TRI presents
FACGIn co- production with
OURVILLAGE FILMS
Produced with the support of TRIBAL RESEARCH INSTITUTE
A film by OINAM DOREN
Produced by OINAM DOREN & REWBEN MASHANGVA
Written & directed by OINAM DOREN
Duration: 50 min
Format : dvcam
Color
THE NEXT SONG
Written & directed by
OINAM DOREN
Music & vocals
KASOMWO MAHANGTHEI
REWBEN MASHANGVA
our consultant
NGACHONMI CHAMROY
Unit production manager
THOTNGAM SHIMRAH (ATHOD)
Editor
BIJU DAS
CHAOBA THIYAM
Director of photography
OINAM DOREN
Sound recordist
SUNIL LOITONGBAM
Sound design
SHANKAR SAPAM
Narraton
REWBEN MASHANGVA
ASOMWO MAHANGTHEI
Translation consultant
NGACHONMI CHAMROY
REWBEN MASHANGV
Transportation
JACOB WUNGNAOWUNG
HW KINGSWORD
AJAY SINGH
APEM LONGPINAO
Our travel agent
SHINE TRAVELS
Assistants
camera
RAWON NGAINGA
NABAM TADI
JOYCHANDRA
PRABIN
Production
JOYKUMAR KH
AYESHA LANGSTIEH
Postproduction assistant
BOYNAO
ROBI
Rajasthani folk singers
NENU RAM & GUDI
‘Our story’
Performed byREWBEN MASHANGVA
SAMMY(DHANASHREE)
HARABA
ABOW
SHAMLEE
JOYCE
RINGO GOLMEI
L SUNIL
Stock footages
KHAMLANG VILLAGE AUTHORITYFolk singers at Longpi village
M. NGAZEK
T.MAICHIN
S.VAREINGAM
SR. KHANGANG
Two women in Longpi village
THARMILA
HUIMILA SASA
Shot on location
IMPHAL
KOLKATTA
JODHPUR
UKHRUL
CHOITHAR VILLAGE
LONGPI VILLAGE
LUNGHAR VILLAGE
HUNPUNG VILLAGE
HUNDUNG VILLAGE
Songs recorded & mixed at
SHALLOW RIVER STUDIO, IMPHAL
Songs recorded & mixed by
SUNIL LOITONGBAM
Equipment rental
OURVILLAGE STUDIO
ROMI LAMABAM
Our special thanks to
RACHEL SHIMRAY
(UKHRUL)
DIVYA BHATIA
festival director
Rajasthan international folk festival
MAHESH DEORI
regional director
Indian Chamber of Commerce
DEVDUTTA THOUDAM
RANJAN PALLIT & VASUDHA
(KOLKATTA)
WUNGNAM MASHANGVA
WUNGNANG SUI
(LONGPI VILLAGE)
L.W.MAYAR
(LUNGHAR VILLAGE)
MASHUN
PROFESSIONAL STUDIO
UKHRUL
Produced with the support of
TRIBAL RESEARCH INSTITUTE
THE NEXT SONG
About the project: The idea for the project started way back in college in Shillong when I was a student and heard Rewben Mashangva’s first album TANTIVY from a classmate; an Angami Naga girl. The music of the album lacked maturity and form but the lyrics and the unique tune rooted to Tangkhul Naga folk music touched me completely. It was something I had never heard before. Years had passed. Rewben has grown in stature; both in music and status and I have become a filmmaker.
THE NEXT SONG is the 2nd part of the 3 project series with Rewben Mashangva. The 1st part SONGS OF MASHANGVA made in 2010 won the National Award, the highest filmmaking award in India
Synopsis:
The return journey of two tangkhul tribes, two pioneering musicians in Northeastern India whose more than 1000 years old folk music tradition is under threat of disappearing due to Christianity and pop culture of the west. Mahangthei grew up learning the western hymns and leading the life of a singing ministry travelling from one village to another. But then, he decided to bring in the rich traditions of their forefathers into the church by rearranging the western hymns with the folk tunes reminding the converted tangkhul tribes of their past.
Rewben Mashangva also grew up singing gospels in the church and listening to American rock bands. But he fits english lyrics with his tribe’s folk tunes heralding a new genre which he called Hao music.
THE NEXT SONG
PRODUCTION NOTE:
I heard about Mahangthei’s story during the making of the prequel Songs of Mashangva. He was squeezed into 2 scenes in the film due to the limitations imposed by the narrative and the theme. His story was kind of unheard of and very contradictory to what was happening in the tangkhul community or any other small communities affected by the coming of Christianity. Indigenous cultures were running away from their identity or being lured away by the promise of a new Christian life. But Mahangthei was bringing his own folk music inside the church inspite of growing up in a Christian family and preaching about the gospel as a singing ministry. Some of the church people misunderstood him due to the irony. What also made his story more multi-faceted is that his father was among the first tangkhuls who got converted into Christianity and they were banished from the village by the village authorities for defying the traditional customs.
If Mahangthei was bringing the ignored tangkhul folk songs into the church in the form of hymns, Rewben Mashangva was spreading the disappearing tangkhul folk songs into foreign soil and luring the younger generation of the tangkhuls by fusing with guitar. 20 years back when he started off, the church misunderstood him and his own people could’nt really appreciate the significance of his small steps. Today a few youngsters have come up due to his influence trying to promote their own music inspite of the strong gospel/rock music presence in the tangkhul society.
I heard about Mahangthei’s story during the making of the prequel Songs of Mashangva. He was squeezed into 2 scenes in the film due to the limitations imposed by the narrative and the theme. His story was kind of unheard of and very contradictory to what was happening in the tangkhul community or any other small communities affected by the coming of Christianity. Indigenous cultures were running away from their identity or being lured away by the promise of a new Christian life. But Mahangthei was bringing his own folk music inside the church inspite of growing up in a Christian family and preaching about the gospel as a singing ministry. Some of the church people misunderstood him due to the irony. What also made his story more multi-faceted is that his father was among the first tangkhuls who got converted into Christianity and they were banished from the village by the village authorities for defying the traditional customs.
If Mahangthei was bringing the ignored tangkhul folk songs into the church in the form of hymns, Rewben Mashangva was spreading the disappearing tangkhul folk songs into foreign soil and luring the younger generation of the tangkhuls by fusing with guitar. 20 years back when he started off, the church misunderstood him and his own people could’nt really appreciate the significance of his small steps. Today a few youngsters have come up due to his influence trying to promote their own music inspite of the strong gospel/rock music presence in the tangkhul society.
Mahangthei and Mashangva are heroes of the indigenous people; their stories worth of salt that needs to be shared with other communities.
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