The speaker narrates about earlier times when their ancestors used to built grand house and conduct ceremonies and pull pillars, posts, and big logs to build bridges. Before they start pulling the bridge materials, their ancestors performed a ritual called kaphi-kapaibo. While performing the ritual, the log will be cleaned with different types of leaves from end to end. This ritual is done so that they would carry the bridge materials easily. It is done to ward off injury or to avoid any sickness so that the villagers would reach their destination without any hindrance.

The speaker narrates about the practice of pulling big logs to build a bridge. This practice was passed down from many generations and it is still in practice today. Because this practice has been done since since our ancestors' time, people selflessly take part in pulling big stones and logs. Every villager contributes in this community work.

This narration is about the practice of pulling logs for pillar and post. The speaker narrates about some accompanying activities like elders beating drum and singing while logs are being pulled in the olden days.

The speaker narrates about the traditional practice of community fishing in Tharon village called makukha zuanbo. Tharon people do this from time to time during March-April.

The speaker describes the process of beating the katu, an herb used in community fishing. Bundles of katu are beaten with a wooden rod to produce juice and bubbles.

The speaker identifies the different varieties of fish caught in the community fishing expedition.

The speaker narrates about the preparation for community fishing. In order to go fishing, some twenty or thirty people go to identify the spot. Based on everyone’s opinion, they decided on a place to do the fishing. A day before fishing, some members also go deep to the forest to collect katu, the herb used for fishing. Each member contributes their labor even before the real fishing begins.

The speaker describes her method of weaving using a loom.

The speaker describes her method of weaving using a loom.

The composer of the song sing praises of the girls of Tapon village.

This is a song of Ngaisang. In this song the composer laments a lost love.

This is a song of Kaiguiyang, also known as Kaihui. He is one of the most well-known heroes of the Liangmai. His story and songs are widely among the Liangmai villages. He is also well-known for courting numbers of ladies.

This is a song of Hungenang, a legendary figure in Liangmai folklore. He is one of the most popular composers among the Liangmai, and there are many folk songs that are credited to him.

This is a song of Guithuanang of Tharon village. This song was composed as a conversation between two lovers expressing beauty, desire, and love for each other.

This is a song of Khamping, a legendary composer. This song talks about his failed relationship with a village damsel. His lover was given in marriage to a rich man of neighboring village by her parents.

The singer asks the people who made the road, "have you seen my love come home yet? If you see her tell her to mark the way. Tell her to show me the way. I will come like a cattle that cannot be pulled."

This song talks about the beauty of a woman as she matures. It says, everything looks better when a girl becomes a woman.

This is a song of expressing love between a man and woman. The man says, 'For the one I love I could bring the biggest bull. I can work the whole mountain. What do you say? My fair lady'. The woman responds, 'Oh bachelor! Stop teasing. Do not do as you wish. Do not mention about a bull You don’t have to pay anything. I will come for free'.

This song is about the beauty of the village. It says that the village is better than any foreign land. The singer appeals to the villagers who have gone out of the village to return to the village.

This song laments that things have changed in the village after the singer's beloved (Mungimai) is married off to a foreign man. He sings, 'The sun ray has changed in my village. My land is no longer like the old days. The sound of pigeon has changed. My heartfelt regret is that I could not protect Mungimai.'

Tharon (Thalon) villagers perform the sideward stepping dance 'malian phenbo'. The dance marks the beginning of Chaga festival. This dance is performed by Liangmai men. The men dance through the village until they come and stop in one designated place.

Tharon (Thalon) villagers perform the war cry or battle cry, 'Kahoi-hoibo'. It is a war cry or a battle call made by men. Men are divided into four groups and each group takes turns performing the kahoi. This kahoi-hoibo instills a spirit of oneness among men. Kahoi-hoibo is performed while going to war, as well as when performing community works like pulling big logs or rocks.

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.

Dikiuram villagers perform the dance of attaining ten, 'Kariu taobo lem'. This is a typical dance occasionally performed by the Liangmai village folks to praise someone who had attained great wealth, or someone who performed a significant deed. The person whose wealth increased would usually build a traditional grand house 'tarenki' to mark his achievement, and as a sign of joy and pride. To celebrate the achievement, they would throw a great feast and invite the villagers. On this auspicious day, he would offer ten each of his livestock to feed the village folks. Thus, the name kariu ‘ten’ taobo ‘reach/achieve’. The villagers will dance this kariu taobo lem in his honour.