Songs

One recording in which Mr Longchaq, Khamchaq Kimsing, Mr Jonglem Khilak, and Mr Ninshom Chena talk about Khundong Singers. This consists of the following sound file: nst-kim_20141223_14_SM_H5_AboutKhundongSinger The details of this recording are as follows: nst-kim_20141223_14_SM_H5_AboutKhundongSinger_Duration 1’35”, About the meeting with Niimii, who is unconverted, and the need to seek permission from her brothers before meeting her. As far as they know she is the only person with this skill.
One recording in which Mr Longchaq, Khamchaq Kimsing, Mr Jonglem Khilak, and Mr Ninshom Chena talk about Khundong Singers. This consists of the following sound file: nst-kim_20141223_14_SM_H5_AboutKhundongSinger The details of this recording are as follows: nst-kim_20141223_14_SM_H5_AboutKhundongSinger_Duration 1’35”, About the meeting with Niimii, who is unconverted, and the need to seek permission from her brothers before meeting her. As far as they know she is the only person with this skill.
Two recordings in which Mr Khamchaq Kimsing and Mr Ninshom Chena provide information about Wihu songs. This consists of the following two sound files: nst-kim_20141223_12_SM_H5_Khamchaq_AboutWihuSong nst-kim_20141223_13_SM_H5_Ninshom_AboutWihuSong The details of these recordings are as follows: nst-kim_20141223_12_SM_H5_Khamchaq_AboutWihuSong_Duration 4’55”, He is asked about the origin of the Wihau Shi. He mentions that there are two kinds of singers, those who know it deeply are called Khundong. This includes a discussion about the lady at Injan who is the greatest expert. At 1’50” he sings a Wihu line Khundong na dong na lii, phoq ni phaqdong na lii nst-kim_20141223_13_SM_H5_Ninshom_AboutWihuSong_Duration 1’47”, Ttranslation. Khundong and Phaqdong. Khundong is the original one, whereas Phaqdong is someone who learns it from others. The Khundong can ask the husked rice from singing. They can make the rice appear itself. To get the original Wihu it is necessary to go to Injan to meet Niimii
Two recordings in which Mr Khamchaq Kimsing and Mr Ninshom Chena provide information about Wihu songs. This consists of the following two sound files: nst-kim_20141223_12_SM_H5_Khamchaq_AboutWihuSong nst-kim_20141223_13_SM_H5_Ninshom_AboutWihuSong The details of these recordings are as follows: nst-kim_20141223_12_SM_H5_Khamchaq_AboutWihuSong_Duration 4’55”, He is asked about the origin of the Wihau Shi. He mentions that there are two kinds of singers, those who know it deeply are called Khundong. This includes a discussion about the lady at Injan who is the greatest expert. At 1’50” he sings a Wihu line Khundong na dong na lii, phoq ni phaqdong na lii nst-kim_20141223_13_SM_H5_Ninshom_AboutWihuSong_Duration 1’47”, Ttranslation. Khundong and Phaqdong. Khundong is the original one, whereas Phaqdong is someone who learns it from others. The Khundong can ask the husked rice from singing. They can make the rice appear itself. To get the original Wihu it is necessary to go to Injan to meet Niimii
Two recordings in which Mr Longchaq, Mr Khamchaq, and Mr Ninshom Chena sing the Wihu song. This consists of the following 2 sound files: nst-kim_20141223_17_SM_H5_Khamchaq_WihuSong nst-kim_20141223_18_SM_H5_Khamchaq_WihuSong The details of these recordings are as follows: nst-kim_20141223_17_SM_H5_Khamchaq_WihuSong_duraion 0’58”, Commences singing a Wihu song, but is asked to start again and explain as he goes nst-kim_20141223_18_SM_H5_Khamchaq_WihuSong_duration 4’13”, Singing and explaining some part of the Wihu Shi
Two recordings in which Mr Longchaq, Mr Khamchaq and Mr Ninshom Chena sing the Wihu song. This consists of the following 2 sound files: nst-kim_20141223_17_SM_H5_Khamchaq_WihuSong nst-kim_20141223_18_SM_H5_Khamchaq_WihuSong The details of these recordings are as follows: nst-kim_20141223_17_SM_H5_Khamchaq_WihuSong_duraion 0’58”, Commences singing a Wihu song, but is asked to start again and explain as he goes nst-kim_20141223_18_SM_H5_Khamchaq_WihuSong_duration 4’13”, Singing and explaining some part of the Wihu Shi
Two recordings in which Kamshey Chamchang sings Nochun Shi (lullaby). These consist of one video and one sound file: SDM13-20111101-03_SM_JVC_Kamshey_Lullaby.mp4 SDM13-20111101-05_SM_T_Kamshey_Lullaby.wav The details of these recordings are as follows: SDM13-20111101-03_SM_JVC_Kamshey_Lullaby.mp4; Duration 4’29”; Nochun Shi (lullaby) (also recorded as SDM13-20111101-05_SM_T_Kamshey_Lullaby.wav) SDM13-20111101-05_SM_T_Kamshey_Lullaby.wav; Duration 4’35”; Nochun Shi (lullaby) (also recorded as SDM13-20111101-03_SM_JVC_Kamshey_Lullaby.mp4)
Two recordings in which Kamshey Chamchang sings Nochun Shi (lullaby). These consist of one video and one sound file: SDM13-20111101-03_SM_JVC_Kamshey_Lullaby.mp4 SDM13-20111101-05_SM_T_Kamshey_Lullaby.wav The details of these recordings are as follows: SDM13-20111101-03_SM_JVC_Kamshey_Lullaby.mp4; Duration 4’29”; Nochun Shi (lullaby) (also recorded as SDM13-20111101-05_SM_T_Kamshey_Lullaby.wav) SDM13-20111101-05_SM_T_Kamshey_Lullaby.wav; Duration 4’35”; Nochun Shi (lullaby) (also recorded as SDM13-20111101-03_SM_JVC_Kamshey_Lullaby.mp4)
One recording in which Mr Kiimshey and Mr Wanglung talk about different types of songs. This consists of one sound file: nst-kim_20170113_01_SM_H5_Kiimshey_AboutSongs The details of this recording are as follows: nst-kim_20170113_01_SM_H5_Kiimshey_AboutSongs_Duration 6’26”, Listing the songs sung by the Chamchang people – Wihau, Ngoyo, Shammi, Saqpolo Tam, Yam Wa Shi; also Kupchun Shi, which is another name for the Wajom Shi.
One recording in which Mr Kiimshey and Mr Wanglung talk about different types of songs. This consists of one sound file: nst-kim_20170113_01_SM_H5_Kiimshey_AboutSongs The details of this recording are as follows: nst-kim_20170113_01_SM_H5_Kiimshey_AboutSongs_Duration 6’26”, Listing the songs sung by the Chamchang people – Wihau, Ngoyo, Shammi, Saqpolo Tam, Yam Wa Shi; also Kupchun Shi, which is another name for the Wajom Shi.
Fifteen recordings in which Longkhap Yanger Thungwa, Kamshey Chamchang and Ninshom Sena discuss the meaning of Ngoyo Shi (love song). These consist of the following video and sound files: SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111101-04_SM_T_Kamshey_LoveSong.wav SDM13-20111106-53_SM_T_Kamshey_NgoyoShi_Explanation1.wav SDM13-20111106-54_SM_T_Kamshey_NgoyoShi_Explanation2.wav SDM13-20111106-55_SM_T_Kamshey_NgoyoShi_Explanation3.wav SDM13-20111106-56_SM_T_Kamshey_NgoyoShi_Explanation4.wav nst-kim_20120307_04_SM_H4n_Yanger_LoveSongContext.wav nst-kim_20120307_05_SM_H4n_Yanger_LoveSongContext.wav nst-kim_20120307_10_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120307_13_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_07_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_08_SM_H4n_Yange_NgoyoShiExplanation.wav nst-kim_20120308_09_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_10_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_11_SM_H4n_Yanger_NgoyoShiExplanation.wav The details of these recordings are as follows: SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4; Duration 6’00”; Ngoyo Shi (love song) (also recorded as SDM13-20111101-04_SM_T_Kamshey_LoveSong.wav) SDM13-20111101-04_SM_T_Kamshey_LoveSong.wav; Duration 6’08”; Ngoyo Shi (love song) (also recorded as SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4) SDM13-20111106-53_SM_T_Kamshey_NgoyoShi_Explanation1.wav; Duration 16’53”; Discussion of the meaning of Ngoyo Shi – line by line, up to 1’29” of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111106-54_SM_T_Kamshey_NgoyoShi_Explanation2.wav; Duration 3’50”; Discussion of the meaning of Ngoyo Shi – line by line, from 1’29” to 1’59” of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111106-55_SM_T_Kamshey_NgoyoShi_Explanation3.wav; Duration 1’47”; Discussion of the meaning of Ngoyo Shi – line by line, from 1’59” to 2’12” of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111106-56_SM_T_Kamshey_NgoyoShi_Explanation4.wav; Duration 23’28”; Discussion of the meaning of Ngoyo Shi – line by line, from 2’12” to the end of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 nst-kim_20120307_04_SM_H4n_Yanger_LoveSongContext.wav; Duration 10’14”; English language description of the context in which songs are sung, including a brief description of the origin of opium story nst-kim_20120307_05_SM_H4n_Yanger_LoveSongContext.wav; Duration 1’09”; Brief discussion in English about the situation where one of the lovers gets another partner and the sorrow of the remaining one. nst-kim_20120307_10_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 0’50”; Discussion of the Ngoyo Shi, line 11, ngi jero ji na ‘when I was a young man’ in spoken language nst-kim_20120307_13_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 2’05”; Discussion of Ngoyo Shi, line 16 and 17, given in spoken language as rashe achha wan ma kuki na ‘the sun is now touching the edge of the hill’ Junrii awa wan ma, lam lii ‘the young girl looks for a way (to get married) nst-kim_20120308_07_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 1’11”; Discussion of Ngoyo Shi, line 26; words for mountain in spoken language ku and kin. nst-kim_20120308_08_SM_H4n_Yange_NgoyoShiExplanation.wav; Duration 0’33”; Discussion of Ngoyo Shi, line 28 and 29; According to Yanger Thungwa, it should be longer. He gives the spoken language version for each line nst-kim_20120308_09_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 0’38”; Discussion of Ngoyo Shi, line 30 nst-kim_20120308_10_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 1’43”; Discussion of Ngoyo Shi, line 31 nst-kim_20120308_11_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 1’09”; Discussion of Ngoyo Shi, line 35 and 36, with spoken language version.
