On Saturday, August 16, 2025, a hot day in Dimapur, the Heirloom Naga Centre hosted a hands-on woodcarving workshop under the guidance of Veswüzo Phesao, a 61-year-old master craftsman, and Aku Zeliang, designer, artist, and cultural entrepreneur. The session brought together participants eager to learn about Naga woodworking, with supervision from experienced artisans from the Centre. Among the attendees was a guest from Barcelona who specifically rerouted her homecoming trip to Guwahati, reflecting the workshop’s reach and appeal.
The workshop took place at the HNC’s studio located at Razhu Khel, Sovima, Dimapur, Nagaland. The centre operates Monday to Sunday, 9 AM to 5 PM, offering multidisciplinary design services including architecture, interior and furniture design, and commissioned artworks.
Mentorship and Instruction
The workshop emphasised hands-on learning and cultural continuity. Veswüzo Phesao shared insights from decades of experience, recalling how he learned woodcarving by observing his father decorating a traditional home with carved motifs. Even while employed as a government worker, Veswüzo would return home to continue crafting his own house unassisted, honing his skills through persistence and dedication.
Aku Zeliang highlighted the importance of sharing not just finished works but the process behind them: the stories, symbolism, and voices of the artisans. Participants were guided carefully, observing safety and proper handling of tools, under Veswüzo and Aku’s supervision. Beginners explored carving techniques, learning which steps were easier and which required greater patience and precision.
Materials, Tools, and Motifs
The workshop made use of local woods including Bonsun, Laly, Titachapa, and Khokhon. Veswüzo demonstrated the cultural relevance of these materials and explained the selection process, often using naturally fallen or seasoned trees to ensure quality.
A variety of traditional tools were employed:
- Zea (Machete)
- Mürü (Axe)
- Küche (Basuli)
- Cirieprü (Batali chisel)
- Süsüo (Wood File)
- Süvü (Hammer)
- Zerütsi (Sharpening Stone)
Participants carved motifs including the Mithun head, Pig head, Hen, Human figures, Moon, and stars. Each carving type carries symbolic meaning, such as the Mithun representing a prized cattle offering and the enemy head symbolising a strong warrior. Veswüzo explained that, historically, some motifs were restricted to specific clans or individuals, linked to social status, ritual, or warfare; today these boundaries are less restrictive, allowing broader participation and learning.
Cultural Context and Significance
Woodcarving is deeply embedded in Naga culture. Veswüzo explained:
“Wood carving plays a very integral role in Naga Culture […] not only there for visual aesthetics but also held significant meanings where every carving told its own story.”
The workshop connected participants to these traditions, emphasizing not only craftsmanship but the preservation of cultural heritage. Aku elaborated:
“It’s not just about showcasing finished works, but about sharing the process—the stories behind the carvings, the symbolism in the designs, and the voices of the artisans who keep these traditions alive.”
Participant Experience
Attendees engaged directly with the carving process, guided through each step. Beginners discovered which techniques were challenging, from precise chisel control to shaping motifs accurately. Throughout the session, Veswüzo and Aku provided real-time feedback, nurturing skills while contextualizing the craft historically and culturally.
A moment that stood out was observing participants’ first completed motifs. The room reflected concentration and delight as traditional designs came to life under careful hands. The Assamese guest, who had rerouted her journey from Barcelona, exemplified the enthusiasm and commitment the workshop inspired.
Looking Ahead
The Heirloom Naga Centre is planning follow-ups in what is a series of workshops, aiming to engage more participants in traditional woodcarving and to cultivate skills among younger generations. Veswüzo and Aku highlighted that modern challenges—such as scarcity of properly seasoned wood and a declining number of artisans—make such workshops vital for preserving the craft. Collaborative efforts between traditional craftsmen and contemporary designers remain key to ensuring continuity.
Veswüzo emphasized:
“In the future, we may not have more skill and expertise in this type of artistry in our society, so I always urge the younger generation to pick up these skills and to preserve and share it within the community and the rest of the world.”
Aku added:
“More young Nagas are beginning to see wood carving as meaningful and viable—especially when it’s tied to design, workshops, and real opportunities. Structured mentorship and market linkages are crucial to turn interest into careers.”
Together, they framed the workshop not just as a learning experience but as a living continuation of Naga heritage, where craftsmanship, culture, and identity converge.