The Hindu (Thiruvananthapuram)
A new anthology brings together an eclectic mix of writers and their personal stories, to document the food of a region that has more to it than bamboo shoots
Aleading Mumbai hotel once catered a corporate banquet with a dish from every Indian state. It was strictly vegetarian and for the Northeastern states the chef was clearly at a loss. He ended up oering six bamboo shoot dishes, and boiled rice for Tripura. No banquet has ever used so much bamboo shoot.
The edible shoots are undeniably important in the region of lush hills and river valleys casually marginalised as the ‘Northeast’. It is a place with complex histories and very diverse communities, crossroads for trade, war and displacements and a reservoir for remarkable biodiversity. A wide variety of plants and animals are foraged and hunted there, and fermented, smoked and processed in multiple ways. There is much more than bamboo shoots.
Journalist Hoihnu Hauzel was one of the rst to try to cover the Northeast’s food diversity. In an acknowledgement of past eorts, her memory of the project is the rst essay in Food Journeys – Stories from the Heart, a deeply impressive anthology edited by Dolly Kikon and Joel Rodrigues. Hauzel was a cub reporter in Delhi covering food events that celebrated the traditions and ingredients of places around the world, which made her wonder about doing it for the Northeast.
She sent a proposal to a publisher and was immediately accepted, which was when the enormity of the task dawned on her: “Nagaland has over 16 tribes. Manipur has over 29 tribes. How would I include all of them?” The Essential Northeast Cookbook, which she produced, was revelatory for its time, but also hinted at how much more there was, and how dicult it would be to do it all justice.
Books which followed, such as Purabi Shridhar and Sangitha Singh’s The Seven Sisters: Kitchen Tales from the Northeast, and Aiyushman
Dutta’s Food Trail: Discovering Food Culture of Northeast India, helped illuminate the subject, while struggling to cover such diversity from inevitably limited perspectives. Which is where Kikon and
Rodrigues’ anthology scores. They embrace and give voices to the diversity, allowing us to hear directly from the people of the region.
Patchwork of memories
Kikon and Rodrigues are anthropologists, as are several writers in the collection. Others include academics, a singer, a dancer, a novelist, photographers and documentary lmmakers. Their subjects include a Muslim widow who makes pued rice, tea plantation workers, market vendors, a chef trying to keep her food traditions alive in Delhi (she notes, ironically, how it was easier to nd ingredients like oal while working in the UK), and many older women relatives of writers, whose food lives on in their memories.
This patchwork project works so well it should be considered for other attempts to capture the diversity of food systems in dierent parts of India. Any lack of cohesiveness is more than made up by the sense that this is how we actually cook today, with all the realities of unreliable food supplies, packaged products, struggles for identity expressed through food, and the inuences of the Internet.
Cookbooks often try to capture idealised versions of cuisine, passed on from grandmothers and untouched by current concerns, but Food Journeys acknowledges that real life is dierent. Academic Juliana Phaomei recalls her grandmother through the fermented mustard leaves she used to make, but when (Clockwise from left) Arunachalee food of rice and meat served on an leaf; cooking Naga fermented bamboo shoot and fish; millet beer is o ered to the deity during hunter rituals in Sikkim; (rice with vegetables); foraging for food is a common practice; farmers bringing home foraged food. she tries to recreate it, her mother tells Phaomei that she’s learned part of the method from Chinese YouTubers. Performing artist Babina Chabungbam notes the importance of the Machal’s spice mix brand for Manipuri food, both in and, increasingly, outside the state.
Raising uncomfortable questions
A larger theme is whether the foods documented will survive. Tourism plays a complex role. Professor R.K. Debbarma’s homestay host in Khonoma, a village in Nagaland, tells him visitors from Guwahati come with lists of what they won’t eat. Debbarma writes that he avoids three types of Northeastern restaurants: those “with bold claims to being for families, or authentic, or pure vegetarian”. Independent writer Rini Barman’s study of the Haong market in Assam notes how Indo-Chinese food is becoming more popular at food stalls.
The best documentary photographers can make sounds and smells come alive in their frames. Anurag Banerjee, 32, is an eloquent cultural chronicler, and his latest book, The Songs of Our People, is a visual cornucopia of sounds.
A Shillong boy, the Mumbai-based photographer grew up listening to Meghalaya’s diverse musical traditions — from indigenous stories to rock, reggae and rap. The book chronicles his State’s musicians, and how their music reects identities, histories, grief as well as hope and the power of community and belonging.
Made with a grant from Meghalaya Age Limited, an initiative by the state government to support and mobilise projects about the State’s culture and society, Banerjee’s choice to shoot, write and produce this book arose out of a desire to know his home state better. “In the years I have spent outside Shillong, the rst comment that people would make upon nding out where I was from would invariably revolve around music,” he says. So, when he wanted to immerse himself in the place he knew as home, he chose to do so through Shillong’s musicians — who sing in English as well as a variety of local dialects such as Khasi, Garo and Pnar.
Neivikhotso Chaya’s essay on rice beer captures many of the ambiguities around the past and future of foods of the Northeast. In a Naga restaurant in Bengaluru he’s surprised to nd rice beer for sale. “Back in Nagaland it would only be available in poor neighbourhoods, from families struggling to make a living.” His family was one of them and he recalls the eternal presence in their homes of the rough rice used for brewing, which they also ate when money for other foods was scarce. They would unmould a large pot of rice and pretend it was a cake.
But Chaya was also acutely aware of the shame attached to rice beer sale. Neighbours made rude remarks about them and people coming to buy would enter from the back door so as not to be seen. Today rice beer is on sale at the Hornbill Festival and those selling it are seen as promoting Naga culture. But has this really changed the status of poor people who make it to survive?
Food writing in India often avoids uncomfortable questions like this, and it is to the credit of Kikon and Rodrigues, and Zubaan Books as publishers, that they allow the writers in Food Journeys to raise them.
The journalist writes on the role of food in Indian society.
Shillong beyond its Bob Dylan fandom
“The idea for the book coincided with people across the country taking to the streets at the end of 2019 for what has now come to be known as ‘the citizenship protests’. Since genres like hip-hop and R&B have their roots in protest and people’s movements, I gravitated to the same in my hometown,”
Banerjee says. It took him eight months to nish the many photshoots, and he wrote the book over the next few years.
Banerjee covers a swathe of musicians with a similar dedication to Meghalaya’s creative language and identity. He hung out with them at gigs, practice and even in their homes, before choosing 19 (curated on the basis of access and individual points of view) for the book.
Not knowing the local dialects well was a limitation, but employing translators helped. And while he agrees the representation of artistes isn’t exhaustive, he sees “this as a rst of many books” — the subsequent volumes including more musicians and stories from culturally-rich Meghalaya.
The selected musicians illuminate not only musical talent, but also a staggering diversity of voices, stories and genres — Maya Lyngdoh’s love for her roots, Banrap Lyngdoh’s investigations of grief, and Praiseley Lyngskor’s faith in the redemptive powers of community.
This is Shillong beyond Bob Dylan fandom, its legends like Lou Majaw and its only mainstream culture entrant, the Shillong Chamber Choir. This is musical Meghalaya at its most earthy and sublime.
The self-published book, priced at ₹799, is yet to be ocially launched. It can be ordered through Banerjee’s Instagram (@banrjee.anurag).