Fifteen recordings in which Longkhap Yanger Thungwa, Kamshey Chamchang and Ninshom Sena discuss the meaning of Ngoyo Shi (love song). These consist of the following video and sound files: SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111101-04_SM_T_Kamshey_LoveSong.wav SDM13-20111106-53_SM_T_Kamshey_NgoyoShi_Explanation1.wav SDM13-20111106-54_SM_T_Kamshey_NgoyoShi_Explanation2.wav SDM13-20111106-55_SM_T_Kamshey_NgoyoShi_Explanation3.wav SDM13-20111106-56_SM_T_Kamshey_NgoyoShi_Explanation4.wav nst-kim_20120307_04_SM_H4n_Yanger_LoveSongContext.wav nst-kim_20120307_05_SM_H4n_Yanger_LoveSongContext.wav nst-kim_20120307_10_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120307_13_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_07_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_08_SM_H4n_Yange_NgoyoShiExplanation.wav nst-kim_20120308_09_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_10_SM_H4n_Yanger_NgoyoShiExplanation.wav nst-kim_20120308_11_SM_H4n_Yanger_NgoyoShiExplanation.wav The details of these recordings are as follows: SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4; Duration 6’00”; Ngoyo Shi (love song) (also recorded as SDM13-20111101-04_SM_T_Kamshey_LoveSong.wav) SDM13-20111101-04_SM_T_Kamshey_LoveSong.wav; Duration 6’08”; Ngoyo Shi (love song) (also recorded as SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4) SDM13-20111106-53_SM_T_Kamshey_NgoyoShi_Explanation1.wav; Duration 16’53”; Discussion of the meaning of Ngoyo Shi – line by line, up to 1’29” of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111106-54_SM_T_Kamshey_NgoyoShi_Explanation2.wav; Duration 3’50”; Discussion of the meaning of Ngoyo Shi – line by line, from 1’29” to 1’59” of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111106-55_SM_T_Kamshey_NgoyoShi_Explanation3.wav; Duration 1’47”; Discussion of the meaning of Ngoyo Shi – line by line, from 1’59” to 2’12” of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 SDM13-20111106-56_SM_T_Kamshey_NgoyoShi_Explanation4.wav; Duration 23’28”; Discussion of the meaning of Ngoyo Shi – line by line, from 2’12” to the end of SDM13-20111101-02_SM_JVC_Kamshey_LoveSong.mp4 nst-kim_20120307_04_SM_H4n_Yanger_LoveSongContext.wav; Duration 10’14”; English language description of the context in which songs are sung, including a brief description of the origin of opium story nst-kim_20120307_05_SM_H4n_Yanger_LoveSongContext.wav; Duration 1’09”; Brief discussion in English about the situation where one of the lovers gets another partner and the sorrow of the remaining one. nst-kim_20120307_10_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 0’50”; Discussion of the Ngoyo Shi, line 11, ngi jero ji na ‘when I was a young man’ in spoken language nst-kim_20120307_13_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 2’05”; Discussion of Ngoyo Shi, line 16 and 17, given in spoken language as rashe achha wan ma kuki na ‘the sun is now touching the edge of the hill’ Junrii awa wan ma, lam lii ‘the young girl looks for a way (to get married) nst-kim_20120308_07_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 1’11”; Discussion of Ngoyo Shi, line 26; words for mountain in spoken language ku and kin. nst-kim_20120308_08_SM_H4n_Yange_NgoyoShiExplanation.wav; Duration 0’33”; Discussion of Ngoyo Shi, line 28 and 29; According to Yanger Thungwa, it should be longer. He gives the spoken language version for each line nst-kim_20120308_09_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 0’38”; Discussion of Ngoyo Shi, line 30 nst-kim_20120308_10_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 1’43”; Discussion of Ngoyo Shi, line 31 nst-kim_20120308_11_SM_H4n_Yanger_NgoyoShiExplanation.wav; Duration 1’09”; Discussion of Ngoyo Shi, line 35 and 36, with spoken language version.
Seventy recordings in which Kamshey Chamchang and Ninshom Sena give detailed explanation of the Wihau Shi. These consist of one video and sixty nine sound files: SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 SDM13-20111101-02_SM_T_Kamshey_WihauSong.wav SDM13-20111101-03_SM_T_Kamshey_AboutWihauSong.wav SDM13-20111101-09_SM_T_Kamshey_WihauSongExplanation1.wav SDM13-20111101-10_SM_T_Kamshey_ WihauSongExplanation2.wav SDM13-20111101-11_SM_T_Kamshey_ WihauSongExplanation3.wav SDM13-20111101-12_SM_T_Kamshey_WihauSong_Line16.wav SDM13-20111101-13_SM_T_Kamshey_WihauSong_Line17.wav SDM13-20111101-14_SM_T_Kamshey_WihauSong_Line19.wav SDM13-20111101-15_SM_T_Kamshey_WihauSong_Line18.wav SDM13-20111101-16_SM_T_Kamshey_WihauSong_Line20.wav SDM13-20111101-17_SM_T_Kamshey_WihauSong_Line21.wav SDM13-20111101-18_SM_T_Kamshey_WihauSong_Line22.wav SDM13-20111101-19_SM_T_Kamshey_WihauSong_Line23.wav SDM13-20111101-20_SM_T_Kamshey_WihauSong_Line26.wav SDM13-20111101-21_SM_T_Kamshey_WihauSong_Line27.wav SDM13-20111101-22_SM_T_Kamshey_WihauSong_Line27.wav SDM13-20111101-23_SM_T_Kamshey_WihauSong_Line28.wav SDM13-20111101-24_SM_T_Kamshey_WihauSong_Line29.wav SDM13-20111106-01_SM_T_Kamshey_WihauSong_Line30.wav SDM13-20111106-02_SM_T_Kamshey_WihauSong_Line30.wav SDM13-20111106-03_SM_T_Kamshey_WihauSong_Line31.wav SDM13-20111106-04_SM_T_Kamshey_WihauSong_Line32.wav SDM13-20111106-05_SM_T_Kamshey_WihauSong_Line33.wav SDM13-20111106-06_SM_T_Kamshey_WihauSong_Line34.wav SDM13-20111106-07_SM_T_Kamshey_WihauSong_Line34.wav SDM13-20111106-08_SM_T_Kamshey_WihauSong_Line35.wav SDM13-20111106-09_SM_T_Kamshey_WihauSong_Line36.wav SDM13-20111106-10_SM_T_Kamshey_WihauSong_Line37.wav SDM13-20111106-11_SM_T_Kamshey_WihauSong_Line38.wav SDM13-20111106-12_SM_T_Kamshey_WihauSong_Line39.wav SDM13-20111106-13_SM_T_Kamshey_WihauSong_Line40.wav SDM13-20111106-14_SM_T_Kamshey_WihauSong_Line41.wav SDM13-20111106-15_SM_T_Kamshey_WihauSong_Line41.wav SDM13-20111106-16_SM_T_Kamshey_WihauSong_Line42.wav SDM13-20111106-17_SM_T_Kamshey_WihauSong_Line43.wav SDM13-20111106-18_SM_T_Kamshey_WihauSong_Line44.wav SDM13-20111106-19_SM_T_Kamshey_WihauSong_Line46.wav SDM13-20111106-20_SM_T_Kamshey_WihauSong_Line47.wav SDM13-20111106-21_SM_T_Kamshey_WihauSongDiscussion.wav SDM13-20111106-22_SM_T_Kamshey_WihauSong_Line48.wav SDM13-20111106-23_SM_T_Kamshey_WihauSong_Line48.wav SDM13-20111106-24_SM_T_Kamshey_WihauSong_Line49.wav SDM13-20111106-25_SM_T_Kamshey_WihauSong_Line49.wav SDM13-20111106-26_SM_T_Kamshey_WihauSong_Lines50and51.wav SDM13-20111106-27_SM_T_Kamshey_WihauSong_Line51.wav SDM13-20111106-28_SM_T_Kamshey_WihauSong_Lines52and53.wav SDM13-20111106-29_SM_T_Kamshey_WihauSong_Lines54and55.wav SDM13-20111106-30_SM_T_Kamshey_WihauSong_Line56.wav SDM13-20111106-31_SM_T_Kamshey_WihauSong_Line57.wav SDM13-20111106-32_SM_T_Kamshey_WihauSong_Line58.wav SDM13-20111106-33_SM_T_Kamshey_WihauSong_Line59.wav SDM13-20111106-34_SM_T_Kamshey_WihauSong_Line60.wav SDM13-20111106-35_SM_T_Kamshey_WihauSong_Lines61and62.wav SDM13-20111106-36_SM_T_Kamshey_WihauSong_Line67.wav SDM13-20111106-37_SM_T_Kamshey_WihauSong_Line68.wav SDM13-20111106-38_SM_T_Kamshey_WihauSong_Line71.wav SDM13-20111106-39_SM_T_Kamshey_WihauSong_Line72.wav SDM13-20111106-40_SM_T_Kamshey_WihauSong_Line73.wav SDM13-20111106-41_SM_T_Kamshey_WihauSong_Line78and79.wav SDM13-20111106-42_SM_T_Kamshey_WihauSong_Line80.wav SDM13-20111106-43_SM_T_Kamshey_WihauSong_Line81.wav SDM13-20111106-44_SM_T_Kamshey_WihauSong_Line82.wav SDM13-20111106-45_SM_T_Kamshey_WihauSong_Line83.wav SDM13-20111106-46_SM_T_Kamshey_WihauSong_Lines84and85.wav SDM13-20111106-47_SM_T_Kamshey_WihauSong_Line86.wav SDM13-20111106-49_SM_T_Kamshey_WihauSong_Line88.wav SDM13-20111106-50_SM_T_Kamshey_WihauSong_Line89.wav SDM13-20111106-51_SM_T_Kamshey_WihauSong_Lines90and91.wav SDM13-20111106-52_SM_T_Kamshey_WihauSong_Lines92and93.wav The details of these recordings are as follows: SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4: Wihau Shi (also recorded as SDM13-20111101-02_SM_T_Kamshey_WihauSong.wav). SDM13-20111101-02_SM_T_Kamshey_WihauSong.wav: Wihau Shi (also recorded as SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) SDM13-20111101-03_SM_T_Kamshey_AboutWihauSong.wav: About the Wihau Shi. The song is sung in December / January, after the end of the harvest, then people rejoice and at that time only do they sing this song. SDM13-20111101-09_SM_T_Kamshey_WihauSongExplanation1.wav: Explanation of Wihau Shi (1). This relates to lines (1) to (4) and consists of playing back SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 line by line up to 0’33”, and then Kamshey explaining the meaning to Ninshom SDM13-20111101-10_SM_T_Kamshey_ WihauSongExplanation2.wav: Explanation of Wihau Shi (2). Explanation of lines (5) to (29) consists of playing back SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 line by line from 0’33” to 2’44”, and then Kamshey explaining the meaning to Ninshom SDM13-20111101-11_SM_T_Kamshey_ WihauSongExplanation3.wav: Explanation of Wihau Shi (3), Explanation of lines (30) to the end; consists of playing back SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 line by line from 2’44”, and then Kamshey explaining the meaning to Ninshom SDM13-20111101-12_SM_T_Kamshey_WihauSong_Line16.wav: Explanation of line 16 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. This relates to the bamboo cup, filled with alcohol, that is poured in a ceremonial way at the time of Wihau Kuq. SDM13-20111101-13_SM_T_Kamshey_WihauSong_Line17.wav: Explanation of line 17 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) . This includes both sung and spoken versions of this line. This line relates to the ritual pouring of alcohol during the festival. SDM13-20111101-14_SM_T_Kamshey_WihauSong_Line19.wav: Explanation of line 19 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) . This includes both sung and spoken versions of this line. In this line the ancestor Sanwang Ti is compared to a rich man. SDM13-20111101-15_SM_T_Kamshey_WihauSong_Line18.wav: Explanation of line 18 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) . This includes both sung and spoken versions of this line. In this line the ancestor Sanwang Ti is compared to the senior branch of the family. SDM13-20111101-16_SM_T_Kamshey_WihauSong_Line20.wav: Explanation of line 20 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-17_SM_T_Kamshey_WihauSong_Line21.wav: Explanation of line 21 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-18_SM_T_Kamshey_WihauSong_Line22.wav: Explanation of line 22 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-19_SM_T_Kamshey_WihauSong_Line23.wav: Explanation of line 23 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-20_SM_T_Kamshey_WihauSong_Line26.wav: Explanation of line 26 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-21_SM_T_Kamshey_WihauSong_Line27.wav: Explanation of line 27 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111101-22_SM_T_Kamshey_WihauSong_Line27.wav: Explanation of line 27 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) continued. This includes both sung and spoken versions of this line. SDM13-20111101-23_SM_T_Kamshey_WihauSong_Line28.wav: Explanation of line 28 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-24_SM_T_Kamshey_WihauSong_Line29.wav: Explanation of line 29 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111106-01_SM_T_Kamshey_WihauSong_Line30.wav: Explanation of line 30 (2’44”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-02_SM_T_Kamshey_WihauSong_Line30.wav: Explanation of line 30 (2’44”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes the spoken version of this line SDM13-20111106-03_SM_T_Kamshey_WihauSong_Line31.wav: Explanation of line 31 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-04_SM_T_Kamshey_WihauSong_Line32.wav: Explanation of line 32 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-05_SM_T_Kamshey_WihauSong_Line33.wav: Explanation of line 33 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-06_SM_T_Kamshey_WihauSong_Line34.wav: Explanation of line 34 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-07_SM_T_Kamshey_WihauSong_Line34.wav: Explanation of line 34 