Shobhana elicits tone individual words from Sumshot Khular, words C through E.

Daniel Tholung and Shekarnong Sankhil discuss nouns in Lamkang with Shobhana Chelliah and David Peterson.

This is a folk tale about seasons. Dialect: Standard Boro

Khuhpi Saihriem sings a traditional song. She is a Saihriem speaker living in Bahbahar village, around 90 years old at the time of recording. She is also a speaker of Bengali.

Manjula Swargiary describes her experience during the 2022 Assam floods. The speaker is an assistant teacher with a HSLC education who speaks Assamese in addition to Boro. She is 48 years old at the time of recording. She talks about her experience going to school (her workplace) during the flood. She describes how her students would assist her in crossing the river and how the situation has deteriorated over time. She recalls her first job as a teacher, when her students assisted her in crossing a flooded area. She claimed they would form a chain on a shaky bridge to assist her in crossing it.

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 description of marriage customs. Both families send 'go-betweens' to mediate the agreement and discuss dowry. For the ceremony, the bride passes through a bundle of reeds, and a gift called "geumbang siya" is given. Sometimes, there are other gifts as well, and a feast. If someone cannot pay the dowry, elders may allow them to pay something later, at a time when they can afford it. He also describes the different practices of groups in surrounding areas, and compares traditional marriage customs to current ones affected by Christian influence. The speaker is from Krangku originally, but had moved to Putao several years before the time of recording.

This a traditional story about an elderly couple with a dog; the wife dies and the dog takes the husband to Chom arong (i.e., the village of the dead); the wife does not want to leave, but the husband forces her; upon return to their village, soon somebody else in the village dies, and the wife has to die and go back to Chom arong with the other person.

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.

Recording of Mahida Murad reciting “A flying Horse and a giant Monster,” in the Hunza dialect. In this popular story a princess is hidden away by her father, but an ogre discovers her presence. He goes to the king to ask for her hand in marriage, but the King refuses to agree unless the Ogre knows her name. The princess refused to marry the ogre, and runs away on a flying horse.

This is a narrative about how the Vzeu (Azeu) dance originated, recorded in Myitkyina. The Vzeu dance started when people wanted to express gratitude, so they imitated the butterflies and eagles. The speaker is from Krangku originally, but had moved to Putao several years before the time of recording. He also briefly describes the different beliefs and dances of groups in surrounding areas.

Recording of Tyler Utt and Shobhana Chelliah eliciting tone words in Lamkang (N-P) with Sumshot Khular.

Recording of Tyler Utt and Shobhana Chelliah eliciting tone words in Lamkang (T-W) with Sumshot Khular.

Recording of Shobhana Chelliah and Tyler Utt eliciting tone words in Lamkang (A-B) with Sumshot Khular.

Recording of Tyler Utt and Shobhana Chelliah eliciting tone words in Lamkang (R-S) with Sumshot Khular.

This folk tale is about a war fought single-handedly by one man against one village. The narrator is from Maguilong village.

This folk tale is a in horror story. The story is about a man who visited the village of his parents-in-law and discovered they are human eaters (cannibals).

Recording of Tyler Utt and Shobhana Chelliah eliciting tone words in Lamkang (H-K) with Sumshot Khular.

Recording of Tyler Utt and Shobhana Chelliah eliciting tone words in Lamkang (L-M) with Sumshot Khular.

Recording of Tyler Utt eliciting tone words in Lamkang (F-G) with Sumshot Khular.

This is a monologue on the (traditional) everyday situation of a mother having a baby to take care of while having to perform other chores such as getting firewood and cooking (not considered a true folk story by language consultants).

This is a traditional story about a couple, in which the husband tricks his wife in order to get her to give him meat to eat. He carves a hole into a tree and pretends to be a scary big black bird and tells his wife to feed the big black bird. After the wife has fed the big black bird (i.e., her husband) all of their chickens, the husband himself tells her to look inside the hole the next time around, which she does. Upon recognizing her husband, the wife is angry and tells him she will separate from him and go to stay with her parents. She collects all her things into a big basket. The husband sneaks himself into the basket, and as the wife is on the way carrying the basket, the husband urinates. As if it had not been enough already before, the wife now leaves him with even angrier than before.

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.