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 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.

This is a story about a prince whose maternal uncles killed his father. Once — when young — he asks his mother about his father. She replies that he was murdered by his uncle. From that day onwards, he decides to take revenge for his father’s death. His uncles wanted to kill the prince too — the way they killed his father. This story describes how the prince takes revenge. This story is in the western variety of the Southern dialect of Azamgarhi. succeeds in finding Sheherbano. This story is told in the western variety of the Southern dialect of Azamgarhi

This is a story about a princess whose mother died and her father remarries. The stepmother gives birth to a daughter, and the princess and her stepsister spend their childhood in a friendly way. As time passes, the stepmother and daughter develop jealousy and animosity towards the princess and adopt every possible technique to trouble her. Even after suffering so much, the good fate of the princess always takes care of her. All inflicted hardship by the stepmother bounces back to her daughter. The moral of the story is — As you sow shall you reap. This story is told in the western variety of the Southern dialect of Azamgarhi.

This is a story about a hen and python who were very good friends. Once, seeing the hen being quite healthy, the python’s intentions went awry. He asked the hen to go inside her stomach once and check what’s there, and then he would do the same. The hen replied, okay, and the python goes inside and finds 8-10 eggs. His intentions very nefarious at once, and he asks the hen to do the same. The poor hen does so, and the cunning snake does not open his mouth to let her out.

This is a conversation between three people in Fatehpūr village in the Maū district of UP. The conversation begins with some land issues in Fatehpūr and then moves on to modern-day farming issues faced in the village. Then the speakers move on to discussing the prospects of fisheries and then to the climate of Fatehpūr, which is relatively colder because of the Fatehpūr Ratōh Lake.

This is a personal narrative by the son of Sahngi. Sahngi and Mahngi were two brothers who worked on the farms of Sadruddin, Maaz’s great grandfather. Mr. Toofani first introduces Maaz to Mr. Sahngi’s son and his relative and then leaves for work. Mr. Sahngi’s son narrates some incidences of Sadruddin and his contesting of the Pardhānī (village head) elections. He then talks about Maaz’s family members and his relationship with them. After that, he narrates his early adulthood time spent in Delhi, old times in Sonwārā village, and changing times.

This is a performance of a traditional song by the title Abbā kē nadiā (Eng. The river of father) followed by a discussion on the same. This folksong is sung on the occasion of rukhsatī 'the bride's departure to her husband's home after the marriage'. It describes the differences in the emotional attachment that a daughter has with her mother, father, brother, and sister-in-law. The folksong is in the Bhojpuri language, the mother tongue of Asiya Khatoon, whereas the discussion is in Urdu and somewhat in Azamgarhi.

This is a story about a king who once takes a walk in his kingdom to check if everyone there is pleased with him. He finds three sisters wishing that if they marry the royal cook, the vizier, and the king, their lives will change forever. This happens, and the king marries the younger sister. She gives birth to a child whom the elder sister replaces with a kitten and leaves him flowing in the river. This happens thrice. The children were found by a gardener who brings them up very well. The story, which is in the Northern (Mandē) dialect with some instances of code-switching to Urdu, continues further.

This is a story of a husband and wife who once had so little flour left in their house that only three chapatis could be made. The husband says that he will eat two chapatis, and the wife too says the same. A heated exchange took place between them, but they finally agreed that whoever speaks first will eat just one chapati while the other one, two. They lie down and silently stare at each other, and three days pass like this. The villagers, thinking of them being dead, go to their house, wrap them in a shroud and take them to the crematory. At last, the husband says to the wife, okay two chapatis for you!

This is a story about Tīs Mār Khā̃ ‘a big talker’ (lit./iron. a great warrior), a man who is a weaver and a very poor man. He has a wife and children whom he doesn’t care about at all. His wife gets something from here and there and feeds him and their children. She becomes apprehensive of his actions and tells him every day to go and earn. One fine day he becomes ready to go and earn. He asks his wife to prepare something for him to eat on the way. This story talks about his fake valor, which he earns absolutely by chance and becomes famous and wealthy.

This is a conversation between women gathered in Sonwārā village in Azamgarh district of UP on the occasion of a marriage.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Main Auditorium in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented in China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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.

The National Museum of the Pacific War presents an oral interview with Raymond Lepore. Lepore was born in Boston in 1926 and joined the Navy at 15 years of age in August 1942. After boot camp, he attended gunnery school before joining the crew of USS Bogue (CVE-9). He joined USS San Jacinto (CVL-30) commissioning crew in January 1944. Lepore spent close to 500 days aboard the ship in the combat area and shares several anecdotes about his experiences, including one about George HW Bush.

Ghulam Abbas describes Sunni Islam in the Zangskar region, beginning with the tale of a Leh king dispatching his son to govern Zangskar. In a poignant letter to his father, the prince pleads for his companion "Ju," a Muslim, to join him. This tale takes a pivotal turn when Ju, desiring halal meat, invites a Muslim butcher to Zangskar. The butcher’s eventual settlement and matrimony mark the beginning of the Muslim community in the region. Abbas also draws attention to the abodes of these early Muslim settlers, enriching the narrative’s depth. Recorded in Padum village, Ladakh Union Territory, India.

This recording captures an in-depth elicitation session of words in the Central (Zhung) variety of the Zangskari language, encompassing several diverse categories such as celestial entities, nature-related elements, household and farm equipment, food items, temporal and directional concepts, color terms, religious terminology, professional words, metals, precious stones, and various adjectives detailing physical sensation, size, shape, quality, and quantity. With Chhuskit Angmo as the consultant, this session revisits the same word list earlier elicited from Tshering Garmo, serving as a cross-check for consistency and variation. Recorded in Youlang village, Ladakh Union Territory, India.

This is a conversation between four-five people. Maaz — accompanied by his father — visits his (late) paternal grandmother’s ancestral home in Mande village. His father and his grandmother’s sister-in-law have a conversation which was joined by her relatives too. Maaz finds the conversation quite interesting and decides to record it. It ranges from a discussion on the modern age and its issues on family members, religion, current issues, politics, etc.

This is a story of a king who has seven children and once tells one of his children to bring a few things from the market. He instead brings a book that makes the king angry, and he evicts him. The son leaves the palace, goes to another village, and begins to stay there. He takes up a challenge and wins. The king gets pleased and marries his daughter with him. The prince then returns to his father’s kingdom, and the story continues. The story is recited by Asiya Khatoon, who is a Bhojpuri speaker hailing from Siwan district from Bihar, in (Eastern) Urdu. The researcher asks her maternal grandmother to interpret in Azamgarhi. She interprets in the Northern dialect.

This is a story about a prince whose mother died and his stepmother would never like him. The story describes how she troubles him and never gives him good food to eat, but he was lucky enough to have the blessings of a miraculous cow and feed on her milk. Later on, when his stepmother realized this, she ordered that all cows be slaughtered. Still, the prince escapes along with the cow to a different country where he grows up in a healthy environment. After quite a few years, he returns to his village, reuniting with his father.

This is a performance of a traditional song titled 'Beṭi' (Eng. The daughter) followed by a discussion on the same. This folksong is sung on the occasion of rukhsatī 'the bride's departure to her husband's home after the marriage'. It describes how differently the bride's blood-related family members—the mother, father, and brother—get strong memories of her absence. In contrast, the non-blood-related sister-in-law doesn't feel her absence at all—instead, she's glad that the bride left. In this, the daughters The folksong is in the Bhojpuri language, the mother tongue of Asiya Khatoon, whereas the discussion is in Urdu and somewhat in Azamgarhi.

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