Video of a presentation from the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability.' Ana Roeschley discusses her experience of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word in the Balkans. She talks about the siege of Sarajevo and the destruction of the National and University Library of Bosnia and Herzegovina.

Video of a presentation from the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability.' Rex Khullar discusses his experience of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word in the hills of Manipur, India. He talks about how village life can be disrupted when children have to go to larger cities to make money for their families.

Shudha Bhakti is telling about her life in Rakchham, from childhood to present. The recording was made at her home in Rakchham village.

Vinod Kumar Negi and Narayan Bhagat discuss the fire incident that took place in Rakchham in 2002 which resulted in a number of houses and part of the temple being burned down. The recording was made at Rupin River View Hotel (inside the restaurant), located at the entrance of Rakchham village.

Shudha Bhakti and Radha Devi discuss two local deities in Rakchham village, Shiv and Bhagwati. The recording was made at Shudha's home in Rakchham village.

Shudha Bhakti and Radha Devi discuss local dishes from Rakchham village. The recording was made at Shudha's home in Rakchham village.

Animesh Laobangdisa describes his experience during the 2022 Assam floods.

Banoni Dibragede describes her experience during the 2022 Assam floods. The speaker is a housewife who is 34 years old at the time of recording.

Ritesh Langthasa describes his experience during the 2022 Assam floods. The speaker is a government worker who is 48 years old at the time of recording.

The is an occasional traditional folk song used to address a girl who marries outside her village. It says, at the end of the day, our village is better.

The song is about a boy expressing his sadness over the decision of the girl’s parents who offered their daughter to another for wealth. The song is composed by a legendary singer Santiik of Nchangram village. The singer is from Jalukie B in Nagaland.

The is an occasional traditional folk song used in time of honoring someone. It says that in higher mansions, there is no lack of wealth and in a deep pond, there is no lack of fish.

This traditional folk song is a lullaby usually sang when a kid is naughty. It says, you cry when you’re hold or placed on your cradle. Tomorrow I will not babysit you.

Bal Raj Negi describes his occupations and experience in horticulture in Rakchham village and his own life before that. It was recorded at the Uma Guest House in Rakchham village, which Bal owns. Since Bal spent most of his time working outside of Rakchham village, he is actually not fluent in Chhitkul-Rakchham. Interestingly, he uses exclusively Hindi in the second half of the recording. From then on, he speaks faster, it is then very clear he is more conversant with Hindi.

Radha Devi describes her life in Rakchham village, from childhood to present, noting the many difficulties she encountered. The recording was made at Shudha Bakhti's house in Rakchham village.

Video of a presentation from the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability.' Lalnunthangi Chhangte discusses her experience of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word in Mizoram, India. She talks about the legacy of colonialism in the area and the stigma toward indigenous groups.

Video of a presentation from the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability.' L. Somi Roy discusses his experience of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word, and the relations between insurgency and writing systems in Manipur.

Video of Shobhana Chelliah introducing the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability' held at the Indira Gandhi National Center for the Arts in New Delhi, India. At this workshop, held in conjunction with UNESCO, participants discuss their experiences of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word.

Video of a presentation from the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability.' Marjing Mayanglambam discusses his experience of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word, specifically in relation to the scripts used to write the Manipuri language.

Video of a presentation from the 2020 workshop 'Language Then and Now: Language Endangerment and Political Instability.' Pauthang Haokip discusses his experience of how political instability and violence break apart communities and erode their ability to pass down their written and spoken word in Manipur, India.

Tashi Dorji and Dorji Phuntsho discuss the different rituals performed in Dukti village related to Ladam involving restricting both locals and outsiders from visiting the mountain Tshong Tshongma between plantation and harvesting of crops. The entry to Tshong Tshongma closes on the 10th day of the third month of the Tibetan calendar. If someone does enter this area during the restricted months, it brings heavy rain, winds, and landslides to the area.

Tashi Dorji and Dorji Phuntsho discuss rituals involving animal sacrifice in Dukti village. In the past, it was customary for every household to raise a pig to be killed for ritual purposes. They say that now, over a decade later, they have stopped raising pigs for sacrifice.

Tashi Dorji describes rituals performed in Dukti village including Nyungne (also called Dawa Dangpa or Dawa Chüngepa), Bazer Guru, Sumpa Soeldap, Torma Bum, and ’Nagapa Trenda. He explains that Sumpa Soeldap was initiated in consultation with Tshong Tshongma Lopen after famine and snakes came into Dukti village. He also describes the naked dance and the present ‘Nyungne Rinpoche’s past life.

Tashi Dorji decscribes cultural changes he has observed over time. For example, in his youth, he saw elders carrying rice, vegetable, maize, and wine in bamboo baskets; today, the bamboo is replaced by sacks, water bottles, and other utensils. He describes how dancers move from one house to another while a caretaker of Lakhang follows and requests donations from the villagers to have a feast for the dancers.