a different experience, as people have many questions. In India, there are expectations that people look a certain way, and when they see someone with different features, they might say, “They are from India but don’t look Indian.” This opens up opportunities for interesting conversations even within the country itself. It is a wonderful way for the sisters to use their music to create opportunities for new conversations, change narratives, and alter people’s perspectives about who the north-eastern people are and who the Nagas are. For the sisters, it is also a moment of rediscovering themselves through their songs.
They feel very blessed to be able to use their music to create bridges, connections, and networks. They thank God and are grateful that music serves as the basis for all these things to happen organically. They hope to continue telling stories, creating networks, and bringing about positive changes.
Sharing another picture of all five siblings (four sisters and their brother) performing at the ‘Handshake Concert,’ Mercy explains that the Handshake Concert is a wonderful way of connecting different countries. The motto of the Handshake Concert series is “bringing the world together one handshake at a time through music.” The siblings feel blessed to have been part of many Handshake Concert series events, bringing their Naga music to diverse audiences over the years.
Another picture shared shows the entire family, including the parents and all five siblings, at their very own Tetseo Sister Show. This event was a significant moment, representing the culmination of all their experiences and music in one place. In 2019, just before the Covid pandemic hit, the sisters had the wonderful opportunity to perform a 10-day show during the Hornbill Festival. It was a chance for them to fully express their creativity and put together an hour-long show every day, with two performances each day.
This platform allowed them to tell stories, perform, and showcase their music to both Naga audiences and visiting tourists. Many people know the Tetseo Sisters as performers of Naga music, but few have had the opportunity to see the depth of what they do. This series of shows provided a wonderful way for them to interact with their audience and demonstrate their unique performance style to people from Nagaland.
Storytelling has always been an integral part of their shows. In many interviews, they are asked about the language barrier since their songs are in Chokri, which many people do not understand. However, the Tetseo Sisters believe that their music transcends language barriers. Those who attended the Tetseo Sisters Show would have experienced firsthand how the music conveys emotions and stories, proving that music has a language of its own. Even without understanding the words, the audience can feel the powerful story conveyed through their performances.
The Tetseo Sisters sing in Chokri, a dialect of the Chakhesang tribe, which is their mother tongue. Singing in a different language adds a unique element to their performances, sparking interest among the audience and creating a distinctive appeal. Music, they believe, speaks a universal language. Their songs have always been about finding a place wherever their journey takes them. This provides an opportunity to explain the meaning behind their songs, share the stories, and let the melody convey the message to the listeners. This approach has successfully initiated dialogues with audiences who, even if they don’t understand the words, feel and enjoy the energy of the music. Many people have expressed that while they couldn’t understand the lyrics, they could feel the essence of the song and truly enjoy it.
One of the most memorable events for Lulu was their box office show in Nagaland, which was one of the first of its kind in the region. Sharing the stage with their parents was a great honor. Their parents have always emphasized the importance of culture, tradition, and the stories behind their folk songs. The sisters feel fortunate to have been taught these values from a young age, understanding the significance of promoting and learning one’s culture.
Their journey is not just about singing folk songs but also about sharing their rich culture with the rest of the world. From the handwoven clothes they wear to the beads and accessories, they bring a piece of Nagaland to their audience. The gift of music has allowed them to collaborate with designers and craftsmen not only in Nagaland and Northeast India but also across the country and the world. This global interaction has been made possible thanks to their music.
Another memorable evening during the Tetseo Sisters (TS) show was when they had the opportunity to share their music with one of the great musicians they deeply admire: A. R. Rahman. He attended their performance and expressed his appreciation. Through their music, the Tetseo Sisters have had the privilege of collaborating with many interesting and creative individuals. These collaborations have ranged from making music videos and designing clothes to creating stage setups and show productions. They have worked with a diverse array of talented people and feel incredibly grateful and fortunate to have these opportunities through their music.
Mercy shares pictures of the Tetseo Sisters at various stages of their journey. Over the years, they have incorporated different motifs and costumes from various tribes, moving beyond representing just one tribe to becoming the face of Nagaland and the entire Northeast. This has allowed them to convey that the Northeast comprises distinct states, people, and tribes. It has been wonderful for them to engage in conversations about these diverse tribes, sharing their knowledge and offering insights into the rich and vibrant culture of Nagaland and the Northeast.