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-08_SM_T_Kamshey_WihauSong_Line35.wav: Explanation of line 35 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-09_SM_T_Kamshey_WihauSong_Line36.wav: Explanation of line 36 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-10_SM_T_Kamshey_WihauSong_Line37.wav: Explanation of line 37 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-11_SM_T_Kamshey_WihauSong_Line38.wav: Explanation of line 38 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-12_SM_T_Kamshey_WihauSong_Line39.wav: Explanation of line 39 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-13_SM_T_Kamshey_WihauSong_Line40.wav: Explanation of line 40 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-14_SM_T_Kamshey_WihauSong_Line41.wav: Explanation of line 41 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-15_SM_T_Kamshey_WihauSong_Line41.wav: Explanation of line 41 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). About the word for ‘fear’ SDM13-20111106-16_SM_T_Kamshey_WihauSong_Line42.wav: Explanation of line 42 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-17_SM_T_Kamshey_WihauSong_Line43.wav: Explanation of line 43 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-18_SM_T_Kamshey_WihauSong_Line44.wav: Explanation of line 44 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-19_SM_T_Kamshey_WihauSong_Line46.wav: Explanation of the second portion of line 46 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-20_SM_T_Kamshey_WihauSong_Line47.wav: Explanation of line 47 (4’11”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-21_SM_T_Kamshey_WihauSongDiscussion.wav: A discussion about whether the words of the Wihu song can be changed or whether they are fixed SDM13-20111106-22_SM_T_Kamshey_WihauSong_Line48.wav: Explanation of line 48 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-23_SM_T_Kamshey_WihauSong_Line48.wav: Spoken language version of line 48 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-24_SM_T_Kamshey_WihauSong_Line49.wav: Explanation of line 49 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-25_SM_T_Kamshey_WihauSong_Line49.wav: Explanation of line 49 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-26_SM_T_Kamshey_WihauSong_Lines50and51.wav: Explanation of lines 50 and 51 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-27_SM_T_Kamshey_WihauSong_Line51.wav: Explanation of line 51 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-28_SM_T_Kamshey_WihauSong_Lines52and53.wav: Explanation of lines 52 and 53 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-29_SM_T_Kamshey_WihauSong_Lines54and55.wav: Explanation of lines 54 and 55 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-30_SM_T_Kamshey_WihauSong_Line56.wav: Explanation of line 56 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-31_SM_T_Kamshey_WihauSong_Line57.wav: Explanation of line 57 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-32_SM_T_Kamshey_WihauSong_Line58.wav: Explanation of line 58 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-33_SM_T_Kamshey_WihauSong_Line59.wav: Explanation of the second half of line 59 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-34_SM_T_Kamshey_WihauSong_Line60.wav: Explanation of line 60 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-35_SM_T_Kamshey_WihauSong_Lines61and62.wav: Explanation of lines 61 and 62 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-36_SM_T_Kamshey_WihauSong_Line67.wav: Explanation of line 67 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-37_SM_T_Kamshey_WihauSong_Line68.wav: Explanation of line 68 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-38_SM_T_Kamshey_WihauSong_Line71.wav: Explanation of line 71 (6’08”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-39_SM_T_Kamshey_WihauSong_Line72.wav: Explanation of line 72 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-40_SM_T_Kamshey_WihauSong_Line73.wav: Explanation of line 73 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-41_SM_T_Kamshey_WihauSong_Line78and79.wav: Explanation of lines 78 and 79 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-42_SM_T_Kamshey_WihauSong_Line80.wav: Explanation of line 80 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-43_SM_T_Kamshey_WihauSong_Line81.wav: Explanation of line 81 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-44_SM_T_Kamshey_WihauSong_Line82.wav: Explanation of line 82 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-45_SM_T_Kamshey_WihauSong_Line83.wav: Explanation of line 83 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-46_SM_T_Kamshey_WihauSong_Lines84and85.wav: Explanation of lines 84 and 85 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-47_SM_T_Kamshey_WihauSong_Line86.wav: Explanation of line 86 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-49_SM_T_Kamshey_WihauSong_Line88.wav: Explanation of line 88 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-50_SM_T_Kamshey_WihauSong_Line89.wav: Explanation of line 89 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-51_SM_T_Kamshey_WihauSong_Lines90and91.wav: Explanation of lines 90 and 91 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-52_SM_T_Kamshey_WihauSong_Lines92and93.wav: Explanation of lines 92 and 93 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4).
Seventy recordings in which Kamshey Chamchang and Ninshom Sena give detailed explanation of the Wihau Shi. These consist of one video and sixty nine sound files: SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 SDM13-20111101-02_SM_T_Kamshey_WihauSong.wav SDM13-20111101-03_SM_T_Kamshey_AboutWihauSong.wav SDM13-20111101-09_SM_T_Kamshey_WihauSongExplanation1.wav SDM13-20111101-10_SM_T_Kamshey_ WihauSongExplanation2.wav SDM13-20111101-11_SM_T_Kamshey_ WihauSongExplanation3.wav SDM13-20111101-12_SM_T_Kamshey_WihauSong_Line16.wav SDM13-20111101-13_SM_T_Kamshey_WihauSong_Line17.wav SDM13-20111101-14_SM_T_Kamshey_WihauSong_Line19.wav SDM13-20111101-15_SM_T_Kamshey_WihauSong_Line18.wav SDM13-20111101-16_SM_T_Kamshey_WihauSong_Line20.wav SDM13-20111101-17_SM_T_Kamshey_WihauSong_Line21.wav SDM13-20111101-18_SM_T_Kamshey_WihauSong_Line22.wav SDM13-20111101-19_SM_T_Kamshey_WihauSong_Line23.wav SDM13-20111101-20_SM_T_Kamshey_WihauSong_Line26.wav SDM13-20111101-21_SM_T_Kamshey_WihauSong_Line27.wav SDM13-20111101-22_SM_T_Kamshey_WihauSong_Line27.wav SDM13-20111101-23_SM_T_Kamshey_WihauSong_Line28.wav SDM13-20111101-24_SM_T_Kamshey_WihauSong_Line29.wav SDM13-20111106-01_SM_T_Kamshey_WihauSong_Line30.wav SDM13-20111106-02_SM_T_Kamshey_WihauSong_Line30.wav SDM13-20111106-03_SM_T_Kamshey_WihauSong_Line31.wav SDM13-20111106-04_SM_T_Kamshey_WihauSong_Line32.wav SDM13-20111106-05_SM_T_Kamshey_WihauSong_Line33.wav SDM13-20111106-06_SM_T_Kamshey_WihauSong_Line34.wav SDM13-20111106-07_SM_T_Kamshey_WihauSong_Line34.wav SDM13-20111106-08_SM_T_Kamshey_WihauSong_Line35.wav SDM13-20111106-09_SM_T_Kamshey_WihauSong_Line36.wav SDM13-20111106-10_SM_T_Kamshey_WihauSong_Line37.wav SDM13-20111106-11_SM_T_Kamshey_WihauSong_Line38.wav SDM13-20111106-12_SM_T_Kamshey_WihauSong_Line39.wav SDM13-20111106-13_SM_T_Kamshey_WihauSong_Line40.wav SDM13-20111106-14_SM_T_Kamshey_WihauSong_Line41.wav SDM13-20111106-15_SM_T_Kamshey_WihauSong_Line41.wav SDM13-20111106-16_SM_T_Kamshey_WihauSong_Line42.wav SDM13-20111106-17_SM_T_Kamshey_WihauSong_Line43.wav SDM13-20111106-18_SM_T_Kamshey_WihauSong_Line44.wav SDM13-20111106-19_SM_T_Kamshey_WihauSong_Line46.wav SDM13-20111106-20_SM_T_Kamshey_WihauSong_Line47.wav SDM13-20111106-21_SM_T_Kamshey_WihauSongDiscussion.wav SDM13-20111106-22_SM_T_Kamshey_WihauSong_Line48.wav SDM13-20111106-23_SM_T_Kamshey_WihauSong_Line48.wav SDM13-20111106-24_SM_T_Kamshey_WihauSong_Line49.wav SDM13-20111106-25_SM_T_Kamshey_WihauSong_Line49.wav SDM13-20111106-26_SM_T_Kamshey_WihauSong_Lines50and51.wav SDM13-20111106-27_SM_T_Kamshey_WihauSong_Line51.wav SDM13-20111106-28_SM_T_Kamshey_WihauSong_Lines52and53.wav SDM13-20111106-29_SM_T_Kamshey_WihauSong_Lines54and55.wav SDM13-20111106-30_SM_T_Kamshey_WihauSong_Line56.wav SDM13-20111106-31_SM_T_Kamshey_WihauSong_Line57.wav SDM13-20111106-32_SM_T_Kamshey_WihauSong_Line58.wav SDM13-20111106-33_SM_T_Kamshey_WihauSong_Line59.wav SDM13-20111106-34_SM_T_Kamshey_WihauSong_Line60.wav SDM13-20111106-35_SM_T_Kamshey_WihauSong_Lines61and62.wav SDM13-20111106-36_SM_T_Kamshey_WihauSong_Line67.wav SDM13-20111106-37_SM_T_Kamshey_WihauSong_Line68.wav SDM13-20111106-38_SM_T_Kamshey_WihauSong_Line71.wav SDM13-20111106-39_SM_T_Kamshey_WihauSong_Line72.wav SDM13-20111106-40_SM_T_Kamshey_WihauSong_Line73.wav SDM13-20111106-41_SM_T_Kamshey_WihauSong_Line78and79.wav SDM13-20111106-42_SM_T_Kamshey_WihauSong_Line80.wav SDM13-20111106-43_SM_T_Kamshey_WihauSong_Line81.wav SDM13-20111106-44_SM_T_Kamshey_WihauSong_Line82.wav SDM13-20111106-45_SM_T_Kamshey_WihauSong_Line83.wav SDM13-20111106-46_SM_T_Kamshey_WihauSong_Lines84and85.wav SDM13-20111106-47_SM_T_Kamshey_WihauSong_Line86.wav SDM13-20111106-49_SM_T_Kamshey_WihauSong_Line88.wav SDM13-20111106-50_SM_T_Kamshey_WihauSong_Line89.wav SDM13-20111106-51_SM_T_Kamshey_WihauSong_Lines90and91.wav SDM13-20111106-52_SM_T_Kamshey_WihauSong_Lines92and93.wav The details of these recordings are as follows: SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4: Wihau Shi (also recorded as SDM13-20111101-02_SM_T_Kamshey_WihauSong.wav). SDM13-20111101-02_SM_T_Kamshey_WihauSong.wav: Wihau Shi (also recorded as SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) SDM13-20111101-03_SM_T_Kamshey_AboutWihauSong.wav: About the Wihau Shi. The song is sung in December / January, after the end of the harvest, then people rejoice and at that time only do they sing this song. SDM13-20111101-09_SM_T_Kamshey_WihauSongExplanation1.wav: Explanation of Wihau Shi (1). This relates to lines (1) to (4) and consists of playing back SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 line by line up to 0’33”, and then Kamshey explaining the meaning to Ninshom SDM13-20111101-10_SM_T_Kamshey_ WihauSongExplanation2.wav: Explanation of Wihau Shi (2). Explanation of lines (5) to (29) consists of playing back SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 line by line from 0’33” to 2’44”, and then Kamshey explaining the meaning to Ninshom SDM13-20111101-11_SM_T_Kamshey_ WihauSongExplanation3.wav: Explanation of Wihau Shi (3), Explanation of lines (30) to the end; consists of playing back SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4 line by line from 2’44”, and then Kamshey explaining the meaning to Ninshom SDM13-20111101-12_SM_T_Kamshey_WihauSong_Line16.wav: Explanation of line 16 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. This relates to the bamboo cup, filled with alcohol, that is poured in a ceremonial way at the time of Wihau Kuq. SDM13-20111101-13_SM_T_Kamshey_WihauSong_Line17.wav: Explanation of line 17 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) . This includes both sung and spoken versions of this line. This line relates to the ritual pouring of alcohol during the festival. SDM13-20111101-14_SM_T_Kamshey_WihauSong_Line19.wav: Explanation of line 19 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) . This includes both sung and spoken versions of this line. In this line the ancestor Sanwang Ti is compared to a rich man. SDM13-20111101-15_SM_T_Kamshey_WihauSong_Line18.wav: Explanation of line 18 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) . This includes both sung and spoken versions of this line. In this line the ancestor Sanwang Ti is compared to the senior branch of the family. SDM13-20111101-16_SM_T_Kamshey_WihauSong_Line20.wav: Explanation of line 20 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-17_SM_T_Kamshey_WihauSong_Line21.wav: Explanation of line 21 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-18_SM_T_Kamshey_WihauSong_Line22.wav: Explanation of line 22 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-19_SM_T_Kamshey_WihauSong_Line23.wav: Explanation of line 23 