This is a photograph of Maaz Shaikh recording Shahida Bano reciting a folk song in Sonwara village of Azamgarh.

This is a conversation initially between Munni, her sister, Maaz, and his uncle when they visit her home in Ladhuwāī̃ village. Munni is the wife of Naushad, who has worked with the Maaz’s family for several decades. After a while, Mr. Naushad arrives, and he too joins the conversation.

This is a conversation between four people in Sonwārā, the researcher’s village. Maaz, accompanied by his cousin Noman, visits Shahida Bano to document some folk songs mostly sung on the occasion of marriages. Rehana Bano—the neighbor of Shahida Bano—on noticing some folksongs being sung and recording taking place, joins the gathering at the request of Shahida. Maaz and Noman then ask her to brief them on topics such as changing times, a description of the demography of the village Sonwārā, the languages/ varieties spoken by Muslims and Hindus. Meanwhile, Maaz—on having noticed Shahida’s language to match with Bhojpuri than Azamgarhi—starts records the ongoing conversation. Shahida then extends the conversation to cover family members and some significant events along with some personal narratives. While Shahida Bano talks in Bhojpuri, the other people converse in Azamgarhi.

This is a photograph of Shahida Bano reciting a folk song which is being recorded by a recorder in Sonwara village of Azamgarh.

This is a photograph of Toofani Kaka.

This is a photograph of Toofani Kaka with Maaz Shaikh.

This is a retelling of the story of Raja Janmejai and of the King and Queen of Mehnagar narrated by Toofani Kaka

This is a performance of a traditional song by the title Abbā kē nadiā (Eng. The river of father) followed by a discussion on the same. This folksong is sung on the occasion of rukhsatī 'the bride's departure to her husband's home after the marriage'. It describes the differences in the emotional attachment that a daughter has with her mother, father, brother, and sister-in-law. The folksong is in the Bhojpuri language, the mother tongue of Asiya Khatoon, whereas the discussion is in Urdu and somewhat in Azamgarhi.

This is a performance of a traditional song titled 'Beṭi' (Eng. The daughter) followed by a discussion on the same. This folksong is sung on the occasion of rukhsatī 'the bride's departure to her husband's home after the marriage'. It describes how differently the bride's blood-related family members—the mother, father, and brother—get strong memories of her absence. In contrast, the non-blood-related sister-in-law doesn't feel her absence at all—instead, she's glad that the bride left. In this, the daughters The folksong is in the Bhojpuri language, the mother tongue of Asiya Khatoon, whereas the discussion is in Urdu and somewhat in Azamgarhi.

This is a conversation in Karmainī village, situated in the floodplains of the Ghaghra river in North of Azamgarh, with the women of the Naṭ community. They hail from a nearby village named Nakkīb Khojaulī, and identify themselves as (Sunni) Muslims. Badrun Nisa and Sharfun Nisa start by describing why they’ve come to Karmaini. Mateenuddin, Maaz’s grandfather, asks them to narrate how their community was provided with essential supplies during lockdown due to COVID-19. They do so, after which Sharfun Nisa sings a song on demonetization and the problems faced because of it. They then give information about their village and its demography.

This is a conversation where Mr. Satsri Mangal, a resident of Chaudhrīpūr in Rāmpūr village, places his demands before Mr. Jameel, the former and currently contesting Pardhān (village head) of Rampur. Mr. Jameel listens to his demands, and then Mr. Satsri Mangal narrates some incidents. After that, Mr. Jameel starts a conversation with the village children who were playing cricket a while ago and gathered around the recording place after noticing some recording taking place.

This is a conversation primarily with Mr. Jameel, the former and currently contesting Pardhān (village head) of Rāmpūr village. Mr. Jameel explains to Maaz the presence of dichotomy in speech among the population of Azamgarh and the variety spoken in Rāmpūr and other nearby Muslim-dominated villages. In the last part of the recording, Mr. Jameel talks with a villager who passes by.

This is a monologue on the Pardhānī (village head) elections in Rāmpūr in the Bhojpuri language. The elections were approaching closer at the time of recording, and the speaker Mr. Jameel who was the ex-village headman of Rāmpūr was contesting this time too. He speaks on the history of these elections and his contesting of the same. He then moves on to give information on Rampur village, its demography, and nearby villages.

This is a conversation where Mr. Satsri Mangal, a resident of Chaudhrīpūr in Rāmpūr village, places his demands before Mr. Jameel, the former and currently contesting Pardhān (village head) of Rampur. Mr. Jameel listens to his demands, and then Mr. Satsri Mangal narrates some incidents. After that, Mr. Jameel starts a conversation with the village children who were playing cricket a while ago and gathered around the recording place after noticing some recording taking place.

This is a conversation primarily with Mr. Jameel, the former and currently contesting Pardhān (village head) of Rampur village. Mr. Jameel gives the researcher information regarding the presence of dichotomy in speech among the population of Azamgarh and the variety spoken in Rampur and other nearby Muslim-dominated villages. In the last part of the recording, Mr. Jameel talks with a villager who passes by.

This is a monologue on the Pardhaani (village head) elections in Rampur in the Bhojpuri language. The elections were approaching closer at the time of recording, and the speaker Mr. Jameel who was the ex- village headman of Rampur, was contesting this time. He speaks on the history of these elections and his contesting of the same. He then moves on to give information on Rampur village and nearby villages.

This is a personal narrative by the son of Sahngi. Sahngi and Mahngi were two brothers who worked on the farms of Sadruddin, Maaz’s great grandfather. Mr. Toofani first introduces Maaz to Mr. Sahngi’s son and his relative and then leaves for work. Mr. Sahngi’s son narrates some incidences of Sadruddin and his contesting of the Pardhānī (village head) elections. He then talks about Maaz’s family members and his relationship with them. After that, he narrates his early adulthood time spent in Delhi, old times in Sonwārā village, and changing times.

This is a personal narrative by the son of Sahngi. Sahngi and Mahngi were two brothers who worked on the farms of Sadruddin, Maaz’s great grandfather. Mr. Toofani first introduces Maaz to Mr. Sahngi’s son and his relative and then leaves for work. Mr. Sahngi’s son narrates some incidences of Sadruddin and his contesting of the Pardhānī (village head) elections. He then talks about Maaz’s family members and his relationship with them. After that, he narrates his early adulthood time spent in Delhi, old times in Sonwārā village, and changing times.