This is a creation narrative about a king called Bamkala (also called Bangala) who transformed himself into python and slept with his wife. The narrator is from Rienta village.

This Liangmai folk song is composed by Niureng of Lalong village. The present song was sung by Namdibui of Tucha village.

This is a Liangmai folk song composed by Liangmai folk singer Niureng of Kalalong village. The current song was sung by Wijotniliu of Rienta village. The song was video recorded in Chakha village.

This is a Liangmai folk song composed by Liangmai folk singer Kaihuii (Kaiguiyang). The current song was sung by Wijotniliu of Rienta village. The song was recorded in Chakha village.

This is a Liangmai folk song composed by Liangmai folk singer Kaihuii (Kaiguiyang). The current song was sung by Wijotniliu of Rienta village. The song was recorded in Chakha village.

This is a Liangmai folk song composed by Liangmai folk singer Niureng of Kalalong village. The current song was sung by Wijotniliu of Rienta village. The song was recorded in Chakha village.

This is a Liangmai folk song composed by Liangmai folk singer Namsongwi. The current song was sung by Wijotniliu of Rienta village. The song was recorded in Chakha village.

The folk tale is about a girl who married a python and became rich. Following this girl, other parents attempted to marry their daughter to a wild python, but were met with a tragedy. The narrator of the story is from Tedlong village.

This folk tale is about how humans and animals talk to each other. The story is between Chibo and Chakuipiu ‘lion’ where they try to kill each other.

This folk tale is about a girl who went to the farm and was followed by a ghost.

This presentation explores the variation in interlinear-glossed text (IGT) in 5 closely related South-Central Tibeto-Burman languages with verb stem alternation, reduplicated adverbial modifiers, and pre-verbal directionals. While IGT is a rich representation of language, IGT for even closely related languages can look markedly different due to individual linguists’ divergent analyses. In comparing the discrepancies between representations of such features, we gain insight into the underlying analytic thinking of the annotator to reexamine and improve analyses.

This is a conversation between four-five people. Maaz — accompanied by his father — visits his (late) paternal grandmother’s ancestral home in Mande village. His father and his grandmother’s sister-in-law have a conversation which was joined by her relatives too. Maaz finds the conversation quite interesting and decides to record it. It ranges from a discussion on the modern age and its issues on family members, religion, current issues, politics, etc.

This is a monologue on Mande village by Master Mohammad Khalid. The narrative is in the Northern (Mande) dialect of Azamgarhi. Frequent code-switching to Urdu can be easily heard even when pointed out to speak in the local language by the researcher in the beginning part of the recording.

This is a personal narrative about an incident of the childhood time of Naushad Shaikh, the paternal uncle of the researcher, in Mandē village of Azamgarh.

This is a recording of Mr. Anwar reciting a joke on the wit of an Indian involved in an argument with an American and a Russian.

This is a personal narrative of the life of the speaker Mohammad Khalid. The narrative is in the Northern (Mandē) dialect of Azamgarhi with some code-switching to Urdu.

This is a retelling of one of the stories on Nawab Wajid Ali Shah, the eleventh and last king of the Awadh Kingdom. Wajid Ali Shah was widely regarded as a debauched and detached ruler, and this story highlights the point.

This is a story of a husband and wife who once had so little flour left in their house that only three chapatis could be made. The husband says that he will eat two chapatis, and the wife too says the same. A heated exchange took place between them, but they finally agreed that whoever speaks first will eat just one chapati while the other one, two. They lie down and silently stare at each other, and three days pass like this. The villagers, thinking of them being dead, go to their house, wrap them in a shroud and take them to the crematory. At last, the husband says to the wife, okay two chapatis for you!

This is a story about a king who once takes a walk in his kingdom to check if everyone there is pleased with him. He finds three sisters wishing that if they marry the royal cook, the vizier, and the king, their lives will change forever. This happens, and the king marries the younger sister. She gives birth to a child whom the elder sister replaces with a kitten and leaves him flowing in the river. This happens thrice. The children were found by a gardener who brings them up very well. The story, which is in the Northern (Mandē) dialect with some instances of code-switching to Urdu, continues further.

This is a story of a teacher who once — while teaching his students — says, “I have made you human from donkey by beating, but you don’t understand.” A washerman who had no children passes by and hears this. He then approaches the teacher and pleads with him to turn a donkey into a son for his sake. The teacher agrees to this and asked him to return after six months. The washerman returns after six months and asks for his son. The teacher replies that he taught and trained him so much that he became a judge at the Allahabad High Court. The washerman then visits the court, and the story continues.

This is a conversation initially between Munni, her sister, Maaz, and his uncle when they visit her home in Ladhuwāī̃ village. Munni is the wife of Naushad, who has worked with the Maaz’s family for several decades. After a while, Mr. Naushad arrives, and he too joins the conversation.

This is a conversation between four people in Sonwārā, the researcher’s village. Maaz, accompanied by his cousin Noman, visits Shahida Bano to document some folk songs mostly sung on the occasion of marriages. Rehana Bano—the neighbor of Shahida Bano—on noticing some folksongs being sung and recording taking place, joins the gathering at the request of Shahida. Maaz and Noman then ask her to brief them on topics such as changing times, a description of the demography of the village Sonwārā, the languages/ varieties spoken by Muslims and Hindus. Meanwhile, Maaz—on having noticed Shahida’s language to match with Bhojpuri than Azamgarhi—starts records the ongoing conversation. Shahida then extends the conversation to cover family members and some significant events along with some personal narratives. While Shahida Bano talks in Bhojpuri, the other people converse in Azamgarhi.

This is a performance of a traditional song by the title ‘Dulahē kī ammā’ (Eng. O the mother of the bridegroom). In this song, the bridegroom’s mother is asked to bless her son on this auspicious marriage occasion. Such folksongs are of great significance to the community; however, until recently, their popularity and importance have started dwindling because of the penetration of urban culture into rural society. This folksong is in the Eastern dialect of Urdu.

This is a performance of a traditional song by the title ‘Dulahē kī ammā’ (Eng. O the mother of the bridegroom). In this song, the bridegroom’s mother is asked to bless her son on this auspicious marriage occasion. Such folksongs are of great significance to the community; however, until recently, their popularity and importance have started dwindling because of the penetration of urban culture into rural society. This folksong is in the Eastern dialect of Urdu.