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-20_SM_T_Kamshey_WihauSong_Line26.wav: Explanation of line 26 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-21_SM_T_Kamshey_WihauSong_Line27.wav: Explanation of line 27 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111101-22_SM_T_Kamshey_WihauSong_Line27.wav: Explanation of line 27 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4) continued. This includes both sung and spoken versions of this line. SDM13-20111101-23_SM_T_Kamshey_WihauSong_Line28.wav: Explanation of line 28 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111101-24_SM_T_Kamshey_WihauSong_Line29.wav: Explanation of line 29 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes both sung and spoken versions of this line. SDM13-20111106-01_SM_T_Kamshey_WihauSong_Line30.wav: Explanation of line 30 (2’44”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-02_SM_T_Kamshey_WihauSong_Line30.wav: Explanation of line 30 (2’44”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). This includes the spoken version of this line SDM13-20111106-03_SM_T_Kamshey_WihauSong_Line31.wav: Explanation of line 31 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-04_SM_T_Kamshey_WihauSong_Line32.wav: Explanation of line 32 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-05_SM_T_Kamshey_WihauSong_Line33.wav: Explanation of line 33 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-06_SM_T_Kamshey_WihauSong_Line34.wav: Explanation of line 34 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-07_SM_T_Kamshey_WihauSong_Line34.wav: Explanation of line 34 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-08_SM_T_Kamshey_WihauSong_Line35.wav: Explanation of line 35 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-09_SM_T_Kamshey_WihauSong_Line36.wav: Explanation of line 36 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-10_SM_T_Kamshey_WihauSong_Line37.wav: Explanation of line 37 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-11_SM_T_Kamshey_WihauSong_Line38.wav: Explanation of line 38 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-12_SM_T_Kamshey_WihauSong_Line39.wav: Explanation of line 39 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-13_SM_T_Kamshey_WihauSong_Line40.wav: Explanation of line 40 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-14_SM_T_Kamshey_WihauSong_Line41.wav: Explanation of line 41 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-15_SM_T_Kamshey_WihauSong_Line41.wav: Explanation of line 41 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). About the word for ‘fear’ SDM13-20111106-16_SM_T_Kamshey_WihauSong_Line42.wav: Explanation of line 42 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-17_SM_T_Kamshey_WihauSong_Line43.wav: Explanation of line 43 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-18_SM_T_Kamshey_WihauSong_Line44.wav: Explanation of line 44 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-19_SM_T_Kamshey_WihauSong_Line46.wav: Explanation of the second portion of line 46 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-20_SM_T_Kamshey_WihauSong_Line47.wav: Explanation of line 47 (4’11”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-21_SM_T_Kamshey_WihauSongDiscussion.wav: A discussion about whether the words of the Wihu song can be changed or whether they are fixed SDM13-20111106-22_SM_T_Kamshey_WihauSong_Line48.wav: Explanation of line 48 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-23_SM_T_Kamshey_WihauSong_Line48.wav: Spoken language version of line 48 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-24_SM_T_Kamshey_WihauSong_Line49.wav: Explanation of line 49 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-25_SM_T_Kamshey_WihauSong_Line49.wav: Explanation of line 49 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-26_SM_T_Kamshey_WihauSong_Lines50and51.wav: Explanation of lines 50 and 51 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-27_SM_T_Kamshey_WihauSong_Line51.wav: Explanation of line 51 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-28_SM_T_Kamshey_WihauSong_Lines52and53.wav: Explanation of lines 52 and 53 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-29_SM_T_Kamshey_WihauSong_Lines54and55.wav: Explanation of lines 54 and 55 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-30_SM_T_Kamshey_WihauSong_Line56.wav: Explanation of line 56 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-31_SM_T_Kamshey_WihauSong_Line57.wav: Explanation of line 57 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-32_SM_T_Kamshey_WihauSong_Line58.wav: Explanation of line 58 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-33_SM_T_Kamshey_WihauSong_Line59.wav: Explanation of the second half of line 59 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-34_SM_T_Kamshey_WihauSong_Line60.wav: Explanation of line 60 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-35_SM_T_Kamshey_WihauSong_Lines61and62.wav: Explanation of lines 61 and 62 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-36_SM_T_Kamshey_WihauSong_Line67.wav: Explanation of line 67 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-37_SM_T_Kamshey_WihauSong_Line68.wav: Explanation of line 68 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-38_SM_T_Kamshey_WihauSong_Line71.wav: Explanation of line 71 (6’08”) of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-39_SM_T_Kamshey_WihauSong_Line72.wav: Explanation of line 72 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-40_SM_T_Kamshey_WihauSong_Line73.wav: Explanation of line 73 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-41_SM_T_Kamshey_WihauSong_Line78and79.wav: Explanation of lines 78 and 79 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-42_SM_T_Kamshey_WihauSong_Line80.wav: Explanation of line 80 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-43_SM_T_Kamshey_WihauSong_Line81.wav: Explanation of line 81 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-44_SM_T_Kamshey_WihauSong_Line82.wav: Explanation of line 82 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-45_SM_T_Kamshey_WihauSong_Line83.wav: Explanation of line 83 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-46_SM_T_Kamshey_WihauSong_Lines84and85.wav: Explanation of lines 84 and 85 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-47_SM_T_Kamshey_WihauSong_Line86.wav: Explanation of line 86 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-49_SM_T_Kamshey_WihauSong_Line88.wav: Explanation of line 88 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-50_SM_T_Kamshey_WihauSong_Line89.wav: Explanation of line 89 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-51_SM_T_Kamshey_WihauSong_Lines90and91.wav: Explanation of lines 90 and 91 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4). SDM13-20111106-52_SM_T_Kamshey_WihauSong_Lines92and93.wav: Explanation of lines 92 and 93 of the Wihau Shi (SDM13-20111101-01_SM_JVC_Kamshey_WihauSong.mp4).
The video shows Phanglim Kimching singing some traditional songs in Kimching and also explaining some terms of the song language
One recording in which Mr Lamsham Khilak provides information about the Wihu song. This includes one video file: nst-kim_20131113_14_SM_JVC_Lamchom_AboutWihuSong The details of this recording are as follows: nst-kim_20131113_14_SM_JVC_Lamchom_AboutWihuSong_Duration 7’50”, About Wihu Shi and about songs in general. He told that the song sung by Limbi and Kiimshey was very meaningful and he talked about three things (1) Wihau, (2) Ngoyo and (3) Bible and in these things we get salt (shumx), which is mentioned in these three, at the beginning and at the end, whereas sugar is sweet but not mentioned. Thirdly he said that it would take five years to make a proper translation of this; what Limbi sang from inside, words like niron nangron, if we study these in song language, it is like multiplication, if we look at one word, it has many many parts, like many cells, and he gave the example, in regard to Ngoyo song, a person who married illegally, for that also the song is different, for those who married legally, the song also is different. Lastly he said that speaking language and Wihau language, meaning is same but the words are different. People may ask how it is that singing and speaking tell the same things, but they are telling the same things. He also said that if a person does a bad thing, the Wihau song can be used as a curse, and it can be used as a blessing for those who do good.
One recording in which Mr Lamsham Khilak provides information about the Wihu song. This includes one video file: nst-kim_20131113_14_SM_JVC_Lamchom_AboutWihuSong The details of this recording are as follows: nst-kim_20131113_14_SM_JVC_Lamchom_AboutWihuSong_Duration 7’50”, About Wihu Shi and about songs in general. He told that the song sung by Limbi and Kiimshey was very meaningful and he talked about three things (1) Wihau, (2) Ngoyo and (3) Bible and in these things we get salt (shumx), which is mentioned in these three, at the beginning and at the end, whereas sugar is sweet but not mentioned. Thirdly he said that it would take five years to make a proper translation of this; what Limbi sang from inside, words like niron nangron, if we study these in song language, it is like multiplication, if we look at one word, it has many many parts, like many cells, and he gave the example, in regard to Ngoyo song, a person who married illegally, for that also the song is different, for those who married legally, the song also is different. Lastly he said that speaking language and Wihau language, meaning is same but the words are different. People may ask how it is that singing and speaking tell the same things, but they are telling the same things. He also said that if a person does a bad thing, the Wihau song can be used as a curse, and it can be used as a blessing for those who do good.
Two recordings in which Lamsham Khalak and Ninshom Chena talks about the language used for the Wihu song. These consist of the following sound files: nst-kim_20121109_08_SM_T_Lamsham_WihauSongLanguage.wav nst-kim_20121109_09_SM_T_Lamsham_WihauSongStory.wav The details of these recordings are as follows: nst-kim_20121109_08_SM_T_Lamsham_WihauSongLanguage.wav; Duration 4’49”; About the Wihu song and whether it is always sung in the Khalak (Khilak in Chamchang) language. Originally the song was in Khalak, but now people sing in their own way, in their own dialects. The reason is that the Khalak are from the east (shedong). From the song language everyone can understand Khalak, but in speaking they cannot understand each other. The subtribes whose language is similar to Khalak are called Hiqche and Longkhi in Chamchang. The Hiqche are also known as Gahchan. There are none of them in India. There are very few Khalak in India, but one of them is Lukam Tonglum’s wife Ringnya. nst-kim_20121109_09_SM_T_Lamsham_WihauSongStory.wav; Duration 4’32”; The word Shedong means ‘sunrise’ but it is used to refer to people from the East. In this recording he says that a tree of song fell down to the ground so all the fruits were plucked by the people of the east – this means the Longkhi and Khalak. A tree of beauty fell down to the ground and many good fruits were plucked by the Hacheng (Hichii in Chamchang). So until today unlike any other Tangsas, the Hacheng are regarded as beautiful young men and women. All the tastiest ones were plucked by the Hacheng. The rest of the subtribes got only the branches, not the fruits, that’s why they are neither beautiful nor ugly. At the end a Thamkok fellow came and asked if they would share the branches, and all the rest of the subtribes who got the branches said to him “Brother, you are unlucky, there is no more branch, so take the root,” and they gave him a twisted root which is why the Thamkok people are all ugly. (Later he expressed that the Tangsa subtribes should not differentiate India and Burma, because they were born in Burma – therefore both India and Burma are their country).
