Sumshot Khular records a number of phrases with reduplicated modifiers. Rick Weitzman uses a prompt list to record these utterances with the speaker as part of a Phonology course at UNT in Fall 2017.

Levi Accord and Amber Winston record a list of prosodic words in Lamkang with speaker Sumshot Khular. This recording was done as part of the LING 5300 Phonology course at UNT.

Photograph of Lamkang traditonal baskets called [phangboor]. This pieces are made by Beshot Khular of Lungkharloon village. The picture is taken during the field visit to document his craft works. The phangboor are kept on the ptxaang above the fireplace to make them sturdy, strong and prevent mold.

A poem on the phases of ABWWF included in a souvenir of ABWWF published on the occasion of its 15th biennial conference held at Barnagaon High School, Odalguri on 8-10 March 2018

Collection of legendary stories about moral practices and taboos in the ancestral way life.

Sumshot Khular works with Berwyn Chong to collect compounds to study tone sandhi in these forms. The elicitation was done as part of a class project for Phonology at UNT in Fall 2017.

A conversation between Daniel Tholung and Shekarnong Sankhil. This was a staged conversation for the sake of an undergraduate Phonetics and Phonology class at the University of North Texas. We recorded the conversation and then immediately used to demonstrate annotation with PRAAT acoustic software.

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.

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.

Ram Kumar describes why Rakchham village is his favorite place in Kinnaur District.

Ram Kumar discusses his hopes for his children and the power of education. The recording was made at Chhitkul's Senior Secondary School, located further down the village, on the river bank, towards the path leading to the military checkpoint.

Amir Sing describes how life was in Chhitkul village before it was connected to the world by major roads, or the 'highway road.' He emphasizes how hard life was in Chhitkul when the village was still isolated, before the road was built in the 1980s. The recording was made at Amar Guest House, which is run by Amir and his family. The video starts at the back of Chhitkul's main temple and follows the narrow path up to the wooden guest house.

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.

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.

Recording of Wazir Abbas telling the History of Polo in the Nagar dialect. Abbas claims that the modern version of Polo on horses originated in Nagar. He then tells of a battle between the people of Nagar and Hunza.

Recording of Ibrahim reciting “The Sea Sand Pot” in the Nagar dialect of Burushaski. In this popular story a King tells all of his subjects to kill their old parents, but an obedient son hides his father in a trench. Afterward, the King orders the subjects to make a sea sand pot, or a sand chidin, which is a large iron pot used to make food for a thousand people for festivals. None of the villagers knew how, so they approached the hidden father, who told them that it was an impossible task. They told the King that the task was accomplished, but this wisdom proved to the King that an elderly person was saved.

Recording of Ali Raza reciting “Aqale Gus” in the Nagar dialect of Burushaski. In this popular story a prince travels to search for the answer of his father’s troubles. In his travels he meets an old man whom he irritates, but lets the prince stay at his house overnight. The old man’s daughter is great at interpreting problems, and they are married, and she returns to the kingdom to aid the King.

Recording of Ali Raza reciting the story of "Gulzaada Gushpur" ('Prince Gulzaada') in the Nagar dialect of Burushaski. In this popular story Prince Gulzaada wanders into a strange and wonderful land, where he finds a beautiful fairy bathing in a waterfall. He steals her clothing and convinces her to be his wife, but he must promise to remain faithful to her, else she eat his head. When he was forced to marry, the fairy stole him away to Fairyland.

A description of village administration. Smooth functioning of a village life requires certain people to execute certain roles. The two oldest men in the village, known as singko and tingko, provide the mechanism of the social and religious systems. It was their duty to declare prohibitions, taboos, and so on. Kamu, the village shaman, performs funeral for the dead and attend to sick. He would perform all the rituals in the village. Apai, the village council, comprising old men from every clan in the village, look after the village administration.

When evening sets in, but parents have not yet returned from the field and children are crying, a babysitter carries a child on her back and soothe them in the front yard. Gazing to the direction from where the mother will come, the babysitter pacifies the child by singing these songs.

Performance of the Chabonki lem dance by Nkou village youths. Chabonki lem means ‘the dance of the youth’, where chabon means ‘youth’, ki ‘house’ and lem ‘dance’. As the name suggests, this dance is performed mainly by youths of a village on special occasion, such as celebration of good harvest or victory in battle. In the present time, this dance is performed during cultural festivals.

Langmei (Tiang) villagers perform a war dance 'Chari lem'. It was performed when the villager waged war against a neighboring feuding village. The warriors of the village gathered for this dance believing that it would sanctify them and make them stronger, more courageous and more effective while engaging in a fight with the enemy.

This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.

This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.