Robert Pakhuongte, a male speaker of Ṭhiek from Retzawl village, introduces himself and consents to recording. He describes his position in Retzawl village, his family, language attitudes, and domains of language use. He explains that, despite not belonging to the Ṭhiek clan, he speaks Ṭhiek because his family has lived in Retzawl village for generations.

Robert Pakhuongte, a male speaker of Ṭhiek from Retzawl village, describes his position in Retzawl village, his family, language attitudes, and domains of language use. He explains that, despite not belonging to the Ṭhiek clan, he speaks Ṭhiek because his family has lived in Retzawl village for generations. He stresses the importance of preserving the language, stating that if a language lives, the tribe lives as well.

Thangsuokhup Tuolor gives consent for recording him and responds to questions regarding himself, his family, his attitude towards Ṭhiek, domains of language use, and what he wants for the future of Ṭhiek. He says Ṭhiek is commonly spoken in Retzawl village.

Agape Ṭhiek, a female speaker of Ṭhiek from Retzawl village, gives consent for recording her and responds to questions about herself and her family, her choice of language in a social context, and her attitude towards Ṭhiek in relation to Hmar. She describes her hopes for the future of Ṭhiek and points out certain steps taken by the community in Retzawl village to promote the language.

Lalvarmawi, a female speaker of Ṭhiek from Retzawl village, gives consent for recording her and responds to questions posed by Emmanuel Tuolor about her life and family in general, her position in Retzawl village, and her attitude towards Ṭhiek. She describes her experience helping with the translation of a Hmar song into Ṭhiek that was shared on YouTube, explaining that she does what she can to preserve the language.

Lalvarmawi, a female speaker of Ṭhiek from Retzawl village, gives consent for recording her and responds to questions posed by Emmanuel Tuolor about her life and family in general, her position in Retzawl village, and her attitude towards Ṭhiek. She expresses her pride in Ṭhiek as her mother tongue, and her desire to preserve it.

Joseph V. Tuolor responds to English prompts with Ṭhiek translations as part of an elicitation session on pronouns and person-indexation markers in transitive sentences.

Joseph V. Tuolor introduces himself and his family. He speaks about the Ṭhiek language in general and the need to preserve and document it. He also mentions how he speaks the language as much as possible, particularly outside the home domain.

Correction to article changes the name of one of the authors.

Dipok Kumar Doley and Bidyeswar Doley discuss childhood living in a chang ghar, a bamboo house built on a raised platform made of thick bamboo. Dipok Kumar Doley says traditional dishes were not fried; green leafy vegetables such as takuk, ombé, onger, pakkom, gurban, mírné koːtuk, takpiyang, beso-beyo, oti oying with fish, deer or pork were boiled. He describes traditional health practices; during pregnancy and after delivery, green leafy vegetables such as rukji and marsang, along with black pepper and local chicken boiled as a stew, and rice beer are given as remedies for the mother. They describe celebrations for weddings and births and local festivals like Ali-aːyé-lígang, held on the first Wednesday of February, where the Misings pray for a better harvest the following year, health, and wealth and eat purang, apong, and oying. Dr. Bidyeswar says that family members of all ages would participate in the prayers and activities, but now this is rarely seen. Dipok Kumar Doley urges youngsters to stay alert and to take proper care of the Mising language, culture, and clothing or else they will become extinct.

Dipok Kumar Doley and Bidyeswar Doley discuss childhood living in a chang ghar, a bamboo house built on a raised platform made of thick bamboo. Dipok Kumar Doley says traditional dishes were not fried; green leafy vegetables such as takuk, ombé, onger, pakkom, gurban, mírné koːtuk, takpiyang, beso-beyo, oti oying with fish, deer or pork were boiled. He describes traditional health practices; during pregnancy and after delivery, green leafy vegetables such as rukji and marsang, along with black pepper and local chicken boiled as a stew, and rice beer are given as remedies for the mother. They describe local festivals like Ali-aːyé-lígang, held on the first Wednesday of February, and celebrations for weddings and births.