Two recordings in which Lamsham Khalak and Ninshom Chena talks about the language used for the Wihu song. These consist of the following sound files: nst-kim_20121109_08_SM_T_Lamsham_WihauSongLanguage.wav nst-kim_20121109_09_SM_T_Lamsham_WihauSongStory.wav The details of these recordings are as follows: nst-kim_20121109_08_SM_T_Lamsham_WihauSongLanguage.wav; Duration 4’49”; About the Wihu song and whether it is always sung in the Khalak (Khilak in Chamchang) language. Originally the song was in Khalak, but now people sing in their own way, in their own dialects. The reason is that the Khalak are from the east (shedong). From the song language everyone can understand Khalak, but in speaking they cannot understand each other. The subtribes whose language is similar to Khalak are called Hiqche and Longkhi in Chamchang. The Hiqche are also known as Gahchan. There are none of them in India. There are very few Khalak in India, but one of them is Lukam Tonglum’s wife Ringnya. nst-kim_20121109_09_SM_T_Lamsham_WihauSongStory.wav; Duration 4’32”; The word Shedong means ‘sunrise’ but it is used to refer to people from the East. In this recording he says that a tree of song fell down to the ground so all the fruits were plucked by the people of the east – this means the Longkhi and Khalak. A tree of beauty fell down to the ground and many good fruits were plucked by the Hacheng (Hichii in Chamchang). So until today unlike any other Tangsas, the Hacheng are regarded as beautiful young men and women. All the tastiest ones were plucked by the Hacheng. The rest of the subtribes got only the branches, not the fruits, that’s why they are neither beautiful nor ugly. At the end a Thamkok fellow came and asked if they would share the branches, and all the rest of the subtribes who got the branches said to him “Brother, you are unlucky, there is no more branch, so take the root,” and they gave him a twisted root which is why the Thamkok people are all ugly. (Later he expressed that the Tangsa subtribes should not differentiate India and Burma, because they were born in Burma – therefore both India and Burma are their country).
Two recordings in which Mr Limbi Thungwa and Mr Kiimshey Shewa provide information about the Wihu song. This consists of one video file and one sound file: nst-kim_20131113_07_SM_JVC_LimbiAndKiimshey_AboutWihuSong nst-kim_20131113_12_SM_T_LimbiAndKiimshey_AboutWihuSong The details of these recordings are as follows: nst-kim_20131113_07_SM_JVC_LimbiAndKiimshey_AboutWihuSong_Duration 7’21”, About how theWihu song is learned and sung. It is not learned by sitting and teaching, rather they said that they would hear their elders singing, and listen, and keep it in their heart, and in this way it is learned. It is at least in part from memory, not composed at the moment. What they sing is from long back. Then they discussed about mad people, and Ninshom asked how when people became mad they were not locked up, but the Pangwa people The answer was that because they kill people and burn houses, so they are locked up. In Longxlü village (in Burma), near to Pangsau, from there one Datok tribe (similar to Lochhang) became so crazy that he tried to kill one old lady, but he could not so he came down and killed 3 Chena people. The Langching (Lochhang) believe that the Kimsing (Chamchang) killed him, but they did not. They believe he may have been drowned in the Takyem river (visible, as is the village, on the Putao map at 115 366). Because of this incident Longxlü village was divided, some came to India, some to elsewhere, some remain. Also recorded as nst-kim_20131113_12_SM_T_LimbiAndKiimshey_AboutWihuSong.wav nst-kim_20131113_12_SM_T_LimbiAndKiimshey_AboutWihuSong_Duration 7’23”, About how theWihu song is learned and sung. It is not learned by sitting and teaching, rather they said that they would hear their elders singing, and listen, and keep it in their heart, and in this way it is learned. It is at least in part from memory, not composed at the moment. What they sing is from long back. Then they discussed about mad people, and Ninshom asked how when people became mad they were not locked up, but the Pangwa people The answer was that because they kill people and burn houses, so they are locked up. In Longxlü village (in Burma), near to Pangsau, from there one Datok tribe (similar to Lochhang) became so crazy that he tried to kill one old lady, but he could not so he came down and killed 3 Chena people. The Langching (Lochhang) believe that the Kimsing (Chamchang) killed him, but they did not. They believe he may have been drowned in the Takyem river (visible, as is the village, on the Putao map at 115 366). Because of this incident Longxlü village was divided, some came to India, some to elsewhere, some remain. Also recorded as nst-kim_20131113_07_SM_JVC_LimbiAndKiimshey_AboutWihuSong/mp4
Two recordings in which Mr Limbi Thungwa and Mr Kiimshey Shewa provide information about the Wihu song. This consists of one video file and one sound file: nst-kim_20131113_07_SM_JVC_LimbiAndKiimshey_AboutWihuSong nst-kim_20131113_12_SM_T_LimbiAndKiimshey_AboutWihuSong The details of these recordings are as follows: nst-kim_20131113_07_SM_JVC_LimbiAndKiimshey_AboutWihuSong_Duration 7’21”, About how theWihu song is learned and sung. It is not learned by sitting and teaching, rather they said that they would hear their elders singing, and listen, and keep it in their heart, and in this way it is learned. It is at least in part from memory, not composed at the moment. What they sing is from long back. Then they discussed about mad people, and Ninshom asked how when people became mad they were not locked up, but the Pangwa people The answer was that because they kill people and burn houses, so they are locked up. In Longxlü village (in Burma), near to Pangsau, from there one Datok tribe (similar to Lochhang) became so crazy that he tried to kill one old lady, but he could not so he came down and killed 3 Chena people. The Langching (Lochhang) believe that the Kimsing (Chamchang) killed him, but they did not. They believe he may have been drowned in the Takyem river (visible, as is the village, on the Putao map at 115 366). Because of this incident Longxlü village was divided, some came to India, some to elsewhere, some remain. Also recorded as nst-kim_20131113_12_SM_T_LimbiAndKiimshey_AboutWihuSong.wav nst-kim_20131113_12_SM_T_LimbiAndKiimshey_AboutWihuSong_Duration 7’23”, About how theWihu song is learned and sung. It is not learned by sitting and teaching, rather they said that they would hear their elders singing, and listen, and keep it in their heart, and in this way it is learned. It is at least in part from memory, not composed at the moment. What they sing is from long back. Then they discussed about mad people, and Ninshom asked how when people became mad they were not locked up, but the Pangwa people The answer was that because they kill people and burn houses, so they are locked up. In Longxlü village (in Burma), near to Pangsau, from there one Datok tribe (similar to Lochhang) became so crazy that he tried to kill one old lady, but he could not so he came down and killed 3 Chena people. The Langching (Lochhang) believe that the Kimsing (Chamchang) killed him, but they did not. They believe he may have been drowned in the Takyem river (visible, as is the village, on the Putao map at 115 366). Because of this incident Longxlü village was divided, some came to India, some to elsewhere, some remain. Also recorded as nst-kim_20131113_07_SM_JVC_LimbiAndKiimshey_AboutWihuSong/mp4
Four recordings in which Mr Limbi Thungwa and Mr Kiimshey Shewa sing and discuss the Wihu Shi song. This consists of one video file and three sound files: nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong nst-kim_20131113_07_SM_T_LimbiAndKiimshey_WihuSong nst-kim_20131115_04_SM_T_Kiimshey_WihuSongExplanation nst-kim_20131115_05_SM_T_Kiimshey_WihuSongExplanation The details of these recordings are as follows: nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong_Duration 6’02”, Wihu Shi. Also recorded (without the first line) as nst-kim_20131113_07_SM_T_LimbiAndKiimshey_WihuSong/wav nst-kim_20131113_07_SM_T_LimbiAndKiimshey_WihuSong_Duration 5’51”, Wihu song, also recorded as nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong.mp4. First line missed nst-kim_20131115_04_SM_T_Kiimshey_WihuSongExplanation_Duration 5’52”, Discussion of the meaning of the Wihu Song recorded as nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong.mp4 nst-kim_20131115_05_SM_T_Kiimshey_WihuSongExplanation_Duration 1’05”, Discussion of the meaning of the Wihu Song recorded as nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong.mp4 (recording interrupted by battery failure)
Four recordings in which Mr Limbi Thungwa and Mr Kiimshey Shewa sing and discuss the Wihu Shi song. This consists of one video file and three sound files: nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong nst-kim_20131113_07_SM_T_LimbiAndKiimshey_WihuSong nst-kim_20131115_04_SM_T_Kiimshey_WihuSongExplanation nst-kim_20131115_05_SM_T_Kiimshey_WihuSongExplanation The details of these recordings are as follows: nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong_Duration 6’02”, Wihu Shi. Also recorded (without the first line) as nst-kim_20131113_07_SM_T_LimbiAndKiimshey_WihuSong/wav nst-kim_20131113_07_SM_T_LimbiAndKiimshey_WihuSong_Duration 5’51”, Wihu song, also recorded as nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong.mp4. First line missed nst-kim_20131115_04_SM_T_Kiimshey_WihuSongExplanation_Duration 5’52”, Discussion of the meaning of the Wihu Song recorded as nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong.mp4 nst-kim_20131115_05_SM_T_Kiimshey_WihuSongExplanation_Duration 1’05”, Discussion of the meaning of the Wihu Song recorded as nst-kim_20131113_01_SM_JVC_LimbiAndKiimshey_WihuSong.mp4 (recording interrupted by battery failure)
Five recordings in which Limbi Thungwa sings love song. These consist of the following three video and two sound files: nst-kim_20121109_01_SM_JVC_Limbi_NgoyoShiPrelude.mp4 nst-kim_20121109_02_SM_JVC_Limbi_NgoyoShiPrelude.mp4 nst-kim_20121109_03_SM_JVC_Limbi_NgoyoShiPrelude.mp4 nst-kim_20121109_02_SM_T_Limbi_AboutNgoyoShi.wav nst-kim_20121109_03_SM_T_Limbi_AboutNgoyoShi.wav The details of these recordings are as follows: nst-kim_20121109_01_SM_JVC_Limbi_NgoyoShiPrelude.mp4; Duration 4’27”; Prelude to Love song; a song about birds, a poetic setting of the scene, comparing the song of the wujok and wungu birds with the beauty fo the Ngoyo Shi. nst-kim_20121109_02_SM_JVC_Limbi_NgoyoShiPrelude.mp4; Duration 2’48”; Prelude to Love song; a song about birds nst-kim_20121109_03_SM_JVC_Limbi_NgoyoShiPrelude.mp4; Duration 3’23”; Love song – in this recording he sings only the portion sung by the boy nst-kim_20121109_02_SM_T_Limbi_AboutNgoyoShi.wav; Duration 7’02”; Story of the Ngoyo Shi would be sung. He is talking about the birds called wujok and wungu; these two birds are singing so melodiously and in this way the love song (Ngoyo Shi) should be sung. He compares the life and nature of the wujok and wungu and this explains the love song. nst-kim_20121109_03_SM_T_Limbi_AboutNgoyoShi.wav; Duration 16’11”; About the Ngoyo Shi; where it used to be song. It would be sung in the evening (raji) in the lapchii (girl’s dormitory). In his youth, these dormitories were still in use, and in his youngest brother’s time also. The custom of constructing these continued until they came down into India about 1960 or so. 2’30” Discussion about whether the song can be sung in fields; that could be done as they like, but it would not be sung in the house, because their sister might be present and the love song should not be sung to one’s sister. The ngoyo shi can be sung after marriage also. This recording also talks about the lapchii (dormitory).
Five recordings in which Limbi Thungwa sings love song. These consist of the following three video and two sound files: nst-kim_20121109_01_SM_JVC_Limbi_NgoyoShiPrelude.mp4 nst-kim_20121109_02_SM_JVC_Limbi_NgoyoShiPrelude.mp4 nst-kim_20121109_03_SM_JVC_Limbi_NgoyoShiPrelude.mp4 nst-kim_20121109_02_SM_T_Limbi_AboutNgoyoShi.wav nst-kim_20121109_03_SM_T_Limbi_AboutNgoyoShi.wav The details of these recordings are as follows: nst-kim_20121109_01_SM_JVC_Limbi_NgoyoShiPrelude.mp4; Duration 4’27”; Prelude to Love song; a song about birds, a poetic setting of the scene, comparing the song of the wujok and wungu birds with the beauty fo the Ngoyo Shi. nst-kim_20121109_02_SM_JVC_Limbi_NgoyoShiPrelude.mp4; Duration 2’48”; Prelude to Love song; a song about birds nst-kim_20121109_03_SM_JVC_Limbi_NgoyoShiPrelude.mp4; Duration 3’23”; Love song – in this recording he sings only the portion sung by the boy nst-kim_20121109_02_SM_T_Limbi_AboutNgoyoShi.wav; Duration 7’02”; Story of the Ngoyo Shi would be sung. He is talking about the birds called wujok and wungu; these two birds are singing so melodiously and in this way the love song (Ngoyo Shi) should be sung. He compares the life and nature of the wujok and wungu and this explains the love song. nst-kim_20121109_03_SM_T_Limbi_AboutNgoyoShi.wav; Duration 16’11”; About the Ngoyo Shi; where it used to be song. It would be sung in the evening (raji) in the lapchii (girl’s dormitory). In his youth, these dormitories were still in use, and in his youngest brother’s time also. The custom of constructing these continued until they came down into India about 1960 or so. 2’30” Discussion about whether the song can be sung in fields; that could be done as they like, but it would not be sung in the house, because their sister might be present and the love song should not be sung to one’s sister. The ngoyo shi can be sung after marriage also. This recording also talks about the lapchii (dormitory).
