Rebot Pegu describes the exterior of a traditional family home in Ratanpur village called sang okum or taléng okum, which is built on raised platforms. He says different types of foundations made of wood and bamboo are required to construct taléng okum, including 5 joːpong to hold up the house and smaller wooden branches placed vertically called pali kutas. He lists the levels: the lowermost is called bénér; the middle is called porpiyang; the topmost where one can sit is called piso. The roof is made up of five layers including tarte, niːpir, dugying, and bangkung, and an outer layer of leaves called selab. Finally, the wooden stairway to the interior is called koːbang. He says there is typically a lagjum attached, but it is broken.

Obawati Doley describes the process of smoking fish. She starts by cleaning the fish by removing the innards and the scales with a katok (knife) so the fish will cook faster. The cleaned fish is then put on the pérab. If the flame is high, one day of smoking is enough for the fish to be cooked. It can also be dried in the sun. She says Mising people are especially fond of smoked fish and meat.

Rebot Pegu describes the interior of a traditional family home in Ratanpur village which is built on raised platforms. Méram, the lowest platform made of mud and wood, is where food is cooked. It is cleaned every day. Pérab, the hanging platform made of bamboo, is where dried fish and meats are smoked. Rébbong, another hanging platform, is used to store large items like earthen pots or épo, a traditional platelike utensil made of bamboo which separates husks from grains. Ríːsíng, the open space to the left of méram, is where the elderly people sit. Koktok, the open space to the right of méram, is where the women responsible for the cooking sit. The bamboo pieces are placed close together in ríːsíng, whereas in koktok, they are placed wider apart to allow space for washing. Before electricity was available in the village, lamps were hung on the corners of the méram.

Krishna Pegu describes the parts of the weaving machine. The wooden device that has a large wheel is called a jontor. The one beside the jontor, where slender bamboo sticks are tied together, is called sereki. The set of four bamboo pillars supporting the entire structure is called ta:tal. Makung is the driver of the whole machine which helps in running the threads. Bor sereki is the piece which is larger than the sereki. Tangngé lifts the required threads for making patterns; yaːpa and keːsanané also raise threads. Tulutang is the thick wood, placed vertically, which the threads are rolled over. Raːsi is the piece with which the threads are pulled closed together. After running the thread using a makung, raːsi is pulled towards the weaver so that the thread merges with the rest of the material. Nasoni is a round wheel-like plastic object which moves in circles.

Krishna Pegu describes the parts of the weaving machine. The wooden device that has a large wheel is called a jontor. The one beside the jontor, where slender bamboo sticks are tied together, is called sereki. The set of four bamboo pillars supporting the entire structure is called ta:tal. Makung is the driver of the whole machine which helps in running the threads. Bor sereki is the piece which is larger than the sereki. Tangngé lifts the required threads for making patterns; yaːpa and keːsanané also raise threads. Tulutang is the thick wood, placed vertically, which the threads are rolled over. Raːsi is the piece with which the threads are pulled closed together. After running the thread using a makung, raːsi is pulled towards the weaver so that the thread merges with the rest of the material. Nasoni is a round wheel-like plastic object which moves in circles.

Krishna Pegu describes the process of using the weaving machine while weaving a traditional garment of Mising women called ege gasor. The garment she is weaving has floral patterns in it, called mosang. The flowers are placed in a pattern called kepson which is designed to seem like the flowers are attached or running in a particular direction. She explains how the parts work together for weaving. Paksang is the white thread attached in the middle of the longer threads, where all the flowers are structured. Ya:pa is used to lift the threads which are needed in the making of the patterns. The pointed L-shaped wooden instrument is called keːsanané. It is used to raise the required threads for engraving the gamig (floral pattern). She runs her fingers through the white threads attached to the longer threads, called doːn. Sangkok is a pedal the weaver pushes with their feet. She demonstrates pushing the makung towards the further end, lifting the ya:pa, and placing red and black floral patterns on the lifted threads to make gamig.

