Joya Medok Doley describes the process of making yumrang or jabor oying. Different types of green leafy vegetables such as tajik, takuk, ombe, mírné koːtung, gurban, and marsang are washed. They have to be rubbed together and rinsed thoroughly. Once the wok is hot, mustard oil is put in there. Once hot, we add panch phoran and onions. A ground mixture of chili, garlic, and onions is added. Any meat can be added. Here, we can see local chicken, which is bred at home, is being cooked. Then, salt and red chili powder are added accordingly. Then, the green leafy vegetables are added to the wok. She says most of the Mising people love to tear the leaves before adding. It is ready to serve after cooking the leaves for 5-10 minutes.

Joya Medok Doley describes the process of making yumrang or jabor oying. Different types of green leafy vegetables such as tajik, takuk, ombe, mírné koːtung, gurban, and marsang are washed. They have to be rubbed together and rinsed thoroughly. Once the wok is hot, mustard oil is put in there. Once hot, we add panch phoran and onions. A ground mixture of chili, garlic, and onions is added. Any meat can be added. Here, we can see local chicken, which is bred at home, is being cooked. Then, salt and red chili powder are added accordingly. Then, the green leafy vegetables are added to the wok. She says most of the Mising people love to tear the leaves before adding. It is ready to serve after cooking the leaves for 5-10 minutes.

Joya Medok Doley describes the process of making pitang oying, a traditional dish of the Mising community made with rice and chicken. She begins by washing the rice with water. After washing, a small amount of water is left so the grains expand. She then peels ginger and garlic. Black pepper and chilies should be added based on the amount of curry that is being made. Then, she removes the soaked rice and pounds it with a mortar and pestle. The rice is pounded till it becomes grainy. The hen is put into hot boiling water. This makes it easy to remove the feathers. The hen is then roasted in the fire. For the pitang oying, big pieces of chicken are preferred. These pieces are tied together with a string or leaf so that the pieces of the same hen do not get mixed with other hen's pieces because the dish is being made for a ui (domestic puja). Mustard oil is put on a wok. Then, we wait until it becomes hot. Paanch phoran (Indian masala) is put and stirred until black, then chicken pieces are placed. Onions are added, followed by ginger-garlic paste. Black pepper, chili paste, tumeric, …

Joya Medok Doley describes the process of making pitang oying, a traditional dish of the Mising community made with rice and chicken. She begins by washing the rice with water. After washing, a small amount of water is left so the grains expand. She then peels ginger and garlic. Black pepper and chilies should be added based on the amount of curry that is being made. Then, she removes the soaked rice and pounds it with a mortar and pestle. The rice is pounded till it becomes grainy. The hen is put into hot boiling water. This makes it easy to remove the feathers. The hen is then roasted in the fire. For the pitang oying, big pieces of chicken are preferred. These pieces are tied together with a string or leaf so that the pieces of the same hen do not get mixed with other hen's pieces because the dish is being made for a ui (domestic puja). Mustard oil is put on a wok. Then, we wait until it becomes hot. Paanch phoran (Indian masala) is put and stirred until black, then chicken pieces are placed. Onions are added, followed by ginger-garlic paste. Black pepper, chili paste, tumeric, …

Public performance including traditional musical instruments, chants, and singing.

Pre-print manuscript on the concatenation of Akha word, clauses, and sentences using particles and 8 conjunction forms, including examples.

Villagers of Jajikona Village introduce themselves and describe the festival, Jali Putuli Haba, or 'wedding of fake idols'. This is a traditional festival of the Bodo community, but not so common nowadays. It is still found in the Kamrup District of Assam, for example in Jajikona (Jarkona) village. The villagers believe that this festival is still rewarding. Here, two idols, bride and groom, made of straw are decorated with new clothes, colors, and garlands. Certain rituals are performed by the elderly people accompanied by music, song and dance while decorating the idols at one of the households. The main celebration takes place the next day when the idols are placed auspiciously within a cage specially built with banana trees and its barks. It is celebrated in an open field where all the villagers gather, offer prayers, and sing and dance in merriment to invoke and seek blessings from God. They believe that this particular ritual is performed in the name of Rain God, Deba Bwrai and Debi Burwi, Rawna and Rawni (Thunder and Lightening) for sufficient rain and good crops before they start farming activities in Summer.

Bibini Sakachep sings a traditional song called Lendou about an owner who longs for their mithun after selling it. She is from Jailen village, Karimganj District, Assam, around 48 years old at the time of recording.

Group performance of a song about the origins of the Sakachep people, accompanied by traditional instruments.

This is an elicitation of words read within a three-sentence frame for the purpose of acoustic analysis of word- and phrase-level stress correlates.

This is an elicitation of words read within a three-sentence frame for the purpose of acoustic analysis of word- and phrase-level stress correlates.

This is an elicitation of words read within a three-sentence frame for the purpose of acoustic analysis of word- and phrase-level stress correlates.

This is an elicitation of words read within a three-sentence frame for the purpose of acoustic analysis of word- and phrase-level stress correlates.

This is an elicitation of Mankiyali nouns and pronouns based on English sentences used as prompts. The speakers are Aurangzeb (a 34-year old male) and Gohar-Ur Rehman (a 37-year old male).

This monologue by Muhammad Aslam (a 36-year old male teacher) is about a story of a man who was visiting a village and saw people getting water from a tap in the wall. He returned to his own village and eagerly explained that he discovered a new way to get water that was much easier than their traditional way. He bought the supplies and installed the tap in the wall, but no water came out. One of his fellow villagers explained to him that, in order for the tap to work, one must install a pipe from a water source to the tap faucet in the wall.

Recording of a performance of a poem about a religious missionary group who pray often and teach people about the benefits of religious practices. The contributor Muhammad Aslam is a 36-year old male teacher.

This is a performance of a poem that warns about the brevity of life and the imminent arrival of the Judgement Day. Existence, including life, is ephemeral, so we would do better to prepare for the grave than pile up riches and seek pleasure in this life. The contributor Muhammad Aslam is a 36-year old male teacher.

In this conversation with Atta-Ur Rehman, Muhammad Suleman recounts the personal experiences of his first ever journey to the Chitral district of the Khyber-Pakhtunkhwa province where he attended a workshop on orthography and conservation of regional languages of Pakistan organized by the Project Director, Dr. Sadaf Munshi, in collaboration with the Forum for Language Initiatives, Islamabad (Pakistan).

In this conversation with Atta-Ur Rehman, Muhammad Suleman recounts the personal experiences of his first ever journey to the Chitral district of the Khyber-Pakhtunkhwa province where he attended a workshop on orthography and conservation of regional languages of Pakistan organized by the Project Director, Dr. Sadaf Munshi, in collaboration with the Forum for Language Initiatives, Islamabad (Pakistan).

This poem is a prayer to god by Muhammad Awaiz (a 32-year old male).

This poem is a prayer to god by Muhammad Awaiz (a 32-year old male).

Akha songs and narratives. Continued from Side A. Àbɔ́qɔ: mì dàq sjhí ŋɛ tshɔ́ ŋö́ ŋö́ ə

Akha songs and narratives. Àbɔ́qɔ: sjhá daŋ daŋ ə, làq xhö́ thó ə Maeby 12/8-79

Akha songs and narratives. Continued from Side A. Àbɔ́qɔ: sjhá daŋ daŋ ə, làq xhö́ thó ə Maeby 12/8-79