Three recordings in which Mrs Niimü sings and provides information about the Wihu song. This includes 1 video file and 2 sound files: nst-kim_20141224_01_SM_JVC_Niimü_WixhaüShif nst-kim_20141224_01_SM_H5_Niimü_WihauShi nst-kim_20141224_02_SM_H5_Niimü_AboutWihauShi The details of these recordings are as follows: nst-kim_20141224_01_SM_JVC_Niimü_WixhaüShif_Duration 8’08”, Wihu Song, also recorded as nst-kim_20141224_01_SM_H5_Niimü_WihauShi nst-kim_20141224_01_SM_H5_Niimü_WihauShi_Duration 8’11”, Wihu song, also recorded as nst-kim_20141224_01_SM_JVC_Niimü_WixhaüShif nst-kim_20141224_02_SM_H5_Niimü_AboutWihauShi_Duration 6’35”, About the Wihau Shi and about how she become Khun Dong
Three recordings in which Mrs Niimü sings and provides information about the Wihu song. This includes 1 video file and 2 sound files: nst-kim_20141224_01_SM_JVC_Niimü_WixhaüShif nst-kim_20141224_01_SM_H5_Niimü_WihauShi nst-kim_20141224_02_SM_H5_Niimü_AboutWihauShi The details of these recordings are as follows: nst-kim_20141224_01_SM_JVC_Niimü_WixhaüShif_Duration 8’08”, Wihu Song, also recorded as nst-kim_20141224_01_SM_H5_Niimü_WihauShi nst-kim_20141224_01_SM_H5_Niimü_WihauShi_Duration 8’11”, Wihu song, also recorded as nst-kim_20141224_01_SM_JVC_Niimü_WixhaüShif nst-kim_20141224_02_SM_H5_Niimü_AboutWihauShi_Duration 6’35”, About the Wihau Shi and about how she become Khun Dong
Ten recodings in which Mr Lamsham Khalak, Mr Ninshom Chena and Mr Maklom Chamchang discuss the Wihu Song. This consists of the following ten sound files: nst-kim_20141221_01_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_02_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_03_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_04_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_05_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_06_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_07_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_08_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_09_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_10_SM_H5_RanlimWihuSongExplanation The details of these recordings are as follows: nst-kim_20141221_01_SM_H5_RanlimWihuSongExplanation_Duration 3’35”, Explanation of Ranlim’s Wihu song, from 14’18” nst-kim_20141221_02_SM_H5_RanlimWihuSongExplanation_Duration 3’58”, Explanation of Ranlim’s Wihu song, from 876” nst-kim_20141221_03_SM_H5_RanlimWihuSongExplanation_Duration 1’35”, Further discussion of the meaning of Ranlim’s Wihu song nst-kim_20141221_04_SM_H5_RanlimWihuSongExplanation_Duration 2’10”, Some explanation of the meaning of Ranlim’s Wihu song. partly in Khalak language nst-kim_20141221_05_SM_H5_RanlimWihuSongExplanation_Duration 1’14”, Explanation of Ranlim’s Wihu song, from 895” nst-kim_20141221_06_SM_H5_RanlimWihuSongExplanation_Duration 2’54”, Explanation of Ranlim’s Wihu song, from 895” nst-kim_20141221_07_SM_H5_RanlimWihuSongExplanation_Duration 8’30”, Further discussion of the meaning of Ranlim’s Wihu song, from 895” nst-kim_20141221_08_SM_H5_RanlimWihuSongExplanation_Duration 9’37”, Explanation of Ranlim’s Wihu song, from about 920”, relating to line 92 nst-kim_20141221_09_SM_H5_RanlimWihuSongExplanation_Duration 15’46”, Explanation of Ranlim’s Wihu song, from line 94, relating to the blacksmith, and continuing the discussion nst-kim_20141221_10_SM_H5_RanlimWihuSongExplanation_Duration 7’18”, Explanation of Ranlim’s Wihu song, from line 98.
Ten recodings in which Mr Lamsham Khalak, Mr Ninshom Chena and Mr Maklom Chamchang a discuss the Wihu Song. This consists of the following ten sound files: nst-kim_20141221_01_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_02_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_03_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_04_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_05_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_06_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_07_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_08_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_09_SM_H5_RanlimWihuSongExplanation nst-kim_20141221_10_SM_H5_RanlimWihuSongExplanation The details of these recordings are as follows: nst-kim_20141221_01_SM_H5_RanlimWihuSongExplanation_Duration 3’35”, Explanation of Ranlim’s Wihu song, from 14’18” nst-kim_20141221_02_SM_H5_RanlimWihuSongExplanation_Duration 3’58”, Explanation of Ranlim’s Wihu song, from 876” nst-kim_20141221_03_SM_H5_RanlimWihuSongExplanation_Duration 1’35”, Further discussion of the meaning of Ranlim’s Wihu song nst-kim_20141221_04_SM_H5_RanlimWihuSongExplanation_Duration 2’10”, Some explanation of the meaning of Ranlim’s Wihu song. partly in Khalak language nst-kim_20141221_05_SM_H5_RanlimWihuSongExplanation_Duration 1’14”, Explanation of Ranlim’s Wihu song, from 895” nst-kim_20141221_06_SM_H5_RanlimWihuSongExplanation_Duration 2’54”, Explanation of Ranlim’s Wihu song, from 895” nst-kim_20141221_07_SM_H5_RanlimWihuSongExplanation_Duration 8’30”, Further discussion of the meaning of Ranlim’s Wihu song, from 895” nst-kim_20141221_08_SM_H5_RanlimWihuSongExplanation_Duration 9’37”, Explanation of Ranlim’s Wihu song, from about 920”, relating to line 92 nst-kim_20141221_09_SM_H5_RanlimWihuSongExplanation_Duration 15’46”, Explanation of Ranlim’s Wihu song, from line 94, relating to the blacksmith, and continuing the discussion nst-kim_20141221_10_SM_H5_RanlimWihuSongExplanation_Duration 7’18”, Explanation of Ranlim’s Wihu song, from line 98.
Seven recordings in which Mr Ranlim Latam and Mr Ninshom Chena have a discussion about different song styles. This includes 2 video files and 5 sound files: nst-kim_20140226_04_SM_JVC_Ranlim_AboutSongs nst-kim_20140226_05_SM_JVC_Ranlim_AboutSongs nst-kim_20140224_06_SM_H4n_Ranlim_SongTypes nst-kim_20140226_04_SM_H4n_Ranlim_AboutSongs nst-kim_20140226_05_SM_H4n_Ranlim_AboutSongs nst-kim_20140226_06_SM_H4n_Ranlim_AboutSongs nst-kim_20140226_07_SM_H4n_Ranlim_AboutSongs The details of these recordings are as follows: nst-kim_20140226_04_SM_JVC_Ranlim_AboutSongs_Duration 6’45”, Discussion about songs. At first SM asked whether you can sing the same words with a different tune. 1’30” . He mentions that each song has its own tune tangx. He said that there is no extra or different tune for the song, He said that for Shammi Shif, what he sang, that is the tune, and for Kho Shif, it is the Kho Shif tune, you cannot create another tune. 2’44” You cannot sing the same words to different tunes. 2’54” Further explanation in Chamchang. He explained that the tunes for the different songs are different. SM then asked if it is possible to sing the tune without words. The answer is that with the song it is necessary to tell something, so without words, he cannot sing. 4’30” Further explanation in Chamchang. He said that the hinlii in the Siqwi shif like a chorus, but apart from that he has to get the words. He went on to point out that the younger generation do not know the words. 5’57” He said that when we start to sing, the name of the things come automatically, so for example for ‘buffalo’ there are three four names, and these come automatically in the mouth. It is impossible to end the song during the festival, so the young generation will not understand what the song language is. nst-kim_20140226_05_SM_JVC_Ranlim_AboutSongs_Duration 5’23”, He started off by explaining something about the word for alcohol, dihiif. 1’13” Suppose for the buffalo in the singing language there are three or four names, but among all the subtribes there is a common word for rice beer, chex. It is binjii in the song language. But telling about fish or chicken or buffalo, it is different and doesn’t match to the other subtribes. 2’23” There are four names for ‘sun’, these are rashe, sanpai, chhimrin, chhimsanx; 3’02” words for buffalo ngif, lelii, kiile, küsix; for bird there is phanchhim, phinjii, phanwau. 3’55”, words for people. norii for males and junrii for females. 4’45” words for rice in song language, rinlü. nst-kim_20140224_06_SM_H4n_Ranlim_SongTypes_Duration 2’09”, 5 types of songs: washi ‘sacrifice song’ khoshi ‘love song’; shammi shi ‘prophet song’; meshi or sahpolo; and siwi shi (wihau shi). (He pointed out that sometimes the words are the same but the tune is different.’ nst-kim_20140226_04_SM_H4n_Ranlim_AboutSongs_Duration 4’39”, Discussion about songs – about the Khof Shif. Discussion about when it would be sung. 1’07” this Khof song is sung at any time. Its full name is Shedongf Binti Sex Shif. This is nothing but a love song, when two persons love each other, at that time they sing. SM asked if it is sung in the house or the forest, but it is actually sung in the lapchii, the girl’s dormitory. 2’18” SM asked about the tune and words of this song. This one does not begin with Ekanang. Ranlim said that what Kiimshey sings is the simpler song. This Shedongf Binti Sex Shif is another type of love song. And this song is sung, not in the jungle or house, but in the lapchii ‘boy’s dormitory’ in fact in both dormitories. This song is not sung in public, but just between the boy and girl. 3’30” He went on to talk about the other styles of songs. 4’10” What Kiimshey sang was also a love song, either can be sung. nst-kim_20140226_05_SM_H4n_Ranlim_AboutSongs_Duration 0’51”, Discussion about songs – he started off by explaining that song language is different from spoken language. nst-kim_20140226_06_SM_H4n_Ranlim_AboutSongs_Duration 4’00”, Discussion about songs – about the Wa Shif. When should it be sung. it is sung during the sacrifice of humans, maiq tsea. It is not sung for animal sacrifice. He went on to add that it was used for di da ‘slave sacrifice.’ What he said is this is not only sung during the human sacrifice. In earlier times they would go and fight with other villages, and when they defeat them, when they arrive back they would sing this song. When the leader of the group comes he would hold the head of the enemy and make two or three rounds of the house, followed by the singers and dancers, and after doing that, they would make the head dry and the flesh would come out and only the skull would be kept somewhere in the house. nst-kim_20140226_07_SM_H4n_Ranlim_AboutSongs_Duration 6’07”, Discussion about songs – about the Shammi Shif. 0’30” This can also be sang at any time, but in the situation of when a person is sick, they would call the Shammi and he or she would come and stand in front of the sick person and would sing that song. When they would sing that song, the spirit would go away. 1’12” SM asks about calling back a good spirit. This would be tsitsiif hea in Kimsing language. This calling is also done by the Shammi, he both chases out and calls back spirits. 3’50” he said there is a song to call back, and to chase out there is a song, but the song sung today is not that song, he just sang the Shammi song. These two cannot be sung now, they can only be sung in the right place and time. If the spirit is to be called back, the people will go to the jungle with chicks in a bamboo basket, and along with that basket they will go to the jungle and sacrifice there, and the Shammi will call the spirit, saying, ‘dont’ suffer, come back home’. If that person is a lady, long hair will come and the shammi will catch it, he will go back home and give it back to the lady, and she will be well. If it is a male, short hair will come, and he will take it back home and give it to the man who will be well. Those things did happen.
