This book chapter provides an overview of teams, complex adaptive systems, conflict stages, and conflict models, while also presenting adaptive leadership as a style that offers organizations with the capabilities of reacting to changing environments quickly.

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.

This article discusses a study in which 92 MOOC learners were interviewed to better understand their worlds, investigate possible mechanisms of student attrition, and extend conversations about the use of big data in education.

This article presents some results of the content analysis study that explores the authority data change over time in response to change in standards. Authority data describes persons, institutions, places, events, and works, as well as relations between them. This study contributes to the understanding of metadata change and its relation to functionality of authority records and improved information access.

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 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.

Gangaa Devi and Amir Singh describe how they envision the future of Chhitkul village. The recording was made at their home, the Amar Guest House in Chhitkul village.

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.

A description of village administration. Smooth functioning of a village life requires certain people to execute certain roles. The two oldest men in the village, known as singko and tingko, provide the mechanism of the social and religious systems. It was their duty to declare prohibitions, taboos, and so on. Kamu, the village shaman, performs funeral for the dead and attend to sick. He would perform all the rituals in the village. Apai, the village council, comprising old men from every clan in the village, look after the village administration.

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.

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.