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'.

Phenlakbou Marenmai briefly describes and performs the songs sung while building traditional grand house and common houses in the village.

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.

This folk song is about the composer’s (Rengsunnang of Katang village) glorious life and praise for his village. The singer of the song is the late Kulaibou of Maguilong village.

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.

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).

A traditional narrative about the mysterious life of grandpa Chiiho who lived in Koide village.

A legend about how humans got the first seed to start rice cultivation.

A historical narrative about the migration routes taken by the Naga tribes in the past.

A traditional narrative about how the Ziilai brothers, two orphans, were treated by the villagers, and how the villagers were rewarded based on how they treated the two orphans.

This is a famous legend about the life of the great grandfather Roh.

Thaio describes how rituals were organized and conducted in Koide village in the past.

A tragic story about how Liipeiru was treated poorly by her stepmother.

This is a description of an Urdu poem, written by one of the speaker's relatives, on the dowry system prevalent in North India. The poem is in the Urdu language, and the speaker interprets it and explains its meaning and significance in Azamgarhi to the researcher.

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 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 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 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 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.

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.

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.