Seven recordings in which Mr Ranlim Latam and Mr Ninshom Chena have a discussion about different song styles. This includes 2 video files and 5 sound files: nst-kim_20140226_04_SM_JVC_Ranlim_AboutSongs nst-kim_20140226_05_SM_JVC_Ranlim_AboutSongs nst-kim_20140224_06_SM_H4n_Ranlim_SongTypes nst-kim_20140226_04_SM_H4n_Ranlim_AboutSongs nst-kim_20140226_05_SM_H4n_Ranlim_AboutSongs nst-kim_20140226_06_SM_H4n_Ranlim_AboutSongs nst-kim_20140226_07_SM_H4n_Ranlim_AboutSongs The details of these recordings are as follows: nst-kim_20140226_04_SM_JVC_Ranlim_AboutSongs_Duration 6’45”, Discussion about songs. At first SM asked whether you can sing the same words with a different tune. 1’30” . He mentions that each song has its own tune tangx. He said that there is no extra or different tune for the song, He said that for Shammi Shif, what he sang, that is the tune, and for Kho Shif, it is the Kho Shif tune, you cannot create another tune. 2’44” You cannot sing the same words to different tunes. 2’54” Further explanation in Chamchang. He explained that the tunes for the different songs are different. SM then asked if it is possible to sing the tune without words. The answer is that with the song it is necessary to tell something, so without words, he cannot sing. 4’30” Further explanation in Chamchang. He said that the hinlii in the Siqwi shif like a chorus, but apart from that he has to get the words. He went on to point out that the younger generation do not know the words. 5’57” He said that when we start to sing, the name of the things come automatically, so for example for ‘buffalo’ there are three four names, and these come automatically in the mouth. It is impossible to end the song during the festival, so the young generation will not understand what the song language is. nst-kim_20140226_05_SM_JVC_Ranlim_AboutSongs_Duration 5’23”, He started off by explaining something about the word for alcohol, dihiif. 1’13” Suppose for the buffalo in the singing language there are three or four names, but among all the subtribes there is a common word for rice beer, chex. It is binjii in the song language. But telling about fish or chicken or buffalo, it is different and doesn’t match to the other subtribes. 2’23” There are four names for ‘sun’, these are rashe, sanpai, chhimrin, chhimsanx; 3’02” words for buffalo ngif, lelii, kiile, küsix; for bird there is phanchhim, phinjii, phanwau. 3’55”, words for people. norii for males and junrii for females. 4’45” words for rice in song language, rinlü. nst-kim_20140224_06_SM_H4n_Ranlim_SongTypes_Duration 2’09”, 5 types of songs: washi ‘sacrifice song’ khoshi ‘love song’; shammi shi ‘prophet song’; meshi or sahpolo; and siwi shi (wihau shi). (He pointed out that sometimes the words are the same but the tune is different.’ nst-kim_20140226_04_SM_H4n_Ranlim_AboutSongs_Duration 4’39”, Discussion about songs – about the Khof Shif. Discussion about when it would be sung. 1’07” this Khof song is sung at any time. Its full name is Shedongf Binti Sex Shif. This is nothing but a love song, when two persons love each other, at that time they sing. SM asked if it is sung in the house or the forest, but it is actually sung in the lapchii, the girl’s dormitory. 2’18” SM asked about the tune and words of this song. This one does not begin with Ekanang. Ranlim said that what Kiimshey sings is the simpler song. This Shedongf Binti Sex Shif is another type of love song. And this song is sung, not in the jungle or house, but in the lapchii ‘boy’s dormitory’ in fact in both dormitories. This song is not sung in public, but just between the boy and girl. 3’30” He went on to talk about the other styles of songs. 4’10” What Kiimshey sang was also a love song, either can be sung. nst-kim_20140226_05_SM_H4n_Ranlim_AboutSongs_Duration 0’51”, Discussion about songs – he started off by explaining that song language is different from spoken language. nst-kim_20140226_06_SM_H4n_Ranlim_AboutSongs_Duration 4’00”, Discussion about songs – about the Wa Shif. When should it be sung. it is sung during the sacrifice of humans, maiq tsea. It is not sung for animal sacrifice. He went on to add that it was used for di da ‘slave sacrifice.’ What he said is this is not only sung during the human sacrifice. In earlier times they would go and fight with other villages, and when they defeat them, when they arrive back they would sing this song. When the leader of the group comes he would hold the head of the enemy and make two or three rounds of the house, followed by the singers and dancers, and after doing that, they would make the head dry and the flesh would come out and only the skull would be kept somewhere in the house. nst-kim_20140226_07_SM_H4n_Ranlim_AboutSongs_Duration 6’07”, Discussion about songs – about the Shammi Shif. 0’30” This can also be sang at any time, but in the situation of when a person is sick, they would call the Shammi and he or she would come and stand in front of the sick person and would sing that song. When they would sing that song, the spirit would go away. 1’12” SM asks about calling back a good spirit. This would be tsitsiif hea in Kimsing language. This calling is also done by the Shammi, he both chases out and calls back spirits. 3’50” he said there is a song to call back, and to chase out there is a song, but the song sung today is not that song, he just sang the Shammi song. These two cannot be sung now, they can only be sung in the right place and time. If the spirit is to be called back, the people will go to the jungle with chicks in a bamboo basket, and along with that basket they will go to the jungle and sacrifice there, and the Shammi will call the spirit, saying, ‘dont’ suffer, come back home’. If that person is a lady, long hair will come and the shammi will catch it, he will go back home and give it back to the lady, and she will be well. If it is a male, short hair will come, and he will take it back home and give it to the man who will be well. Those things did happen.
Nine recordings in which Mr Ranlim Latam and Mr Ninshom Chena sing and provide information about the Kho Shi love song. This consists of the following 1 video file and 8 sound files: nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif nst-kim_20140226_01_SM_H4n_Ranlim_Khofshif nst-kim_20140227_01_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_02_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_03_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_04_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_05_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_06_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_07_SM_H4n_Ranlim_KhofShifExplanation The details of these recordings are as follows: nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif_Duration 4’07”, Khofshif, also know Shedongf Binti Sex Shif ‘Song of the spirit of the east’; also recorded as nst-kim_20140226_01_SM_H4n_Ranlim_Khofshif.wav nst-kim_20140226_01_SM_H4n_Ranlim_Khofshif_Duration 4’10”, Khofshif, also know Shedongf Binti Sex Shif ‘Song of the spirit of the east’; also recorded as nst-kim_20140226_01_SM_JVC_Ranlim_Khofshif.wav nst-kim_20140227_01_SM_H4n_Ranlim_KhofShifExplanation_Duration 2’37”, Introduction to the discussion about the KhofShif, The only restriction on these recordings is that they cannot be played if a brother and sister are together. Anyone can hear it and anyone can sing it, but it cannot be heard by brother and sister together. Up to 0’22” nst-kim_20140227_02_SM_H4n_Ranlim_KhofShifExplanation_Duration 31’37”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 1’37” nst-kim_20140227_03_SM_H4n_Ranlim_KhofShifExplanation_Duration 18’43”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 2’21” nst-kim_20140227_04_SM_H4n_Ranlim_KhofShifExplanation_Duration 5’42”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 2’35” nst-kim_20140227_05_SM_H4n_Ranlim_KhofShifExplanation_Duration 3’02”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 2’50” nst-kim_20140227_06_SM_H4n_Ranlim_KhofShifExplanation_Duration 10’53”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 3’23” nst-kim_20140227_07_SM_H4n_Ranlim_KhofShifExplanation_Duration 27’40”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to the end.
Nine recordings in which Mr Ranlim Latam and Mr Ninshom Chena sing and provide information about the Kho Shi love song. This consists of the following 1 video file and 8 sound files: nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif nst-kim_20140226_01_SM_H4n_Ranlim_Khofshif nst-kim_20140227_01_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_02_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_03_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_04_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_05_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_06_SM_H4n_Ranlim_KhofShifExplanation nst-kim_20140227_07_SM_H4n_Ranlim_KhofShifExplanation The details of these recordings are as follows: nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif_Duration 4’07”, Khofshif, also know Shedongf Binti Sex Shif ‘Song of the spirit of the east’; also recorded as nst-kim_20140226_01_SM_H4n_Ranlim_Khofshif.wav nst-kim_20140226_01_SM_H4n_Ranlim_Khofshif_Duration 4’10”, Khofshif, also know Shedongf Binti Sex Shif ‘Song of the spirit of the east’; also recorded as nst-kim_20140226_01_SM_JVC_Ranlim_Khofshif.wav nst-kim_20140227_01_SM_H4n_Ranlim_KhofShifExplanation_Duration 2’37”, Introduction to the discussion about the KhofShif, The only restriction on these recordings is that they cannot be played if a brother and sister are together. Anyone can hear it and anyone can sing it, but it cannot be heard by brother and sister together. Up to 0’22” nst-kim_20140227_02_SM_H4n_Ranlim_KhofShifExplanation_Duration 31’37”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 1’37” nst-kim_20140227_03_SM_H4n_Ranlim_KhofShifExplanation_Duration 18’43”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 2’21” nst-kim_20140227_04_SM_H4n_Ranlim_KhofShifExplanation_Duration 5’42”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 2’35” nst-kim_20140227_05_SM_H4n_Ranlim_KhofShifExplanation_Duration 3’02”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 2’50” nst-kim_20140227_06_SM_H4n_Ranlim_KhofShifExplanation_Duration 10’53”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to 3’23” nst-kim_20140227_07_SM_H4n_Ranlim_KhofShifExplanation_Duration 27’40”, Explanation of nst-kim_20140226_01_SM_JVC_Ranlim_KhofShif up to the end.
