Recording of people carrying paddy seedlings to their respective paddy fields in Rolam village in the Trashi Yangtse District of Bhutan. There is a shortage of water, so it is distributed equally amongst the paddy fields based on a lottery system. For this reason, some paddy fields are left without water, while others have plenty of water for rice plantation.

View of rice paddies from Rolam Mazhing toward Thragom village. It is known as Mazhing 'main', meaning it is the main paddy for Rolam village. Conversations among the villagers and children can be heard in the background.

Residents of Rolam village are cultivating this paddy in Mazhing, near Rolam village after a long absence of rain during the peak season of monsoon. Water for irrigation is allocated based on a lottery system. Conversations among the villagers and children can be heard in the background.

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.

Khuhpi Saihriem sings the traditional song 'Apa bawi a' about an orphan. 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.

Khuhpi Saihriem sings the traditional song 'Hi lang hi mo.' 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.

Khuhpi Saihriem sings the traditional song 'Ka chung tingni.' 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.

Khuhpi Saihriem sings the traditional song 'Ka lhang gol len.' 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.

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.

Khuhpi Saihriem sings the traditional song 'Hi lang hi mo.' 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.

Khuhpi Saihriem sings the traditional song 'Kapa ram kho.' 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.

Khuhpi Saihriem sings the traditional song 'Apa bawi a' about an orphan. 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.

Esther Saihriem tells the traditional narrative about how Ngambom proposes to Thoilhing. She is from Bahbahar village, Cachar District Assam, around 17 years old at the time of recording.

Khuhpi Saihriem tells a traditional story about a funny character named Benglam. 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.

Akha songs and narratives. Continued from Side A. sjhá daŋ daŋ ə, làq njí thó ə

Akha songs and narratives. 0-30 ládùbə̀ ə; 30-[end] sjhá daŋ daŋ ə, làq njí thó ə

Akha songs and narratives. My-soq: story

Handwritten notes and transcriptions of elicited sentences and noun phrases, a traditional narrative about building houses, and word lists including numerals 1-100, time, and pronouns.

Handwritten notes and transcriptions of the traditional narrative shà ziq ziq ə.

This narration is about the songs of praise sung for someone who has achieved wealth and prosperity, or someone who has done great deeds.

This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.

This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.

Phiangaobo is the coming together of friends or peers to celebrate after a season of hard agricultural work. This group of friends, usually younger people, would gather at one house where they sing, drink, and eat the whole night.

When evening sets in, but parents have not yet returned from the field and children are crying, a babysitter carries a child on her back and soothe them in the front yard. Gazing to the direction from where the mother will come, the babysitter pacifies the child by singing these songs.