This is a conversation between Muhammad Awaiz (a 32-year old male), Parveen Akhtar (a 60-year old female) and Akbar Jan (a 45-year old female). In this conversation, the speakers talk about the migration of one of their families from the village to Rawalpindi, a metropolitan city in Pakistan. They also talk about the Mankiyali language.

This is a discussion between Muhammad Awaiz (a 32-year old male), Akbar Jan (a 45-year old female) and Shehnaz Bibi (a 24-year old female). The speakers talk about their daily life, their mother tongue, and about the documentation research project on the Mankiyali language.

Instructions for collecting language data using WhatsApp, translated into Dimasa. Instructions suggest various methods of eliciting language data about ethnographic topics such as traditional foods, social practices, festivals, and everyday life.

This is a personal narrative on family and early life. Dialect: Standard Boro

Article describes how, the goal of ITS is to support learning content, activities, and resources, adapted to the specific needs of the individual learner and influenced by learner’s motivation. This research proposes an intentional model that adopts Map formalism to support personalized learning guidance by considering learner’s motivation.

This paper explores the role of Historically Black College and University (HBCU) archives in preserving the history and cultural heritage of these institutions and investigates the factors that contribute to the disparities observed in the availability of digital collections and the staffing of archivists across HBCUs in the United States. Data was collected from 102 HBCU websites and the National Center for Education Statistics, and analyzed using descriptive statistics, chi-square tests, and ordinary linear regression. The findings revealed notable disparities in the staffing of archivists and the presence of digital archive collections, with geography, enrollment, and endowment emerging as potentially significant factors. The study highlights the importance of understanding key factors in the availability of digital archive collections and the staffing of archivists at HBCUs.

Recording of a translation and discussion of Lamkang proverbs with conversation about the process in Manipuri (Meiteiron).

Photograph of India Venture Fund Student Group and students visiting young speakers of Lamkang in a Hyderabad neighborhood. Pictured: Levi Acord, Mary Burke, Jane Lorenzen, and Melissa Robinson, Anukampa Ghagra, and Dhruv Langthasa.

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.

Makui (Liangchi) Villagers perform a war dance, Chariu taobo lem. It was performed in the olden days when a Liangmai village went to war. The able-bodied men of the village gather and move in two rows led by two war heads experienced in warfare using spears, shields and daos. Men will make a polyvocal sound called magubo as they move in circle. Magubo begins in slow rhythm as the men move slowly. Magubo, as well as their movement, will pick up speed and during the peak moment various war cries will be made.

Langmei (Tiang) villagers perform the dance of Phai people 'Phaimai lem'. This dance is performed by young men and women of Liangmai village during festivals and celebrations. It is a dance of expressing love, joy, and unity.

Tamei villagers perform the eagle's dance, 'Kaleng ponsi lem'. This dance is about the eagle catching its prey. The song sung during this dance talks about lost love, comparing it with the prey of an eagle. The song narrates about the village girls who were married off to rich men of another village by their parents without the consent of the girl. They are compared to the prey of an eagle.

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.

Tamah (Piulekluang) villagers perform the hornbill dance. Hornbill is called chareng in Liangmai and the dance performed here is chareng lem ‘hornbill dance’. The dance is an imitation of hornbill’s movement. The hornbill (the great Indian Hornbill) has an integral role in Liangmai folklore. Its beautiful feathers are used as head-dress by both men and women. The traditional knee-length cloth wore by Liangmai men resembles the color pattern of a hornbill, (i.e., black and white).

Recording of an elicitation of mass nouns in Mankiyali. Some of the words covered include water, milk, rice, hay, tea, and grass. The contributor is Aurangzeb, a 34-year old male teacher.

Presentation on the book and course created by Davies & Dubinsky. This presentation is from the Conference on Language Endangerment and Political Instability held at the University of North Texas in Denton, Tx on October 4-6, 2018.

Handwritten notes and transcriptions of songs and rituals associated with death and marriage. Continued from Notebook 80.

Handwritten notes and transcriptions of traditional narratives, death rituals, and songs.

Akha songs and narratives. Death Rituals III. Àbɔ́qɔ 5/7-78. 0-61 ö́ zá thó ə; 61-[end] pàq maq mɔ̀ tjhö̀

Akha songs and narratives. Death Rituals III. Continued from Side A. 0-42 pàq maq mɔ̀ tjhö̀

Akha songs and narratives. Death Rituals IV. 0-58 xhö́ nɛ̀q daq ə; 58-[end] tshɛ̀ hɔ́ là lo ə thó ə

Akha songs and narratives. Death Rituals IV. Continued from Side A. 0-1 tshɛ̀ hɔ́ là lo ə thó ə; 1-32 djè àŋ djè zə́ thó ə; 32-48 njí nɛ̀q ə tsỳq thó ə; 48-61 mɔ̀ djìq djìq ə thó ə; 61-63 lowering dead into the coffin

Akha songs and narratives. ɣoq xhɛ̀ ɣoq doq thó ə́ (tshɔ́ sjhí ə khɔ̀-sjhə) Àbɔ́qɔ 5/11-1978

Akha songs and narratives. Continued from Tape 79. ɣoq xhɛ̀ ɣoq doq thó ə́ (tshɔ́ sjhí ə khɔ̀-sjhə) Àbɔ́qɔ 5/11-1978