Recording of Hasil Murad having a discussion over Daghowan Dolas, a cultural practice. This discussion is in Urdu.

Recording of Samina explaining the story "Haghur ke Phut" in Urdu. This is a popular story about a flying horse and a monster. The story was originally narrated by Mahida Murad in the Hunza dialect of Burushaski, and this is an explanation/translation of it into Urdu by Mahida's daughter, Samina.

Recording of Ghulamuddin Hunzai translating the story Wahdate Shaan into Urdu.

Recording of Wazir Shafi translating the popular story "Torti and Puturti," from the Yasin dialect of Burushaski into Urdu.

Recording of Muhammad Wazir Khan (or "Wazir Shafi") explaining the "story of a sparrow" in Urdu. The story was originally recited by Khan in the Yasin dialect of Burushaski, which he is a speaker of.

Recording of Muhammad Wazir Khan (or "Wazir Shafi") translating and discussing the story of an owl (known as "Chok-e Minas" in Burushaski) in Urdu. The story was originally recording in Yasin Burushaski, which Khan is a speaker of.

Recording of Naseema Ali translating Ruqayya's recipes for čʰap-šuro, diram-phiṭi, and mulo-šuro from Burushaski into Urdu.

Recording of Piar Karim translating Surung Thuko from Burushaski into Urdu.

Recording of Piar Karim and Naseema Ali explaining recipes for suančale hoi, garma, and mul given by Ruqayya from Nagar Burushaski into Urdu.

Recording of Piar Karim translating the recipes for nagere šarbat, ɣumaldi, and burus ṣapik given by Ruqayya from Nagar Burushaski to Urdu.

Recording of an analytical discussion of the words "Khajuna" and the word "Phaṭor Ṣape" in Urdu language.

Recording of Wazir Shafi translating the story of Saada Chinan from the Yasin dialect of Burushaski into Urdu.

Recording of Piar Karim and Naseema Ali translating the story of Surung Thuko from Nagar Burushaski into Urdu.

This is a retelling of the story of Raja Janmejai and of the King and Queen of Mehnagar narrated by Toofani Kaka

This is a conversation in Karmainī village, situated in the floodplains of the Ghaghra river in North of Azamgarh, with the women of the Naṭ community. They hail from a nearby village named Nakkīb Khojaulī, and identify themselves as (Sunni) Muslims. Badrun Nisa and Sharfun Nisa start by describing why they’ve come to Karmaini. Mateenuddin, Maaz’s grandfather, asks them to narrate how their community was provided with essential supplies during lockdown due to COVID-19. They do so, after which Sharfun Nisa sings a song on demonetization and the problems faced because of it. They then give information about their village and its demography.

This is a conversation between four people in Sonwārā, the researcher’s village. Maaz, accompanied by his cousin Noman, visits Shahida Bano to document some folk songs mostly sung on the occasion of marriages. Rehana Bano—the neighbor of Shahida Bano—on noticing some folksongs being sung and recording taking place, joins the gathering at the request of Shahida. Maaz and Noman then ask her to brief them on topics such as changing times, a description of the demography of the village Sonwārā, the languages/ varieties spoken by Muslims and Hindus. Meanwhile, Maaz—on having noticed Shahida’s language to match with Bhojpuri than Azamgarhi—starts records the ongoing conversation. Shahida then extends the conversation to cover family members and some significant events along with some personal narratives. While Shahida Bano talks in Bhojpuri, the other people converse in Azamgarhi.

This is a conversation primarily with Mr. Jameel, the former and currently contesting Pardhān (village head) of Rāmpūr village. Mr. Jameel explains to Maaz the presence of dichotomy in speech among the population of Azamgarh and the variety spoken in Rāmpūr and other nearby Muslim-dominated villages. In the last part of the recording, Mr. Jameel talks with a villager who passes by.

This is a conversation initially between Munni, her sister, Maaz, and his uncle when they visit her home in Ladhuwāī̃ village. Munni is the wife of Naushad, who has worked with the Maaz’s family for several decades. After a while, Mr. Naushad arrives, and he too joins the conversation.

This is a personal narrative of the life of the speaker Shazia Shaikh. She narrates many of her childhood incidences. Additionally, she provides a detailed description of most of her family members as well as her village Bairidih.

This is a recording of a conversation while cleaning fishes. There was some conversation between women who were cleaning fishes. In order to get natural data, Maaz goes near to them, sits, and starts recording without alerting them. Suddenly as few seconds pass, one of them alerts, and everyone takes a surprise! But a few moments later, they become comfortable with it. They then start imitating and mocking the far northern variety of Azamgarhi spoken in Dewārā, the flood plain area of the Ghaghra river in the northern part of Azamgarh.

This is a discussion on the popular irrigation systems used in Azamgarh and nearby areas of Purvanchal, Uttar Pradesh state, before the invention of tube wells. This discussion briefly also extends to farming systems and agricultural tools. This discussion was primarily between the researcher and two residents of southern Azamgarh who were distant relatives to the researcher. It took place almost entirely in Urdu, whereas some background noises can be frequently heard in Azamgarhi.

This is a performance of a traditional song by the title ‘Dulahē tērī ãkhiā̃’ (Eng. O bridegroom, your eyes) sung on the occasion of marriage. It praises the beauty of the bridegroom and his costume. Such songs are of great significance to the community; however, until recently, their popularity and importance have started dwindling because of the penetration of urban culture into rural society.

This is a performance of a traditional song by the title ‘Dulahē kī ammā’ (Eng. O the mother of the bridegroom). In this song, the bridegroom’s mother is asked to bless her son on this auspicious marriage occasion. Such folksongs are of great significance to the community; however, until recently, their popularity and importance have started dwindling because of the penetration of urban culture into rural society. This folksong is in the Eastern dialect of Urdu.

This is a story of a teacher who once — while teaching his students — says, “I have made you human from donkey by beating, but you don’t understand.” A washerman who had no children passes by and hears this. He then approaches the teacher and pleads with him to turn a donkey into a son for his sake. The teacher agrees to this and asked him to return after six months. The washerman returns after six months and asks for his son. The teacher replies that he taught and trained him so much that he became a judge at the Allahabad High Court. The washerman then visits the court, and the story continues.