“Music creation is a very personal process and you always hope the listener is able to feel and receive all that the music is designed to deliver,” said A.R. Rahman in a video statement. Photo: Courtesy of Artist
Music composer A.R. Rahman revealed the first look and teaser of the documentary Headhunting to Beatboxing, A Musical Renaissance at the 77th Cannes Film Festival in France.
This documentary showcases the vibrant energy, ambition, and newfound confidence of Nagaland’s youth. Directed by Rohit Gupta and produced by Rahman, the documentary explores the captivating evolution of rhythm and sound, tracing the development of music across generations in the state.
When asked about his connection to the Northeast region of India and the cultural relevance he sees there, A.R. Rahman tells Rolling Stone India that he has “a soft corner for the Northeast, as mentioned before in interviews. I always feel like in a family, if two people are kind of ignored, you start asking, why are they ignored? They’re also part of the family, you know, like in India. And I always feel like they should have more representation in mainstream movies, culture and especially music. All the sisterly states like Manipur, Nagaland, Sikkim, Shillong have a robust history that needs to be shared.”
The documentary is about the story of a tribe in Nagaland, engulfed in the depths of violence & bloodshed, which then resurrects itself through the healing power of music and emerges through a musical renaissance. The tradition of headhunting in and of itself “is one of self-protection and preservation” Rahman adds. The “Konyak” warrior tribe are among many Naga tribes and are distinguished by their fierce headhunting history, which was integral to their warrior tradition. Territorial conflicts between rival tribes and villages were settled through warfare, and the Konyaks were feared for their headhunting prowess. They would decapitate their enemies and bring the heads back as trophies in specially designed baskets, proudly displaying them on the walls and doorways of their warriors. Although the Indian government banned headhunting in 1960, the Konyaks continued the practice for a few more years before limited aspects of modernity reached these remote parts of Nagaland.
This musical anthropology documents an in-depth story showcasing how music has transformed the energies of Nagaland’s youth from violence to collaborative artistic endeavours. Through a lens of introspection and celebration, the film captures the resilient spirit of Nagaland’s people as they use the power of music to move beyond the shadows of their past. As the film progresses, it becomes clear that music is more than just artistic expression—it is a force for healing, transformation, and unity.
“Any culture which has a history as rich and complicated as this one, deserves and commands respect for their way of life and what they’re trying to strive for,” says Rahman. “So for me, I think the main thing is like, these are kids who can have great voices. They have a sense of purity, they have affinity towards nature. And all the things which we miss out in the mainstream stuff, all the things which we wish we could retain about humanity and about love and faith and everything. So there’s a sense of originality and purity in the voices and the compositions.”
The documentary’s trailer was revealed at the 77th Cannes Film Festival and serves as a benchmark for the distance that indigenous stories from corner of India can travel. For several years, the Nagaland government has been promoting the state’s music and musicians both within and beyond its borders. Music is a major highlight of the annual Hornbill Festival, which celebrates Naga culture and music. The festival has featured performances by leading bands from India and abroad, as well as local talents.