They have taken pride in discussing the significance of their attire during their shows, highlighting which tribe’s clothes they are wearing. These conversations have been excellent starters, often leading to further interactions. This approach has also enabled them to connect weavers, jewelry makers, and accessory designers with their audience through the items they wear or share on social media. It has been immensely gratifying for them to facilitate these connections and promote the artisans and their work along the way.
Mercy shares pictures of the Tetseo Sisters wearing traditional Ladakhi costumes during their time in Ladakh. Their journey has been incredibly enriching, allowing them to collaborate with designers and artisans not only from the Northeast and Nagaland but also from across the country and even internationally. They are eager to continue participating in and facilitating projects that promote the exchange of crafts and heritage. This aspect of their work is something they genuinely look forward to and cherish.
Azi and Kuku shared a song where they took the opportunity to demonstrate how the tati instrument is played, arranging a brief tati performance. Their brother also joined them for the song “Cepho Chelho Lizo.” The song tells the story of an elderly woman who was once young and beautiful, admired by many for her beauty. Now, in her old age, she finds herself surrounded by blooming cherry blossoms during springtime, which remind her of her youth and bring her happiness once again. This is a joyful song, and they began by introducing the tati before sharing it.
Mercy reflects on a significant moment in their journey, starting with the story that YouTube created about the Tetseo Sisters. This marked a turning point, providing an opportunity for them to pause and appreciate how far they had come. It was a special moment, allowing them to piece together their story, a journey deeply rooted in the tales and songs their parents shared with them. These songs led them down a path of discovery, where they fell in love with the traditional music of their people, the “Li.”
Li, they realized, is a gateway to a world they no longer have direct access to. It’s a form of expression for every occasion and emotion. As artists and performers, having this rich tradition at their fingertips has been invaluable, allowing them to create their own music, tell their stories, and share their heartfelt messages. Whether it’s for their people, their culture, or causes close to their hearts, this music has given them a platform to reach others, to make an impact, and to inspire.
The Tetseo Sisters are deeply grateful for the opportunity to have their story told on platforms like YouTube, through projects like “The Ballad of the Four Sisters.” From the early days of making their music videos themselves, they have grown to a place where they have a dedicated team to help bring their vision to life. They feel blessed to have reached a stage where they can be a voice for others, provide a platform, and make a meaningful impact.
Expressing their gratitude, Mercy emphasizes how important it is to showcase their culture and music, to be interviewed, written about, and to let the world know that they, and others like them, matter. The Tetseo Sisters hope to continue telling more stories through their music, creating waves, and inspiring others to follow their dreams and create their own stories. Their journey is not just about sharing their heritage but encouraging others to do the same, to dream big, and to bring those dreams to life.
About the Speaker
Tetseo Sisters
The Tetseo Sisters are a renowned Folk Fusion Act from Kohima, the capital city of Nagaland, India. Comprised of siblings Mütsevelü Tetseo (Mercy), Azine Tetseo (Azi), Kuvelü Tetseo (Kuku), and Alüne Tetseo (Lulu), this quartet has dedicated their lives to promoting the traditional music of the Chakhesang Naga tribe, a cultural heritage passed down from their parents. Proud to call themselves storytellers, the Tetseo Sisters present traditional Naga songs, known as Li, which they learned through the oral tradition. These songs are performed in their pure form, often with a contemporary twist, creating a unique blend of timeless and modern sounds. Adorned in traditional Naga attire, the sisters serve as cultural ambassadors, captivating audiences around the world with their performances. The Tetseo Sisters have graced numerous stages globally, participating in major music festivals and representing India at events in the UK, USA, and Southeast Asia. Their audience ranges from school children to heads of state and music lovers everywhere, making them Nagaland’s most acclaimed cultural export. As frontrunners of the Naga music industry, they are valuable sources of knowledge for researchers and scholars studying Naga culture.
Their dedication to promoting folk and fusion music has earned them numerous accolades, including the Nagaland Governor’s Award for excellence in music. Through their music, the Tetseo Sisters celebrate the unique Naga way of life, preserving and sharing a rich cultural heritage in a way that is both timeless and contemporary.
