Akha narratives. Chiengmai 2/6-1977 0-8 Ásɔ̀q: Spirits and people; 8-42 Ásɔ̀q: lɔ-bɛ́; 42-55 Ásɔ̀q: mì-jɛ́ shàŋ phá ə àbó; 55- Ásɔ̀q: mì-jɛ́ shàŋ phá dɛ já kha

Akha songs and narratives. Singing at dɛ-xhàŋ. 2/8 1977

Akha songs and narratives. 0-10 Ásɔ̀q: lullaby; 10-12 play song; 12-15 Ásɔ̀q's geneology 15-30 shà iq iq ə; 30-40 ájɛ̀ tjha ə̀; 40-42 là tjhə̀ qu ə́ ; 42-55 tshɔ́ ŋö ŋö ə́ ; 55-68 tshɔ́ ŋö ŋö ə́ ; 68-end shà iq iq ə

Akha songs and narratives. Continued from Side A. 0-10 Ásɔ̀q: lullaby; 10-12 play song; 12-15 Ásɔ̀q's geneology 15-30 shà iq iq ə; 30-40 ájɛ̀ tjha ə̀; 40-42 là tjhə̀ qu ə́ ; 42-55 tshɔ́ ŋö ŋö ə́ ; 55-68 tshɔ́ ŋö ŋö ə́ ; 68-end shà iq iq ə; Ásɔ̀q: ájɛ̀ tjha ə̀

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú I, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú I, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú II, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú II, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú III, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú III, Maesuai 2/1-84

This paper discusses the Consortium for the Computer Interchange of Museum Information (CIMI)'s international effort to provide distributed search and retrieval of cultural heritage information. A primary aspect of CIMI's work utilizes ANSI/NISO Z39.50-1995, and American National Standard protocol for information retrieval. The International Organization for Standardization (ISO) recently approved Z39.50 as ISO 23950. CIMI chose Z39.50 to enable uniform access to existing and emerging digital collections and the vast repositories of cultural heritage information resources. These resources include a variety of physical and digital objects--physical artifacts and digital derivatives of those artifacts, descriptive records designed for collection management, bibliographic records, full-text documents, online tools such as thesauri and authoritative lists of artists' names, and more. CIMI's application Z39.50 in the networked cultural heritage information environment is breaking new ground in distributed and integrated access to textual and non-textual digital collections.

Beshot Tholung of Thamlapokpi and Bunghon Suungnem of Leingangching discussing the Chalong village's celebration of “Dilkoor” and how the first Lamkang meetings were held. They discuss how students union were started in the 1950s and the chief association-Law commission Yuman saa maan.

A discussion with Suungnem Bunghon of Leingangching, Tholung Beshot and Shekarnong Sankhil of Thamlapokpi about the names of villages which the Lamkangs abandoned and Kukis resettled there using the same names (Charangching Khullen-Khunkha). This was recorded at the seminar on culture and origin of the Lamkangs at Charangching village.

Bunghon Suungnem of Leingangching and another speaker discuss the Lamkang origin story of coming out from the cave (Duti Pardii)

Shekarnong Sankhil and Tholung Beshot of Thamlapokpi discuss Tchaan Yamluung, a musical instrument used by the Lamkangs and the Kachin people in Myanmar, who are also called red people and can be our people.

Elders who are experts in traditional songs and dance, including Beshot Tholung of Thamlapokpi, Bunghon Suungnem of Leingangching, Shangwar Dilbung of Khuibung, and Beshot Khullar of Phaidaam, give instructions to the dancers on the dance steps [kardaam] in the Charangching Khullen village.

A discussion of the names of the months in Lamkang with Thamnung Sankhil Tholungnu of Thamlakhuren, for example how in the month of Purdun, the cows came home from the jungle. They were discussing how some say or name them differently in some cases. Later they discuss the elders from different villages trying to see who is from which village.

Bunghon Suungnem of Leingangching, Beshot Tholung of Thamlapokpi, and Daniel Tholung of Thamlakhuren discuss the names of the months in Lamkang. He explains how some of the months were named differently by the Lamkang Council, which he finds incorrect and wants them to make corrections. He shares the different names given by people from different villages like the Mantri Pantha, which is different to what he knew. He shares how he requested the Lamkang Kver Kunpun to make the necessary corrections for future purposes. This was recorded during the Seminar on Culture and Origin of the Lamkangs.

A discussion about how the “saakhuu” was given to a particular “Yur”, a sister from the animals they hunt. The sister can be one’s own sister or clan sister with whom they share the meat (saa khuu). The sisters in return would give the brothers a potful of wine called "Yu”, but nowadays they can give milk and sugar or anything that they can afford to show appreciation to the brother.

Elders from various villages who are experts in traditional songs and dance, including Beshot Tholung of Thamlapokpi, Bunghon Suungnem of Leingangching, Shangwar Dilbung of Khuibung, and Beshot Khular of Phaidaam discuss the tingtou, a bamboo mouthpiece musical instrument that one can use to compose any song or play any of their known songs. It is also mentioned that this particular musical instrument is given by men to woo the women they love.

Bunghon Suungnem of Leingangching, Shangwar of Khuibung, Beshot Tholung of Thamlapokpi, and unknown women discuss Tlingkhup, is the son Sinthling Arkoi Chapa named Rengpu is the young guy belonging to a Sankhil clan who shot at the Umpii Doon. Today when one takes a name for strength they take the name of Rengtlung. They also discuss the sound of the bird called “Vakpa ke Kuk” and how it originated. A lady shares about her grandparents who were caught by the Kukis they are still there.

Elders Beshot Tholung of Thamlapokpo, Bunghon Suungnem of Leingangching, Shangwar Dilbung of Khuibung, Daniel Tholung of Thamlakhuren, and Beshot Khullar and Sankhil Belun of Phaidaam discuss Cheldep, the Lamkang hero. Cheldep was a young man who was brought by Shenoi. As for Shenoi, we are not so sure, but he was arrested during the war they heard. Sankhils claimed the “Yamluung”, a musical instrument, as their property. But, later the Dilbungs claimed it as Vangkhiin, who is the owner of the musical instrument. They discuss a Dilbung man who was lost during the war.

Paul Leo of Senapati, former President of the United Naga Council, shared how important culture, tradition and identity is. As Nagas, we are taught through oral teachings by our parents and a man or woman who knows the story and about anything pertaining to the society. These elders performed and shared the stories and the dresses and ornaments that we are showcasing. They say we need to document and make it available to the community not just Lamkang, but also to other Nagas in Chandel and in Manipur and Nagaland. We have elders who are willing to transmit their knowledge to the community. Let us also preserve the animals that are around us so as to survive in symbiotic relation with our environment. We can also make resolution to preserve our materials like dresses and other items we used to keep it more authentic and valuable. Example the “Kaang" that the use in the dance or “Puulraang kooi”.

Beshot Tholung of Thamlapokpi shares a song a man without sister would sing and the other woman from the same clan would be there to console him as the sister would do. Then he shared how the giving of “Saa Khuu” to the sisters were done in some eastern parts.