The Kaksar dance is a famous dance of the hill Maria and Muria. It is a circular dance. In this track, three girls are singing “ri la ri la re,” and repeating the syllables. Kaksar dances are meant to invite a good harvest.

Kaura songs are traditional folk songs sung by people from the Magar community of the mid-western and western hills. They are sung during Dashain, Tihar, and Chandi Purnima. The tempo of the song is slow at the beginning and gradually moves up to medium or fast beat. Kaura songs are sung in a question-answer form.

To celebrate our first day of the million years ahead\nI'm dressing up our boudoir so it can be fulfilled\nBut if I move here then I'd hit the trunk\nThen I move over there I'd hit the pillow\nAnd I thought it'd be my lover to caress \n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

I hope our bond can last till tomorrow\nA thread can be sown into fabric, the iron can grind into a needle\nAnd if one day we fell into hardship\nOur precious bond can last like how a resilient rope is\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

The deep river is hard to wade through\n(I'm) afraid that the ferry won't carry (us) through the other side\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

Gobies joined the convent, mackerel cried, snakehead sorrowd\nOnly if the ocean has a bridge\nSo you can come and comfort my blues\n\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.

Mother please don't marry me off\nWhere the foreign lands gets strange and I won't find the way home\n\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.

The fish lounges on the rocks\nThe bird settles on the tree branch \nYou told me not to marry someone faraway \nSo that one day your parents grow old\nThen who will hand them the chopsticks to eat, the tea tray to drink\n\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.

Climbing on the starfruit tree and shake it\nThe starfruits falling without any claim\nThis starfruit is from mister Cai\nFor the treets without fruits, a lady gets her husband

The perching bird eats the longan\nThe fishes familiar with its pond, like how spouses are accustomed with each other's presence

Bhawaiya Song\nBhawaiya, a genre of North Bengal folk music, is performed primarily in the Rajbangshi dialect of Bengali. Bhawaiya folk songs reflect the experiences of rural life - occupations, joys, sorrows and harmony with nature. The songs are about relationship between men and women, spirituality, desire for affection, pain of lost love, destitution, desire for pre-marital meetings, sufferings of early widowhood and spinsterhood.

Bhawaiya Song\nBhawaiya, a genre of North Bengal folk music, is performed primarily in the Rajbangshi dialect of Bengali. Bhawaiya folk songs reflect the experiences of rural life - occupations, joys, sorrows and harmony with nature. The songs are about relationship between men and women, spirituality, desire for affection, pain of lost love, destitution, desire for pre-marital meetings, sufferings of early widowhood and spinsterhood.