Dipok Kumar Doley and Bidyeswar Doley discuss local festivals in the Mising community, starting with Ali-aːyé-lígang, held on the first Wednesday of February. The Mising pray to Donyi-Poːlo (Sun and Moon), Karsíng, Kartak, Doːmup-Doːyar, Ésar (Wind), Podong (Rain), and Tapum-Tari (insects) for a better harvest the following year, health, and wealth. They eat purang, apong, and oying. Dr. Bidyeswar says that family members of all ages would participate in the prayers and activities, but now this is rarely seen. Similarly, Bihu celebrations are less prominent in recent years. Dipok Kumar Doley urges youngsters to stay alert and to take proper care of the Mising language, culture, and clothing or else they will become extinct.

Thomas Morang describes and performs the traditional instrument dumpag while attending the Dírbí Kébang in Telam village. He is from Silapathar village, Dhemaji, and is wearing traditional clothing for men including mibu galug, gonro ugon, tongani dumér, and dogné on his neck. He shows the léréli music in the instrument.

Birkhudhor Koktak describes and performs the traditional instrument dérki tapum while attending the Dírbí Kébang in Telam village as the leader of the Songkid Opé musical group. The four holes are called uw; the pipe is called dorbum. He performs a short song with lyrics "pépid piːd piːd, pépid péttangaː, ngokké aːmém doyoka, moːtep dengkangka" (dear bird...do not eat my paddy...please fly far away.) He is from Poloma village in Raisapori, Dhemaji.

Birason Doley describes and performs the traditional instrument kétpo tapum while attending the Dírbí Kébang in Telam village. He performs a niːtom and a kaban. He is the current Vice President of the Moridhal region in Dhemaji, Assam (originally from Hatipora, Dhemaji). He says he has played the kétpo tapum on the radio and performed with numerous artists.

Prodip Kumbang describes and performs the traditional instrument éjuk tapum while attending the Dírbí Kébang in Telam village. He is from Sikari, Gali Borbari, Dhemaji, and is the current president of the Mising Cultural Association of Jonai region, Dhemaji, Assam. He says the éjuk tapum is of three types, depending on the number of holes in the instrument. If the instrument has one hole, it is called tumbo; pumsu for two; and lísíg for three. Pumsu is the current logo of the Mising Cultural Association of Assam. Éjuk tapum is believed to be the oldest musical instrument of the Mising community. Before migrating to the plains, the Misings resided in the hills, and they believed that Karki Mili was the first person to play the éjuk tapum. It was originally made from bottle gourds and bamboo. This particular bottle gourd used to make the instrument is poisonous and people are forbidden to consume them. These bottle gourds can be found only in the hills.

Ésar Doley describes her traditional clothing and jewelry worn while attending the Dírbí Kébang in Telam village, Dhemaji, Assam. She is wearing a wrap called gene ege gasor. On her neck, she is wearing dogné. She has adorned her wrists and hair with lakpun and dokpun. She says her group performed a traditional dance called selloya at the event.

Group performance of the traditional dance 'Éjuk soːnam' at the Dírbí Kébang in Telam village. The dance is accompanied by traditional instruments, most notably éjuk tapum, traditionally made from bottle gourds and bamboo.

Group performance of the traditional dance 'Éjuk soːnam' at the Dírbí Kébang in Telam village. The dance is accompanied by traditional instruments, most notably éjuk tapum, traditionally made from bottle gourds and bamboo.

Group performance of the traditional dance 'Mibu sumnam' at the Dírbí Kébang in Telam village.

Group performance of the traditional dance 'Mibu sumnam' at the Dírbí Kébang in Telam village.

Group performance of the traditional dance 'Sélloya' at the Dírbí Kébang in Telam village depicting the Mising migration from the hills to the plains. The dance is accompanied by traditional instruments and singing where the women ask where to go and the men reply.

Group performance of the traditional dance 'Sélloya' at the Dírbí Kébang in Telam village depicting the Mising migration from the hills to the plains. The dance is accompanied by traditional instruments and singing where the women ask where to go and the men reply.

Group performance of the traditional song 'Téréré' at the Dírbí Kébang in Telam village typically sung during marriage ceremonies. When a girl reaches the age of puberty and is ready to get married, Mising women gather in groups to sing this song.