Krishna Pegu describes the process of using the weaving machine while weaving a traditional garment of Mising women called ege gasor. The garment she is weaving has floral patterns in it, called mosang. The flowers are placed in a pattern called kepson which is designed to seem like the flowers are attached or running in a particular direction. She explains how the parts work together for weaving. Paksang is the white thread attached in the middle of the longer threads, where all the flowers are structured. Ya:pa is used to lift the threads which are needed in the making of the patterns. The pointed L-shaped wooden instrument is called keːsanané. It is used to raise the required threads for engraving the gamig (floral pattern). She runs her fingers through the white threads attached to the longer threads, called doːn. Sangkok is a pedal the weaver pushes with their feet. She demonstrates pushing the makung towards the further end, lifting the ya:pa, and placing red and black floral patterns on the lifted threads to make gamig.

Rebot Pegu describes the exterior of a traditional family home in Ratanpur village called sang okum or taléng okum, which is built on raised platforms. He says different types of foundations made of wood and bamboo are required to construct taléng okum, including 5 joːpong to hold up the house and smaller wooden branches placed vertically called pali kutas. He lists the levels: the lowermost is called bénér; the middle is called porpiyang; the topmost where one can sit is called piso. The roof is made up of five layers including tarte, niːpir, dugying, and bangkung, and an outer layer of leaves called selab. Finally, the wooden stairway to the interior is called koːbang. He says there is typically a lagjum attached, but it is broken.

Chandrakanta Doley describes the process of making potika along with Dipok Kumar Doley and Obawati Doley. First, jaggery is melted, and then épob (medicinal herb mixture) is sprinkled in. They note how potika is consumed locally and in other areas, observing it is often over-consumed. Chandrakanta Doley warns about low-quality potika made by burning sandals and clothes, instead recommending ones made at home or bought from trusted villagers. This is because low-quality potika is associated with health risks and may contain additives like tobacco which decrease one's longevity. Even high-quality potika must be taken in moderation, as consuming too much can lead to liver and/or lung damage and inflammation. In moderate doses, potika is used for medicinal purposes such as preventing high blood pressure. Chandrakanta Doley recalls how doctors suggested potika as treatment during a recent malaria outbreak in the village. He says he has been consuming potika every night after dinner for 30 years.

Chandrakanta Doley describes the process of making potika along with Dipok Kumar Doley and Obawati Doley. First, jaggery is melted, and then épob (medicinal herb mixture) is sprinkled in. They note how potika is consumed locally and in other areas, observing it is often over-consumed. Chandrakanta Doley warns about low-quality potika made by burning sandals and clothes, instead recommending ones made at home or bought from trusted villagers. This is because low-quality potika is associated with health risks and may contain additives like tobacco which decrease one's longevity. Even high-quality potika must be taken in moderation, as consuming too much can lead to liver and/or lung damage and inflammation. In moderate doses, potika is used for medicinal purposes such as preventing high blood pressure. Chandrakanta Doley recalls how doctors suggested potika as treatment during a recent malaria outbreak in the village. He says he has been consuming potika every night after dinner for 30 years.

Obawati Doley briefly describes the birdhouse her husband made, called péra.

Dipok Kumar Doley describes the process Rebot Pegu follows while weaving a bamboo basket called pétum. First, bamboo is sliced thinly using a katok (knife) or matsíg (sharp object), and then the strips are woven together. These baskets are used as containers for storage (of amli-péli, amrong, apong, or paan), transportation, or as enclosures for hens and ducks. He says pétum weavers have to be swift, and they have to know the method of arranging the thinly sliced bamboo to make a beautiful, hand-crafted pétum. In the past, his in-laws would wrap meat and apong in banana leaves, but nowadays, the new generation is not keen on making pétum. He says only a handful are aware of this weaving technique.

Dipok Kumar Doley describes the process Rebot Pegu follows while weaving a bamboo basket called pétum. First, bamboo is sliced thinly using a katok (knife) or matsíg (sharp object), and then the strips are woven together. These baskets are used as containers for storage (of amli-péli, amrong, apong, or paan), transportation, or as enclosures for hens and ducks. He says pétum weavers have to be swift, and they have to know the method of arranging the thinly sliced bamboo to make a beautiful, hand-crafted pétum. In the past, his in-laws would wrap meat and apong in banana leaves, but nowadays, the new generation is not keen on making pétum. He says only a handful are aware of this weaving technique.

Chandrakanta Doley describes the duck house on his family farm. In the past, he had ~20-35 ducks, but now has only 5. They roam freely during the day in a nearby pond. He says duck meat is popular in Assam, and it is traditionally either boiled or fried with a gourd and steamed until thick. He prefers the boiled preparation.

