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 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.

Khupzakham Ṭhiek, Chairman of the Ṭhiek Pahnam Association, gives consent to record the Ṭhiek language for research and documentation purpose with the hopes to establish and develop the language. Recorded in Muolhoi village.

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.

Vanlal Tluong Bapui, President of the Hmar Literature Society, responds to English and Hmar prompts in Ṭhiek as part of an elicitation session to identify pronouns and person-indexation markers in transitive sentences.

Vanlal Tluong Bapui, President of the Hmar Literature Society, responds to English prompts in Ṭhiek as part of an elicitation session on affirmative and negative clauses.

Vanlal Tluong Bapui, President of the Hmar Literature Society, sings a traditional Ṭhiek song. He explains this song was traditionally sung as a lullaby.

Vanlal Tluong Bapui, President of the Hmar Literature Society, sings a traditional Ṭhiek song. He explains this song was traditionally sung while children play.

Vanlal Tluong Bapui, President of the Hmar Literature Society, reads an excerpt from his book "Ṭhiek Ṭawng" on the origin and history of Ṭhiek.

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.

Akha songs and narratives. Continued from Side A. 0-[end] Àbɔ́qɔ: nɛ̀q khə̀ khə̀ ə 21/4-78

Akha songs and narratives. 0-[end] Àbɔ́qɔ: nɛ̀q khə̀ khə̀ ə 21/4-78

Handwritten notes and English translations of Akha songs and narratives about animals, opium, love, nature, and spirits originally transcribed in Akha notebooks 18-87.

Handwritten notes and transcriptions of Akha songs and narratives about death.