Bal Raj Negi describes his occupations and experience in horticulture in Rakchham village and his own life before that. It was recorded at the Uma Guest House in Rakchham village, which Bal owns. Since Bal spent most of his time working outside of Rakchham village, he is actually not fluent in Chhitkul-Rakchham. Interestingly, he uses exclusively Hindi in the second half of the recording. From then on, he speaks faster, it is then very clear he is more conversant with Hindi.

Consent and speaker background of Hauva including education, languages spoken, and places lived. Recorded in Old Bagbahar.

Consent and speaker background of Jeremy Aimol including education, languages spoken, and places lived. Recorded in Balisor, Silchar, Assam, India.

Consent and speaker background of Lalawmpuii including education, languages spoken, and places lived. Recorded in Old Bagbahar.

Consent and speaker background of Linda Saihriem including education, languages spoken, and places lived. Recorded in Old Bagbahar.

Group discussion about ongoing language documentation activities in the Rabha community.

Global Rhythms concert performed at the UNT College of Music Voertman Hall.

Choral music concert performed at the UNT College of Music Winspear Hall.

World ensembles concert performed at the UNT College of Music Voertman Hall.

Field notes from elicitations of common nouns (body parts, family members, colors, natural objects) and sentence structure. Sentence examples demonstrate negation, interrogatives, conditionals, and pronouns in Raji.

Recording of Åke Parmerud's Grains of voices. The piece is composed as a continuous flow where thematical ideas and voices are formed. The opening of the piece uses the biblical words of genesis where "darkness" and "light" has been substituted with "silence" and "sound". The second part of the piece has the theme of memories of childhood in the form of lullaby's and children's songs from different country's. The next section carries the theme of prayers through the combination of the provocative poetry of A. Ginsburg, a Hindu evening prayer, a Balinese and a Fijian priest, and finally a New Delhi citizens right demonstration. The last section of the piece is born as a slow transformation from the dramatic to the ritual music.

This is a manuscript of handwritten fieldnotes on Azamgarhi language by Maaz Shaikh. These fieldnotes are of initial elicitation of words and some basic sentences. Later on, the researcher shifts to ‘Discourse-centered approach’.

The transcription and free translations in English, Urdu, and Hindi of a performance of a drama by the title – Gharphū̃kan patōh 'Spendthrift daughter-in-law' (in English). The drama depicts a typical rural life of the North Indian plains where a woman and her family are very frustrated by the misdeeds of the daughter-in-law because she is a spendthrift.