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.

This narration is about songs that are sung while working on field. Some of the first songs sang while going to the field and while working on it are recorded here. Such songs are usually short, and their themes are numerous.

These are songs commonly sung by children. The narrator recollects some songs he used to sing as a kid.

These are songs commonly sung by children. The narrator recollects some songs he used to sing as a kid.

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

When a village girl is to get married, her peers and friends will gather at her house and spend a day singing and dancing with her. This narration is about the songs and dances performed during such gatherings.

The narration is about the songs of the village youth. Back in the days, on some auspicious occasions the youth will gather at a place, sing songs teasing each other, drink rice beer, and celebrate the whole day. The speaker narrates what kind of songs were sung on this day.

These are songs commonly sung by children. The narrator recollects some songs he used to sing as a kid.

Guarding of village is one of the most important duties of able-bodied young men. While on duty, young men usually sing songs to assure the villagers that they are in good hands.

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 festive time comes, elderly women will sleep over in their dormitory. They will spend their time together drinking, singing, and celebrating. This narration is about songs sung by old women when they come together to have fun.

This narration is about the practice of house visitation and songs sung while visiting houses of the village. A group of singers will walk through the village and stop at certain places in intervals and sing songs.

When a traditional grand house is built, old men will stand beneath the house and perform a ritual. This narration is about ritual songs sung during construction of kakuki 'the grand house'.

Recording of Shilshi Angpol of Wangjangloon sharing his plans for cultural exchange with Lamkangs in Tamu Area in Myanmar with the Lamkangs here in Manipur. He shares his interests and plans to take the cultural dance troupes to the Lamkangs living in Myanmar. This recording is part of the Firebird Foundation for Anthropological Research project collection by Sumshot Khular.

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 a traditional story about a chain reaction of events that sets off when a frog blocks the road and sits down on an ant that in turn bites the frog. From there on, one animal suffers from being disturbed or hurt by another animal, and as a consequence accidentally disturbs or hurts another animal, and so on: the ant disturbs the frog, the frog disturbs the squirrel, the squirrel disturbs the pig, the pig disturbs the bird, the bird disturbs the elephant, the elephant kicks a rock, which then kills the daughter of the king. The king traces back the chain reaction to the frog and the ant, and punishes both of them. This folk story, in a variety of versions, appears to be very common in the extended Eastern Himalayan region. Note also that a late 19th century telling of this story can be found in the Linguistic Survey of India (Grierson 1904).

Video of the speakers in the morning session of the 2018 CoRSAL Symposium on Developing Infrastructure for a Computational Resource on South Asian Languages. The presenters detailed what language resources currently exist, their strengths and weaknesses, and what languages still require more documentation and archiving.

Video of the opening keynote session by James Mastioff on best practices for linguists when working with endangered languages during the 2018 CoRSAL Symposium on Developing Infrastructure for a Computational Resource on South Asian Languages.

Video of one group discussion during the break-out session at the 2018 CoRSAL Symposium on Developing Infrastructure for a Computational Resource on South Asian Languages. Participants broke up into two groups to discuss various issues that emerge during the process of documenting and archiving languages.

Video of a presentation explaining aspects of information ethics and how to ethically share information during an afternoon session of the 2018 CoRSAL Symposium on Developing Infrastructure for a Computational Resource on South Asian Languages.

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.

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 '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.