Recording of Angela Tholung singing Lam loon laa "alam moh k'hei txooi e" during the Lamkang folk song competition at Thamlapokpi village on 1st January 2017.The video is taken by Sumshot and Tony Khular as part of the Firebird Foundation for Anthropological Research Project.
Angshel Khular of M.Seljol village singing the 'Khungpaar Laa.' Angshel is known for his expert trumpet plays amongst the Lamkangs. He is also a known laapuu and also a dancer. This recording was made in M.Seljol village as part of the Firebird Foundation for Anthropological Research work collection by Sumshot Khular.
Belun Sankhil sharing his family origin and forefathers and their family lineage at Phaaidaam village. This recording was made in Phaaidam village as part of the Firebird Foundation for Anthropological Research work collection by Sumshot Khular.
This book chapter provides an overview of teams, complex adaptive systems, conflict stages, and conflict models, while also presenting adaptive leadership as a style that offers organizations with the capabilities of reacting to changing environments quickly.
Gangaa Devi and Amir Singh describe how they envision the future of Chhitkul village. The recording was made at their home, the Amar Guest House in Chhitkul village.
When a village girl is to get married, her peers and friends will gather at her house and spend a day singing and dancing with her. This narration is about the songs and dances performed during such gatherings.
When a traditional grand house is built, old men will stand beneath the house and perform a ritual. This narration is about ritual songs sung during construction of kakuki 'the grand house'.
This narration is about songs that are sung while working on field. Some of the first songs sang while going to the field and while working on it are recorded here. Such songs are usually short, and their themes are numerous.
This narration is about the practice of house visitation and songs sung while visiting houses of the village. A group of singers will walk through the village and stop at certain places in intervals and sing songs.
Phiangaobo is the coming together of friends or peers to celebrate after a season of hard agricultural work. This group of friends, usually younger people, would gather at one house where they sing, drink, and eat the whole night.
When festive time comes, elderly women will sleep over in their dormitory. They will spend their time together drinking, singing, and celebrating. This narration is about songs sung by old women when they come together to have fun.
This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.
This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.
A description of village administration. Smooth functioning of a village life requires certain people to execute certain roles. The two oldest men in the village, known as singko and tingko, provide the mechanism of the social and religious systems. It was their duty to declare prohibitions, taboos, and so on. Kamu, the village shaman, performs funeral for the dead and attend to sick. He would perform all the rituals in the village. Apai, the village council, comprising old men from every clan in the village, look after the village administration.
Guarding of village is one of the most important duties of able-bodied young men. While on duty, young men usually sing songs to assure the villagers that they are in good hands.
The narration is about the songs of the village youth. Back in the days, on some auspicious occasions the youth will gather at a place, sing songs teasing each other, drink rice beer, and celebrate the whole day. The speaker narrates what kind of songs were sung on this day.
Video of one group discussion during the break-out session at the 2018 CoRSAL Symposium on Developing Infrastructure for a Computational Resource on South Asian Languages. Participants broke up into two groups to discuss various issues that emerge during the process of documenting and archiving languages.
This article presents some results of the content analysis study that explores the authority data change over time in response to change in standards. Authority data describes persons, institutions, places, events, and works, as well as relations between them. This study contributes to the understanding of metadata change and its relation to functionality of authority records and improved information access.
Collection of the lyrics for Lamkang-language folk songs. It includes statements from various persons involved, biographical information about former village chiefs, tables of Lamkang/English/Manipuri equivalencies, and photos of people and instruments.
Krei Klou dance is a rare dance and with the realization of its importance Mr. Shetphong Sankhil taught this young children to learn to dance and they performed on the new years day at Thamlapokpi village, Shetphong also taught the songs to the singers. This was an initiative to make children learn about the culture and trasitions from young age inorder to keep the culture alive and vibrant. The video is taken by Sumshot and Tony Khular as part of the Firebird Foundation for Anthropological Research Project.
Recording of Lamkang folk song singing competition at Thamlapokpi village on 1st January 2017. This recording is seen with the microphone adjustment before the singing.
This article discusses a study in which 92 MOOC learners were interviewed to better understand their worlds, investigate possible mechanisms of student attrition, and extend conversations about the use of big data in education.
This is a monologue on the (traditional) everyday situation of a mother having a baby to take care of while having to perform other chores such as getting firewood and cooking (not considered a true folk story by language consultants).
This is a monologue on the (traditional) everyday situation of a mother having a baby to take care of while having to perform other chores such as getting firewood and cooking (not considered a true folk story by language consultants).
This folk song is about the composer’s (Rengsunnang of Katang village) glorious life and praise for his village. The singer of the song is the late Kulaibou of Maguilong village.
Khuhpi Saihriem sings a traditional song. She is a Saihriem speaker living in Bahbahar village, around 90 years old at the time of recording. She is also a speaker of Bengali.
Recording of Tholung Tete singing Khujin Laa "Akhuu jing yoso Var joso" during the Lamkang folk song competition at Thamlakpokpi village.The video is taken by Sumshot and Tony Khular as part of the Firebird Foundation for Anthropological Research Project.
Angshel Khular singing the Laam Laa called 'Ani yoo hangsuk ke txvi txvaa mrsaal le'. Angshel is an expert trumpeteer amongst the few Lamkang trumpeteers. He is also a known Laapuu singer and dancer. This recording was made in M.Seljol village as part of the Firebird Foundation for Anthropological Research work collection by Sumshot Khular.
Recording of Lamkang Lamloon laa sung by Kephaar Sankhil and Shangpor Shilshi during the Lamkang folk song competition at Thamlapokpi under the supervisor of Shetphong Sankhil. The first time kids were taught to sing the cultural folk songs and dances. Taught by Shetphong Sankhil. The video is taken by Sumshot and Tony Khular as part of the Firebird Foundation for Anthropological Research Project.
Recording of Thamringngam Jangvei singing nee "Ee shin shin lam moh U leh Nao" a folk song during the Lamkang folk song competition at Thamlapokpi village. The video is taken by Sumshot and Tony Khular as part of the Firebird Foundation for Anthropological Research Project.
Thamring Shilshi singing Paam Laa in the Lamkang folk song competition at Thamlakpokpi village.This recording was made in Thamlapokpi village as part of the Firebird Foundation for Anthropological Research work collection by Sumshot Khular.
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