Dipok Kumar Doley asks the prices of mougli, borali, and na:réng fish at the market. The vendors list the prices and say the fish came from Gali.

Obawati Doley describes the process of smoking fish. She starts by cleaning the fish by removing the innards and the scales with a katok (knife) so the fish will cook faster. The cleaned fish is then put on the pérab. If the flame is high, one day of smoking is enough for the fish to be cooked. It can also be dried in the sun. She says Mising people are especially fond of smoked fish and meat.

Obawati Doley describes the process of smoking fish. She starts by cleaning the fish by removing the innards and the scales with a katok (knife) so the fish will cook faster. The cleaned fish is then put on the pérab. If the flame is high, one day of smoking is enough for the fish to be cooked. It can also be dried in the sun. She says Mising people are especially fond of smoked fish and meat.

Rebot Pegu describes the interior of a traditional family home in Ratanpur village which is built on raised platforms. Méram, the lowest platform made of mud and wood, is where food is cooked. It is cleaned every day. Pérab, the hanging platform made of bamboo, is where dried fish and meats are smoked. Rébbong, another hanging platform, is used to store large items like earthen pots or épo, a traditional platelike utensil made of bamboo which separates husks from grains. Ríːsíng, the open space to the left of méram, is where the elderly people sit. Koktok, the open space to the right of méram, is where the women responsible for the cooking sit. The bamboo pieces are placed close together in ríːsíng, whereas in koktok, they are placed wider apart to allow space for washing. Before electricity was available in the village, lamps were hung on the corners of the méram.

Raju Doley describes the rope that can be seen surrounding the paddy field, called aríg péttang ménnané, which is used to shoo away birds that come to eat the paddy. He says that,normally, they would shout "Hai hai" while swinging the rope to scare the birds away, but, when farmers are drinking, they might say "Sou sou!"

The speaker describes the process of cutting paddies (aam). She was delayed by continuous rains and flooding which washed away the paddy bundles that were already cut. She says it will take 2-3 days to complete the entire paddy field. She explains that this variety, known as ranjit aam in Mising, was planted during aahar (June) and it is being cut during ahin-kati (October-November). Ranjit aam is one of the agotiyang aam, meaning 'paddy that is done before the actual season.' She says later she will cut other paddies including amdang aam, bor jangiya aam, and dumuang aam.

The speaker describes the process of cutting paddies (aam). She was delayed by continuous rains and flooding which washed away the paddy bundles that were already cut. She says it will take 2-3 days to complete the entire paddy field. She explains that this variety, known as ranjit aam in Mising, was planted during aahar (June) and it is being cut during ahin-kati (October-November). Ranjit aam is one of the agotiyang aam, meaning 'paddy that is done before the actual season.' She says later she will cut other paddies including amdang aam, bor jangiya aam, and dumuang aam.

Kintal Muchahary is a student with a BA-level education who speaks English, Hindi, and Assamese in addition to Boro, 24 years old at the time of recording. He describes how his village is surrounded by Tarong river. He tells that all the villagers here belong to very poor families. He thinks that, due to the damage done by flood water, their village is becoming more poorer. In spite of his disability, Kintal has successfully completed his BA degree. But, he is unable to continue onto further studies due to financial problems. Recorded in Bwigriguri village, Choraikhola.

Kintal Muchahary is a student with a BA-level education who speaks English, Hindi, and Assamese in addition to Boro, 24 years old at the time of recording. He describes how his village is surrounded by Tarong river. He tells that all the villagers here belong to very poor families. He thinks that, due to the damage done by flood water, their village is becoming more poorer. In spite of his disability, Kintal has successfully completed his BA degree. But, he is unable to continue onto further studies due to financial problems. Recorded in Bwigriguri village, Choraikhola.

Laimwn Boro is a home maker who speaks Hindi and Assamese in addition to Boro, 30 years old at the time of recording. She came to Saraguri village by marrying to Chinendra Boro. She tells that her village is surrounded by Tarong river and there is no bridge to cross the river. Due to absence of bridge, her children can't go to school during rainy season. She is appealing to government to make a bridge for her village. Recorded in Saraguri village, Choraikhola.