Elicitation on verb stem alternation. Recorded in Old Bagbahar.

This is a discussion with Norbu Tashi, an elder from the Sani village, about the shifts in language, culture, and lifestyle that Zangskar has witnessed over the recent years. Recorded in Sani village, Ladakh Union Territory, India.

In this recording, Kunzang Chhuskit, an elder from Sani village, discusses the changes in Zangskar's agricultural practices. Prompted by questions from Dr. Jamphel Sheyan and students of GMDC, Zangskar, Chhuskit contrasts the recent adoption of machine harvesting and flour grinding with the traditional practices of hand-harvesting and water-mill grinding. Additionally, she recounts a tale about a prince named Kargyen Chocho. Concluding her discourse, she touches upon transformations in the dowry system and the broader changes Zangskar has undergone in its journey towards development. Recorded in Sani village, Ladakh Union Territory, India.

This is a discussion with Tshering Tashi, a Lama (monk) at the Bardan Monastery, who hails from the Sani village. Lama Tashi delves into the shifts that have taken place in Zangskar in terms of language, culture, lifestyle, and the environment over recent years. He explains how these alterations have affected the local Zangskari populace. In addition, Lama Tashi addresses questions from the students of GMDC, Zangskar, about the observed transformations within Zangskar's monasteries. Recorded in Sani village, Ladakh Union Territory, India.

The Epic of Gesar (also spelled Kesar) is one of the world's longest epics and is widely sung and narrated across the Tibetan Plateau and in parts of Central Asia. This grand narrative chronicles the life and adventures of the heroic figure, Gesar of Ling. The saga unfolds through numerous episodes, with one of its earliest segments detailing the miraculous birth of Gesar. Before this event, the kingdom of Ling found itself in dire need of a leader. In the inaugural episode, Tashi Zangmo from Sani village—one of the last remaining bards in Zangskar—narrates how Agu Gani, Gesar’s uncle and an elder in the kingdom, persuades the warrior God, Tshangspa Karpo, to bestow the kingdom of Ling with a king. This divine intervention culminates in the miraculous birth of Gesar. Recorded in Sani village, Ladakh Union Territory, India.

In this enlightening discussion, Prof. Tadeusz Slupski of Poland, a visitor to Zangskar since November 1977, discusses the cultural shifts over the decades with a couple from Sani village. Slupski narrates the socio-cultural transformations he witnessed since his initial visit and invites the couple to expand on these changes from their firsthand experiences. They discuss the nuances of the architectural evolution of Zangskari houses, delving into traditional heating and lighting methods, recalling cherished olden poems, songs, and dances—emphasizing the "chham" (Chham) dance and costumes, and reminisce about traditional weddings marked by horseback marriage processions. Dr. Jamphel Sheyan, Assistant Professor of English at GMDC, skillfully interprets the conversation, bridging Zangskari and English. Recorded in Sani village, Ladakh Union Territory, India.

Stanzin Choszin and her parents discuss the transformation Zangskar has witnessed in recent decades with Tshering Namgyal. Stanzin Choszin is a student at the Government Model Degree College (GMDC), Zangskar. Tshering Namgyal is a GMDC BA student. They discuss shifts in language, changing tastes in food and liquor, evolving work cultures, and matrimonial traditions. this discussion captures the essence of a rapidly transforming Zangskari society. Recorded at Choszin's residence in Sani village, Ladakh Union Territory, India.

Data management plan for the grant, "Minority Cyber-CREWS: Minority Community Cybersecurity Research, Educational Engagement, Workforce Development, and Security Best Practices." This project aims to improve cybersecurity research, education, and collaboration capabilities for the University of North Texas (UNT), a minority-serving institution (MSI) in the rapidly growing and diverse Dallas-Fort Worth (DFW) metropolitan area.

This is a conversation between Taj Nisa (a 49-year old female) and Nargis Bibi (a 40-year old female) about their eye surgery when they both get operated.

This is a conversation between Taj Nisa (a 49-year old female) and Nargis Bibi (a 40-year old female) about their eye surgery when they both get operated.

This is a discussion between Taj Nisa (a 49-year old female) and Saleh Noor (a 50-year old female). Taj Nisa talks about the likes and dislikes in her life.

This is a discussion between Taj Nisa (a 49-year old female) and Saleh Noor (a 50-year old female). Taj Nisa talks about the likes and dislikes in her life.

Akha songs and narratives. Continued from Side A. 0-7 Àbɔ́qɔ: àŋjí tjhɛ́ ə (Àbú-aŋ) 8/9-78; 7-33 Àbɔ́qɔ: tshɔ́ ŋö́ ŋö́ ə, zà jɔ ziq sjhí xaq naa; 33-[end] Àbɔ́qɔ: ə̀ tjhə̀ qú ə. Continued on Tape 67.

Akha songs and narratives. 0-27 Àbɔ́qɔ: sjhö̀ mí dja dɛáŋ djɔ́ ə 7/9-78; 27-[end] Àbɔ́qɔ: àŋjí tjhɛ́ ə (Àbú-aŋ) 8/9-78

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.'

Handwritten notes on Dimasa phonology (tone, pitch, syllable structure) with special focus on vowel quality and final glottal stops. Includes word lists of kinship terms, body parts, natural world, animals, household items, numerals, agriculture, and transitive verbs of motion.

Bupinder and Ayala describe how to make traditional carpets 'khyara' and related local items. They continue to have a natural conversation that goes beyond this subject. The recording was made at their home in Rakchham village after heavy snowfall. Water was dripping in the background.

Bimla discusses snowfall in Rakchham over the past few years, saying that heavy snowfall was more frequent in earlier times. The recording was made at her and her husband's house in Rakchham, just after some heavy snowfall episodes when the village was still covered by thick snow. It was only a few days after the road from Reckong Peo to Sangla and Rakchham had reopened.