Two recordingd in which Mr Ranlim Latam and Mr Ninshom Chena sing the Shammi Shi a Prophetic Song. This includes 1 video file and 1 sound file: nst-kim_20140226_02_SM_JVC_Ranlim_ShammiShif nst-kim_20140226_02_SM_H4n_Ranlim_ShammiShif The details of these recordings are as follows: nst-kim_20140226_02_SM_JVC_Ranlim_ShammiShif_Duration 3’28”, Shammi Shif, prophetic song. Also recorded as nst-kim_20140226_02_SM_H4n_Ranlim_ShammiShif.wav nst-kim_20140226_02_SM_H4n_Ranlim_ShammiShif_Duration 3’28”, Shammi Shif, prophetic song. Also recorded as nst-kim_20140226_02_SM_JVC_Ranlim_ShammiShif.wav
Two recordingd in which Mr Ranlim Latam and Mr Ninshom Chena sing the Shammi Shi a Prophetic Song. This includes 1 video file and 1 sound file: nst-kim_20140226_02_SM_JVC_Ranlim_ShammiShif nst-kim_20140226_02_SM_H4n_Ranlim_ShammiShif The details of these recordings are as follows: nst-kim_20140226_02_SM_JVC_Ranlim_ShammiShif_Duration 3’28”, Shammi Shif, prophetic song. Also recorded as nst-kim_20140226_02_SM_H4n_Ranlim_ShammiShif.wav nst-kim_20140226_02_SM_H4n_Ranlim_ShammiShif_Duration 3’28”, Shammi Shif, prophetic song. Also recorded as nst-kim_20140226_02_SM_JVC_Ranlim_ShammiShif.wav
Ten recordings in which Mr Ranlim Latam and Mr Ninshom Chena sing and provide information about hte Wa Shi - Sacrifice Song. This includes 1 video file and 9 sound files: nst-kim_20140226_03_SM_JVC_Ranlim_WaShif nst-kim_20140226_03_SM_H4n_Ranlim_WaShif nst-kim_20140228_02_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_03_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_04_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_05_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_06_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_07_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_08_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_09_SM_H4n_Ranlim_WaShifExplanation The details of these recordings are as follows: nst-kim_20140226_03_SM_JVC_Ranlim_WaShif_Duration 7’06”, WaShif, Also recorded as nst-kim_20140226_03_H4n_JVC_Ranlim_ShammiShif.wav nst-kim_20140226_03_SM_H4n_Ranlim_WaShif_Duration 7’19”, WaShif, Also recorded as nst-kim_20140226_03_SM_JVC_Ranlim_ShammiShif.mp3 nst-kim_20140228_02_SM_H4n_Ranlim_WaShifExplanation_Duration 17’50”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 0’42” nst-kim_20140228_03_SM_H4n_Ranlim_WaShifExplanation_Duration 19’12”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 1’22” nst-kim_20140228_04_SM_H4n_Ranlim_WaShifExplanation_Duration 12’12”, Discussion about the sub-tribe and clan names as they are spoken in the song language nst-kim_20140228_05_SM_H4n_Ranlim_WaShifExplanation_Duration 6’01”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 1’31” nst-kim_20140228_06_SM_H4n_Ranlim_WaShifExplanation_Duration 15’04”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 2’02” (some problems with the microphone) nst-kim_20140228_07_SM_H4n_Ranlim_WaShifExplanation_Duration 18’45”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 2’43” (some problems with the microphone) nst-kim_20140228_08_SM_H4n_Ranlim_WaShifExplanation_Duration 7’55”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 2’59” nst-kim_20140228_09_SM_H4n_Ranlim_WaShifExplanation_Duration 1’41”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 3’05’
Ten recordings in which Mr Ranlim Latam and Mr Ninshom Chena sing and provide information about the Wa Shi - Sacrifice Song. This includes 1 video file and 9 sound files: nst-kim_20140226_03_SM_JVC_Ranlim_WaShif nst-kim_20140226_03_SM_H4n_Ranlim_WaShif nst-kim_20140228_02_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_03_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_04_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_05_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_06_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_07_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_08_SM_H4n_Ranlim_WaShifExplanation nst-kim_20140228_09_SM_H4n_Ranlim_WaShifExplanation The details of these recordings are as follows: nst-kim_20140226_03_SM_JVC_Ranlim_WaShif_Duration 7’06”, WaShif, Also recorded as nst-kim_20140226_03_H4n_JVC_Ranlim_ShammiShif.wav nst-kim_20140226_03_SM_H4n_Ranlim_WaShif_Duration 7’19”, WaShif, Also recorded as nst-kim_20140226_03_SM_JVC_Ranlim_ShammiShif.mp3 nst-kim_20140228_02_SM_H4n_Ranlim_WaShifExplanation_Duration 17’50”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 0’42” nst-kim_20140228_03_SM_H4n_Ranlim_WaShifExplanation_Duration 19’12”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 1’22” nst-kim_20140228_04_SM_H4n_Ranlim_WaShifExplanation_Duration 12’12”, Discussion about the sub-tribe and clan names as they are spoken in the song language nst-kim_20140228_05_SM_H4n_Ranlim_WaShifExplanation_Duration 6’01”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 1’31” nst-kim_20140228_06_SM_H4n_Ranlim_WaShifExplanation_Duration 15’04”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 2’02” (some problems with the microphone) nst-kim_20140228_07_SM_H4n_Ranlim_WaShifExplanation_Duration 18’45”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 2’43” (some problems with the microphone) nst-kim_20140228_08_SM_H4n_Ranlim_WaShifExplanation_Duration 7’55”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 2’59” nst-kim_20140228_09_SM_H4n_Ranlim_WaShifExplanation_Duration 1’41”, Explanation of the nst-kim_20140226_03_SM_H4n_Ranlim_WaShif to 3’05’
Thirteen recordings in which Ranlim sings the Wihau song. These consist of the following video and sound files: nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi.mp4 nst-kim_20121109_05_SM_JVC_Ranlim_WihauShi.mp4 nst-kim_20121109_05_SM_T_Ranlim_AboutWihauShi.wav nst-kim_20121109_06_SM_T_Ranlim_AboutWihauShi.wav nst-kim_20121109_07_SM_T_Ranlim_AboutWihauShi.wav nst-kim_20121110_01_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_03_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_04_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_05_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_06_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_07_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_08_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_10_SM_T_Ranlim_WihuShiExplanation.wav The details of these recordings are as follows: nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi.mp4; Wihau song – complete version from creation up to being inside the house. nst-kim_20121109_05_SM_JVC_Ranlim_WihauShi.mp4; Wihau song – completion of the song recorded as nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi (File split by the JVC camera) nst-kim_20121109_05_SM_T_Ranlim_AboutWihauShi.wav; Duration 2’10”; About the words n-get thang which Ranlim says is actually in Khilak language. (It would be hiip-mang chang in spoken Chamchang). There are only 6 houses of Khilak in India. Ranlim said that much of the Wihu song was sung in Khilak (Khalak) language. nst-kim_20121109_06_SM_T_Ranlim_AboutWihauShi.wav; Duration 1’52”; About line 12 of the Wihu song recorded by Meenaxi. This is about how the two brothers were supposed to shoot down the gourd Kumchhi so that it does not fall and dam up the rivers, causing a flood. nst-kim_20121109_07_SM_T_Ranlim_AboutWihauShi.wav; Duration 4’13”; About the fact that large parts of his Wihu Shi are in Khilak language. nst-kim_20121110_01_SM_T_Ranlim_WihuShiExplanation.wav; Duration 4’37”; Discussion lines (21) and (22) of Ranlim’s Wihu song recorded by Meenaxi. Discussion of the word kingkhon, a word for a type of hen; found only in song language. Ninshom pointed out that the 2nd of these two lines pairs with the first, and is like a simile explanation of the first nst-kim_20121110_03_SM_T_Ranlim_WihuShiExplanation.wav; Duration 2’15”; Discussion of lines (23) and (24) of the Wihu Song recorded by Meenaxi. This relates to the cutting of bamboo and making a boat or raft and floating on the river (line 24). Line 23 also relates to the egg that holds up the sky, and egg that is kept by the non-tribals (Sham). nst-kim_20121110_04_SM_T_Ranlim_WihuShiExplanation.wav; Duration 3’40”; About line (23) the egg that holds up the sky. This line is about the fact that many bamboo sticks have been cut to support the sky, and there is an egg above them. nst-kim_20121110_05_SM_T_Ranlim_WihuShiExplanation.wav; Duration 0’33”; About lines (25) to (27), about the soft ear of the sky which is eaten because people had no meat nst-kim_20121110_06_SM_T_Ranlim_WihuShiExplanation.wav; Duration 5’26”; About lines (26) and (27) nst-kim_20121110_07_SM_T_Ranlim_WihuShiExplanation.wav; Duration 1’04”; About line (29); where it says that the iron post is burned, but iron doesn’t burn. Even so in the song language it says this. nst-kim_20121110_08_SM_T_Ranlim_WihuShiExplanation.wav; Duration 1’15”; About the two versions of the song that he sang – that sung to Meenaxi and that sung as nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi and nst-kim_20121109_05_SM_JVC_Ranlim_WihauShi. He stated that these two were the same, although by mistake he may have left something out of either version. nst-kim_20121110_10_SM_T_Ranlim_WihuShiExplanation.wav; Duration 5’35”; Explanation of Line (1) and (2) of the song sung as nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi
Thirteen recordings in which Ranlim sings the Wihau song. These consist of the following video and sound files: nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi.mp4 nst-kim_20121109_05_SM_JVC_Ranlim_WihauShi.mp4 nst-kim_20121109_05_SM_T_Ranlim_AboutWihauShi.wav nst-kim_20121109_06_SM_T_Ranlim_AboutWihauShi.wav nst-kim_20121109_07_SM_T_Ranlim_AboutWihauShi.wav nst-kim_20121110_01_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_03_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_04_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_05_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_06_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_07_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_08_SM_T_Ranlim_WihuShiExplanation.wav nst-kim_20121110_10_SM_T_Ranlim_WihuShiExplanation.wav The details of these recordings are as follows: nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi.mp4; Wihau song – complete version from creation up to being inside the house. nst-kim_20121109_05_SM_JVC_Ranlim_WihauShi.mp4; Wihau song – completion of the song recorded as nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi (File split by the JVC camera) nst-kim_20121109_05_SM_T_Ranlim_AboutWihauShi.wav; Duration 2’10”; About the words n-get thang which Ranlim says is actually in Khilak language. (It would be hiip-mang chang in spoken Chamchang). There are only 6 houses of Khilak in India. Ranlim said that much of the Wihu song was sung in Khilak (Khalak) language. nst-kim_20121109_06_SM_T_Ranlim_AboutWihauShi.wav; Duration 1’52”; About line 12 of the Wihu song recorded by Meenaxi. This is about how the two brothers were supposed to shoot down the gourd Kumchhi so that it does not fall and dam up the rivers, causing a flood. nst-kim_20121109_07_SM_T_Ranlim_AboutWihauShi.wav; Duration 4’13”; About the fact that large parts of his Wihu Shi are in Khilak language. nst-kim_20121110_01_SM_T_Ranlim_WihuShiExplanation.wav; Duration 4’37”; Discussion lines (21) and (22) of Ranlim’s Wihu song recorded by Meenaxi. Discussion of the word kingkhon, a word for a type of hen; found only in song language. Ninshom pointed out that the 2nd of these two lines pairs with the first, and is like a simile explanation of the first nst-kim_20121110_03_SM_T_Ranlim_WihuShiExplanation.wav; Duration 2’15”; Discussion of lines (23) and (24) of the Wihu Song recorded by Meenaxi. This relates to the cutting of bamboo and making a boat or raft and floating on the river (line 24). Line 23 also relates to the egg that holds up the sky, and egg that is kept by the non-tribals (Sham). nst-kim_20121110_04_SM_T_Ranlim_WihuShiExplanation.wav; Duration 3’40”; About line (23) the egg that holds up the sky. This line is about the fact that many bamboo sticks have been cut to support the sky, and there is an egg above them. nst-kim_20121110_05_SM_T_Ranlim_WihuShiExplanation.wav; Duration 0’33”; About lines (25) to (27), about the soft ear of the sky which is eaten because people had no meat nst-kim_20121110_06_SM_T_Ranlim_WihuShiExplanation.wav; Duration 5’26”; About lines (26) and (27) nst-kim_20121110_07_SM_T_Ranlim_WihuShiExplanation.wav; Duration 1’04”; About line (29); where it says that the iron post is burned, but iron doesn’t burn. Even so in the song language it says this. nst-kim_20121110_08_SM_T_Ranlim_WihuShiExplanation.wav; Duration 1’15”; About the two versions of the song that he sang – that sung to Meenaxi and that sung as nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi and nst-kim_20121109_05_SM_JVC_Ranlim_WihauShi. He stated that these two were the same, although by mistake he may have left something out of either version. nst-kim_20121110_10_SM_T_Ranlim_WihuShiExplanation.wav; Duration 5’35”; Explanation of Line (1) and (2) of the song sung as nst-kim_20121109_04_SM_JVC_Ranlim_WihauShi

Citation

Stephen Donald Morey, Ninshom Chena, and Meenaxi Barkataki-Ruscheweyh (2010 - 2017). Item "Songs" in collection "Tangsa, Tai, Singpho in North East India". The Language Archive. https://hdl.handle.net/1839/cc3cae8f-fb2c-49e0-a81c-8161f0acbbe3. (Accessed 2024-03-02)

Note: This citation was extracted automatically from the available metadata and may contain inaccuracies. In case of multiple authors, the ordering is arbitrary. Please contact the archive staff in case you need help on how to cite this resource.

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