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.

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.

Recording of a discussion at the 2016 Orthography Workshop at Don Bosco, Assam.

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.

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 folk tale about seasons. Dialect: Standard Boro

Khuhpi Saihriem tells the traditional narrative 'Chemtatepu' about animals. She is a female Saihriem speaker from the Barak valley (currently living in Bahbahar village), around 90 years old at the time of recording. Khuhpi is also a speaker of Bengali.

Khuhpi Saihriem tells the traditional narrative about how Ngambom proposes to Thoiling. Khuhpi is a female Saihriem speaker from the Barak Valley (currently living in Bahbahar village), around 90 years old at the time of recording. She is also a speaker of Bengali.

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 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).

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 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.

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.

This is a story in the Eastern (Fatehpur) dialect of Azamgarhi about a king who once asks his seven daughters that from whose fate they eat. Six of them reply, “We eat because you give.” The seventh one refuses to accept this at any cost. Hearing this, the king gets furious and sends her to a jungle where she, fortunately, finds a good hut to live, meets Paňkhiyā Bādshāh (the king who appears on a swing of Punkah or fan). Finally, they both marry and live happily. Realizing this, her other sisters become jealous and poison her husband. Still, he is lucky enough to survive owing to his miraculous powers.

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 recording of various folktales which begin with a short conversation. After completing the narration of a story, Mehar Afroz asks Qamar Afroz to stitch a cloth. After which, she asks Asiya Khatoon to sing some folksongs along with her, followed by a discussion on each of them. These kinds of traditional songs are sung on the occasion of girls' marriage, varying from praising the beauty of the beloved daughter to vidāī — the girl's farewell from their parental home. The songs in this recording are in the Eastern dialect of Urdu. The discussions on them and some other conversations take place in a mix of Azamgarhi and Urdu.

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.