Aijoni Medok demonstrates the process of making épob, a medicine that is added to apong (rice beer). Leaves of medicinal plants including ríkom, injari, and tiːné anné are dried and pounded in kiːpar (large mortar and pestle). Then, the mixture is formed into balls and dried in the sun. Finally, these balls are squeezed with hands, and the powder is spread in the apong and mixed into the grains used to make apong.

Purnima Medok tells a traditional narrative about an elderly couple who meet a troop of monkeys while planting taro in a field. The monkeys advise the couple that the taro tubers had to be boiled first, peeled, sweetened, and covered with leaves before putting into the soil. They followed the monkeys' instructions and the troop came again to check on the taro. That night, the monkeys took the responsibility of looking after the planted taro. Taking advantage of the situation, the monkeys ate the planted taros and left feces all over the field. The elderly couple gets revenge by tricking and killing the monkeys.

Menoka, Monji, and Purnima discuss their paddy fields, chores, dishes they are preparing, and what they plan to buy at the market. The older women describe changes in crops and food over time, expressing concern about the climate, overall crop yield and quality, and the youth's general lack of knowledge of traditional agricultural practices.

Bipul Medok describes how his tea plantation was established in 2016. He says the saplings reached maturity after 1.5 years and now produce tea leaves weekly. He cultivates varieties of tea including TS 520 and TS 22 on 12 bighas (~7.5 acres) of land and pays laborers daily.

Bipul Medok describes the fertilizers and pesticide methods used on his tea plantation including urea and MOP (potassium chloride). In addition to tea, he grows siris amíng, neem, and black pepper plants.

Bipul Medok describes the functions of the siris trees planted between tea plants. They support the black pepper plants' vines, and produce leaves which are are used as an organic fertilizer for the tea plants. He says the wood of the siris tree can also be used as firewood, and may be suitable for making furniture.

Purnima Medok demonstrates how to separate the husks from paddy leaves and describes the cultivation process. She says the paddies are sown during the month of ahar (June). After harvesting, the men carry the paddy to the kumsung (a house to keep the harvest). Next, the paddy leaves are separated through the process demonstrated here before it can be dried and later milled. They grow multiple rice varieties including bor zangiya, bora sokua, and ampi. She explains that mixing varieties together enhances the flavor. She especially enjoys feeding her children and grandchildren with rice she has stored in tin boxes.

Obawati Doley describes her family's paddy field which covers about 6-7 bighas (~4 acres) outside Mukoli Potar village. She lists the crops growing (pirmen jangiya, ampi, malbug, dumuang), the trees planted in the field, and the crops seen on neighboring farms like agotiyang aam. When asked if the younger generation is keen on farming, she explains that the few who could not further their studies tend to resort to farming as a source of income. The paddy field also includes markati, kojer, rinji, maːdag, bogori, a tongi (a watchman shed in the middle of the field to keep animals away), and a river at the periphery of the paddy field. She says this year is predicted to be a good harvest.

Obawati Doley describes her family's paddy field which covers about 6-7 bighas (~4 acres) outside Mukoli Potar village. She lists the crops growing (pirmen jangiya, ampi, malbug, dumuang), the trees planted in the field, and the crops seen on neighboring farms like agotiyang aam. When asked if the younger generation is keen on farming, she explains that the few who could not further their studies tend to resort to farming as a source of income. The paddy field also includes markati, kojer, rinji, maːdag, bogori, a tongi (a watchman shed in the middle of the field to keep animals away), and a river at the periphery of the paddy field. She says this year is predicted to be a good harvest.

Joya Medok Doley describes the process of making pitang oying, a traditional dish of the Mising community made with rice and chicken. She begins by washing the rice with water. After washing, a small amount of water is left so the grains expand. She then peels ginger and garlic. Black pepper and chilies should be added based on the amount of curry that is being made. Then, she removes the soaked rice and pounds it with a mortar and pestle. The rice is pounded till it becomes grainy. The hen is put into hot boiling water. This makes it easy to remove the feathers. The hen is then roasted in the fire. For the pitang oying, big pieces of chicken are preferred. These pieces are tied together with a string or leaf so that the pieces of the same hen do not get mixed with other hen's pieces because the dish is being made for a ui (domestic puja). Mustard oil is put on a wok. Then, we wait until it becomes hot. Paanch phoran (Indian masala) is put and stirred until black, then chicken pieces are placed. Onions are added, followed by ginger-garlic paste. Black pepper, chili paste, tumeric, …

Joya Medok Doley describes the process of making pitang oying, a traditional dish of the Mising community made with rice and chicken. She begins by washing the rice with water. After washing, a small amount of water is left so the grains expand. She then peels ginger and garlic. Black pepper and chilies should be added based on the amount of curry that is being made. Then, she removes the soaked rice and pounds it with a mortar and pestle. The rice is pounded till it becomes grainy. The hen is put into hot boiling water. This makes it easy to remove the feathers. The hen is then roasted in the fire. For the pitang oying, big pieces of chicken are preferred. These pieces are tied together with a string or leaf so that the pieces of the same hen do not get mixed with other hen's pieces because the dish is being made for a ui (domestic puja). Mustard oil is put on a wok. Then, we wait until it becomes hot. Paanch phoran (Indian masala) is put and stirred until black, then chicken pieces are placed. Onions are added, followed by ginger-garlic paste. Black pepper, chili paste, tumeric, …

Joya Medok Doley describes the process of making yumrang or jabor oying. Different types of green leafy vegetables such as tajik, takuk, ombe, mírné koːtung, gurban, and marsang are washed. They have to be rubbed together and rinsed thoroughly. Once the wok is hot, mustard oil is put in there. Once hot, we add panch phoran and onions. A ground mixture of chili, garlic, and onions is added. Any meat can be added. Here, we can see local chicken, which is bred at home, is being cooked. Then, salt and red chili powder are added accordingly. Then, the green leafy vegetables are added to the wok. She says most of the Mising people love to tear the leaves before adding. It is ready to serve after cooking the leaves for 5-10 minutes.

Joya Medok Doley describes the process of making yumrang or jabor oying. Different types of green leafy vegetables such as tajik, takuk, ombe, mírné koːtung, gurban, and marsang are washed. They have to be rubbed together and rinsed thoroughly. Once the wok is hot, mustard oil is put in there. Once hot, we add panch phoran and onions. A ground mixture of chili, garlic, and onions is added. Any meat can be added. Here, we can see local chicken, which is bred at home, is being cooked. Then, salt and red chili powder are added accordingly. Then, the green leafy vegetables are added to the wok. She says most of the Mising people love to tear the leaves before adding. It is ready to serve after cooking the leaves for 5-10 minutes.

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!"

Chandrakanta Doley describes how borali ongo (catfish) is prepared. He starts by picking out some threadlike filament from the fish, explaining these parts are hard to digest because of their plasticity. He says borali ongo goes well with elephant apple.

Chandrakanta Doley describes how borali ongo (catfish) is prepared. He starts by picking out some threadlike filament from the fish, explaining these parts are hard to digest because of their plasticity. He says borali ongo goes well with elephant apple.

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.

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.

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

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.

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.

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.