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Before the Arpo rituals, Mr. Karma Wangdi performs a song about royalty in Kongü stating that his body and possessions (sword, helmet, belt, boots, body armor, bow, and arrow) belong to King Gaser Gyalpo.

Mr. Karma Wangdi describes the Bon ritual ceremonies used to appease the male spirit Phoshing and the female spirit Moshing. A smoke offering is made by mixing flour with dry meat, wine, and water.

Mr. Karma Wangdi describes the Bon ritual ceremonies used to appease Abi Phôding. If someone suddenly has a hearing problem, they could have been cursed by Abi Phôding. To appease her, they put a ladle, an eggshell, and wine at the tri-junction, call her name three times, and ask her to give her ear.

Mr. Karma Wangdi describes the Bon ritual ceremonies used to appease Tshong Tshongma. This is a very important deity in eastern Bhutan, especially to the people in its vicinity. People bow three times and give offerings. When someone is seriously ill near Tshong Tshongma, they would sacrifice an ox as an offering.

Mr. Karma Wangdi describes the Bon ritual ceremonies used to appease Mamo, the holder of all sickness. Three flags representing the father, mother, and son of Mamo are used to request forgiveness for any wrongdoing.

Mr. Karma Wangdi describes the Lamring Mü ritual which is used to chase away spirits before taking a sick person to the hospital. First, some simple ritual ceremonies are performed at home to clear the spirits. This is because if the doctor or nurse injects the sick person, the spirit within the sick person’s body could instantly die. Mr. Wangdi is the last known Bonpo (practitioner of Bon rituals) in Chema village in the Trashi Yangste District of Bhutan. He also belongs to the first generation of Dakpa speakers who started speaking Tshangla in their childhood.

Mr. Karma Wangdi describes the Bon ritual ceremonies used to appease Garpo, also known as Nepo. These involve raising and/or sacrificing a pig, depending on the patient.

Performance of a song about royalty in Kongü from the epic of King Gaser Gyalpo of Lithang by Mr. Karma Wangdi.

Mr. Karma Wangdi demonstrates astrology prediction and a ritual to heal from poisoning.

Performance of an introductory song from the epic of King Gaser Gyalpo of Lithang by Mr. Karma Wangdi.

Mr. Karma Wangdi demonstrates astrology prediction and a ritual to heal from poisoning.

Mr. Karma Wangdi demonstrates astrology prediction on Gajay using rice, water, incense, and a rosary. When he dips rice into the water, if there is any spirit harming the patient, then the rice will be scattered at the edges of the bowl. If cursed, the rice will stand upward. He concludes that no spirits are harming Gajay; however, he recommends Gajay to offer appeasement wine to the local deity.

Mr. Karma Wangdi demonstrates astrology prediction on Gajay using rice, water, incense, and a rosary. When he dips rice into the water, if there is any spirit harming the patient, then the rice will be scattered at the edges of the bowl. If cursed, the rice will stand upward. He concludes that no spirits are harming Gajay; however, he recommends Gajay to offer appeasement wine to the local deity.

Bonism is a traditional form of worship involving rituals related to healing and the earth. Some Bon rituals are performed only by certain individuals (Bonpos). In this recording, Bonpo Karma Wangdi demonstrates a ritual appeasement of Mamo (also known as Lamringbu). His wife and extended family are present because they have not seen this ritual performed for the last 15 years. Mr. Wangdi is the last known Bonpo in Chema village in the Trashi Yangste District of Bhutan. He also belongs to the first generation of Dakpa speakers who started speaking Tshangla in their childhood.

Bonism is a traditional form of worship involving rituals related to healing and the earth. Some Bon rituals are performed only by certain individuals (Bonpos). In this recording, Bonpo Karma Wangdi demonstrates a ritual appeasement of Mamo (also known as Lamringbu). His wife and extended family are present because they have not seen this ritual performed for the last 15 years. Mr. Wangdi is the last known Bonpo in Chema village in the Trashi Yangste District of Bhutan. He also belongs to the first generation of Dakpa speakers who started speaking Tshangla in their childhood.

Ngultholien Parate, the headman of Boro Muolkoi village, Hrangsuothang Parate, and Zionthar Vankal express enthusiasm and consent to record the variety of Ṭhiek spoken in Boro Muolkoi village for research and documentation purposes.

Hrangkung Tuolor, president and authority of Huonveng village, expresses enthusiasm and consent to record the variety of Ṭhiek spoken in Huonveng village for research and documentation purposes.

Hrangkung Tuolor, president and authority of Huonveng village, expresses enthusiasm and consent to record the variety of Ṭhiek spoken in Huonveng village for research and documentation purposes.

Dartuohau Vankal, an elderly male Ṭhiek speaker, expresses enthusiasm and consent to record the variety of Ṭhiek spoken in Huonveng village for research and documentation purposes.

Thilsinghluo Tuolor, Gaon Bura of Retzawl village, and Robert Pakhuongte, vice president of the Retzawl HSA, express enthusiasm and consent to record the variety of Ṭhiek spoken in Retzawl village for research and documentation purposes.

Thilsinghluo Tuolor, Gaon Bura of Retzawl village, and Robert Pakhuongte, vice president of the Retzawl HSA, express enthusiasm and consent to record the variety of Ṭhiek spoken in Retzawl village for research and documentation purposes.

Ngultholien Parate, the headman of Boro Muolkoi village, Hrangsuothang Parate, and Zionthar Vankal express enthusiasm and consent to record the variety of Ṭhiek spoken in Boro Muolkoi village for research and documentation purposes.

Dartuohau Vankal, an elderly male Ṭhiek speaker, responds to questions about his life and migration, language attitudes, the status of Ṭhiek, and hopes for the future of the language. He also narrates some Ṭhiek stories based on traditional folk songs, some of which he sings. He describes the relationship between traditional Hmar and Ṭhiek songs. Marina L. Infimate asks questions in Hmar.