Tashi Dorji introduces himself and describes a childhood accident where he lost his mother, brother, and family home to a major fire. Somehow, Tashi survived. After this, he became known as 'Kon Tshering' in the village because 'Kon' means a rare thing or substance.

Tashi Dorji discusses the history of the Dukti Pema Choling Lhakhang. A lhakhang is a religious structure used for housing sacred objects and performing rituals, often built in a geographically or spiritually significant location. There is no record of when it was originally built; Tshong Tshongma Lopen renovated it when there were only 12 households in Dukti village. It took Lopen around three years to complete the renovation. Now, the Dukti Pema Choling Lhakkhang houses relics, including 16 sets of Buddhist chronicle given by the Throngpa community.

Tashi Dorji discusses the history of the Dukti village and migration. Tashi Dorji speaks Tshangla and Dzongkha as well as Dakpa. His grandmother migrated from Kurtöp Tongzhang in the Lhuntse District. He says the majority of Dukti village residents (Duktipa) are historically Dakpa, and notes similarities in festivals, rituals, and farming practices with Dakpa communities in the Trashi Yangste District such as Yalang Gewog.

Tashi Dorji discusses the history of the Dukti Pema Choling Lhakhang. A lhakhang is a religious structure used for housing sacred objects and performing rituals, often built in a geographically or spiritually significant location. The Dukti Pema Choling Lhakhang was built by Tshong Tshongma Lopen. It was historically known as Dukti Tashi Choling Lhakhang. The name was changed to avoid confusion with another Lhakhang named Tashi Choling (also called Namthî Lhakhang) in the same dzongkha (district).

Tashi Dorji and Dorji Phuntsho discuss the different rituals performed in Dukti village related to Ladam involving restricting both locals and outsiders from visiting the mountain Tshong Tshongma between plantation and harvesting of crops. The entry to Tshong Tshongma closes on the 10th day of the third month of the Tibetan calendar. If someone does enter this area during the restricted months, it brings heavy rain, winds, and landslides to the area.

Tashi Dorji and Dorji Phuntsho discuss rituals involving animal sacrifice in Dukti village. In the past, it was customary for every household to raise a pig to be killed for ritual purposes. They say that now, over a decade later, they have stopped raising pigs for sacrifice.

Tashi Dorji describes rituals performed in Dukti village including Nyungne (also called Dawa Dangpa or Dawa Chüngepa), Bazer Guru, Sumpa Soeldap, Torma Bum, and ’Nagapa Trenda. He explains that Sumpa Soeldap was initiated in consultation with Tshong Tshongma Lopen after famine and snakes came into Dukti village. He also describes the naked dance and the present ‘Nyungne Rinpoche’s past life.

Tashi Dorji decscribes cultural changes he has observed over time. For example, in his youth, he saw elders carrying rice, vegetable, maize, and wine in bamboo baskets; today, the bamboo is replaced by sacks, water bottles, and other utensils. He describes how dancers move from one house to another while a caretaker of Lakhang follows and requests donations from the villagers to have a feast for the dancers.

Tashi Dorji describes the naked dance ritual, its history, and related rituals. When there was no fund for consecration of Dukti Lakhang, Tshong Tshongma Lopen devised the culture of Naked dance. Historically, all the meals take part in this naked dance on the 9th day of the 5th month of the Tibetan calendar, to collect donations from the community. On the 10th day (Tshechi), the Tshechu takes place. Sangay Tshering, a researcher of Bhutan Oral Literature Project, was also present. Recorded in the evening after a rainy day.

Tashi Dorji describes the rituals related to Drukpa Tshezhi, the fourth month of the Buddhist calendar. This is considered the most auspicious month in the Himalayan Kingdom of Bhutan because it is when Buddha first turns the wheel of Dharma. To celebrate the occasion, the village comes together to recite the Buddhist scriptures and perform other rituals.

Vanlal Tluong Bapui, President of the Hmar Literature Society, gives consent for recording him and briefly introduces himself. He discusses Ṭhiek's status as an endangered language and the urgency of documenting and preserving Ṭhiek. He describes his book "Ṭhiek Ṭawng," explaining that it is the only known publication in Ṭhiek, and represents his contribution towards preserving the language.

Banoni Dibragede describes her experience during the 2022 Assam floods. The speaker is a housewife who is 34 years old at the time of recording.

Ritesh Langthasa describes his experience during the 2022 Assam floods. The speaker is a government worker who is 48 years old at the time of recording.

Animesh Laobangdisa describes his experience during the 2022 Assam floods.

Shudha Bhakti and Radha Devi discuss local dishes from Rakchham village. The recording was made at Shudha's home in Rakchham village.

Shudha Bhakti and Radha Devi discuss two local deities in Rakchham village, Shiv and Bhagwati. The recording was made at Shudha's home in Rakchham village.

Vinod Kumar Negi and Narayan Bhagat discuss the fire incident that took place in Rakchham in 2002 which resulted in a number of houses and part of the temple being burned down. The recording was made at Rupin River View Hotel (inside the restaurant), located at the entrance of Rakchham village.

Shudha Bhakti is telling about her life in Rakchham, from childhood to present. The recording was made at her home in Rakchham village.

Bal Raj Negi describes his occupations and experience in horticulture in Rakchham village and his own life before that. It was recorded at the Uma Guest House in Rakchham village, which Bal owns. Since Bal spent most of his time working outside of Rakchham village, he is actually not fluent in Chhitkul-Rakchham. Interestingly, he uses exclusively Hindi in the second half of the recording. From then on, he speaks faster, it is then very clear he is more conversant with Hindi.

Radha Devi describes her life in Rakchham village, from childhood to present, noting the many difficulties she encountered. The recording was made at Shudha Bakhti's house in Rakchham village.

The song is about a boy expressing his sadness over the decision of the girl’s parents who offered their daughter to another for wealth. The song is composed by a legendary singer Santiik of Nchangram village. The singer is from Jalukie B in Nagaland.

This traditional folk song is a lullaby usually sang when a kid is naughty. It says, you cry when you’re hold or placed on your cradle. Tomorrow I will not babysit you.

The is an occasional traditional folk song used to address a girl who marries outside her village. It says, at the end of the day, our village is better.

The is an occasional traditional folk song used in time of honoring someone. It says that in higher mansions, there is no lack of wealth and in a deep pond, there is no lack of fish.