Vijay describes the passing of the seasons in Chhitkul village. The language spoken in this recording is Amro Boli 'Our Language,' an Indo-Aryan variety spoken throughout Kinnaur district. The recording was made at his workplace, a digital studio.

Hoshiar Singh Negi discusses differences between Chhitkul and Rakchham villages in the climate, economy, and culture. The recording was made at one of Hoshiar Singh Negi’s two houses in Chhitkul.

Vinod describes Rakchham village’s history, its surroundings, local deities, and the surrounding environment. The recording was made at Uma Homestay.

Meena discusses pine leaves in Rakchham, which she happened to collect on the day of this recording. The recording was made at Rupin River View Hotel.

Seema describes winter in Rakchham and how she keeps herself busy. The recording was made at Rupin River View Hotel in Rakchham.

Kailash describes the history of his hotel and tourism in Rakchham. The Rupin River View is the first hotel after the village entrance on the right side, bordering the Baspa River. The recording was made in one of the hotel's rooms with a view of Rakchham's bridge over the Baspa River.

Dhian Singh Negi describes how life was in Chhitkul in earlier times compared to now. The recording was made at Dhian's main residence in Reckong Peo (Chhitkul Bhawan).

Ram describes the Flower Festival (‘Pulatʃ’,or 'Usko' in Chhitkul-Rakchham), a five day festival that celebrates the end of summer and crops. It usually takes place during the first week of October. He discusses why it is important for the community, how it concretely takes place, and what he especially likes about the festival. The recording was made at Chhitkul's Government Senior Secondary School, down below the village, on the river bank.

Ranjeet Singh and Khazan Singh Thakur discuss the week’s event at the temple, which consist of gathering grains and cereals from the village’s inhabitants for cases of emergencies. The recording was made inside Rakchham's main temple. There is some background noise as several community members were present. The speakers are sitting in front of one of the storage unit, the doors of which are wooden and beautifully carved.

Jiya describes the origins of the local deity, Mata Devi, explaining that Mata Devi is associated with Vrindavan instead of Tibet. Jiya was Mata Devi's oracle for many years. The recording was made at Jiya's home in Chhitkul village where Thola peak can be seen in the background.

Gangaa describes and demonstrates how to make a local and healthy dish called 'hɔt'. This dish was chosen because it is healthy and easy to make. The recording was made in Gangaa's kitchen at the Amar Guest House.

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

Jaswant Singh discusses his experience trading with the Tibetans. He did this once a year for six years, before the Indo-Chinese war in 1962 drastically restricted trade with Tibetans. The recording was made in Khrogla, located three kilometers further down Rakchham village.

Jiya Lal describes trade with the Tibetans, before the Indo-Chinese war (1962). The recording was made at his home in Chhitkul village.

Jiya Lal describes trade with the Tibetans, before the Indo-Chinese war (1962). The recording was made at his home in Chhitkul village.

Ram Kumar and Bhag Singh Negi debate the pros and cons of tourism in Chhitkul village. Neither of them is directly involved in any business related to tourism, which allows for a frank debate. The recording was made at the Government Senior Secondary School in Chhitkul village, where Kumar is a teacher.

Yashvir introduces his family and describes his experience as an English teacher in Rakchham village. He discusses the importance of preserving his language. The recording was made at his home in Rakchham village, located nearby the main temple.

Chet Ram Negi describes how he became the principal of Rakchham Government Senior Secondary school and provides a short history of the school. The recording was made outdoors on school grounds.

Ravi and Daya discuss living conditions in Chhitkul village, debating whether life there is difficult or not. The recording was made at the Rani Guest House in Chhitkul village.

Gangaa Devi and Amir Singh describe how they envision the future of Chhitkul village. The recording was made at their home, the Amar Guest House in Chhitkul village.

Chet and Yashvir discuss the following prompt: "Is the Chhitkul-Rakchham language endangered, and, if yes, what should be done to preserve it?" The recording was done outside at Rakchham's Government Senior Secondary School, where they both work.

A sun drying of Pyuul a vegetable at Thamlakhuren village during a visit with the Lamkangs in Chandel, Manipur, India.

In 1991, India adopted neoliberalism, a system of political economic practices that promotes private property and free trade, as its political and economic system to promote development in their country. India's neoliberal reform has created issues surrounding human development, resource accumulation, and power struggles. Eleven years later, in 2002, Bt cotton was introduced to the Indian agricultural sector. This research examines how the genetically modified organism Bt cotton is being used to commodify nature in the context of agriculture under neoliberalism. The research focuses on the dispossession of the rural farmers through the commodification of agriculture using Bt cotton. Dispossession of the rural farmers happen through the implications that arise from the commodification of nature. Through Marxist theory of primitive accumulation, this research analyzes accumulation by dispossession and how it neglects the working class and its struggle in rural India. Through this examination, the research will argue alternatives to the dispossession of the working class and the commodification of nature through Bt cotton. Dispossession, in this research, is examined both through working class, but also through the dispossession of biodiversity. Through the loss of biodiversity, the rural farmers are becoming dispossessed from a more sustainable environment. Along with these goals, …

Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night Music, composed in 1964. This research offers Western flutists a better understanding of Indian music, specifically Hindustani and Indian folk music traditions, often not fully understood since Indian music is an aural tradition, rarely transcribed and notated, and relies on a guru/shishya (teacher/student) relationship. Such an understanding will elucidate the compositional choices made in Night Music, allowing flutists to be more informed in their performance of it. Although the focus of this study is on Night Music, other repertoire from Bhatia's concert music and film music will also be examined to illuminate Bhatia's compositional style, which includes elements of Hindustani music, Indian folk music, and Western musical …