{
  "schema_version": 1,
  "title": "World is One — A Poem Without Borders",
  "source_revision": "7322cd9d3e5c308512606844f660abbf84f6d871",
  "author": "Ahimanikya Satapathy",
  "purpose": "A public reference for multilingual poetry, music and film adaptation.",
  "status_note": "Drafts need fluent review; briefs are not translations. Intended settings and prompts do not certify performances.",
  "rights": {
    "content_license": "https://creativecommons.org/licenses/by/4.0/",
    "scope": "https://poemwithoutborders.org/guides--rights.html",
    "recordings": "Separate permissions; not covered by the content license"
  },
  "counts": {
    "language_entries": 102,
    "original_or_adapted_texts": 30
  },
  "settings_policy": {
    "schema_version": 1,
    "poem": "i-am-free-to-dream",
    "revision": "2026-09-27-2",
    "scope": "A starting point for future I Am Free to Dream recordings. Language and arrangement overrides preserve local musical choices; historical actual settings remain unchanged.",
    "defaults": {
      "model": "v6",
      "mode": "Advanced",
      "weirdness": 30,
      "style_influence": 65,
      "max_mode": true,
      "personalize": false,
      "variety": "Normal",
      "duration": "Auto",
      "vocal_gender": "Unselected; voice directed in the language prompt",
      "audio_influence": null,
      "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
    },
    "reference_cover_overrides": {
      "audio_influence": 75
    },
    "exception_rule": "Inherit baseline, then adopted language overrides, then adopted language/arrangement overrides. Document changed controls, musical reason, decision reference and review status. Proposed comparisons do not apply automatically. Per-run author directions take precedence and must be recorded. This policy does not authorize generation credits.",
    "language_overrides": {},
    "arrangement_overrides": {},
    "source": "production/i-am-free-to-dream/settings.json",
    "source_sha256": "517518fe764b604be168337217a872a7befafc0371e3ebbf02b8a9b203decb48"
  },
  "languages": [
    {
      "language": "Odia",
      "slug": "odia",
      "title": "ମୋତେ ସପ୍ନ ଦେଖିବାକୁ ମନା ନାହିଁ",
      "lyric_status": "Original",
      "review_status": "author-source",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--odia.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/odia.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/odia.md",
      "source_sha256": "c99baef6480ae2d1cdc7ea8d30a06452ea9bc101f688dfd10a4c706358b9c091",
      "lyrics": "[Intro]\nମୋତେ ସପ୍ନ ଦେଖିବାକୁ ମନା ନାହିଁ\nମନା ନାହିଁ ମଝି ରାସ୍ତାରେ ହଜି ଜିବାକୁ\nଧୃବତାରା ଖୋଜିଦେବ ରାସ୍ତା ।\n\n[Verse 1]\nସାଉଁଟି... ସାଉଁଟି...\nଜାବୁଡି ଧରିଛି ସଂସାରକୁ\nଜୋଡି ଦେବାର ଆଶାରେ,\nସଜେଇ ଦେବାର ଆଶାରେ ।\n\n[Verse 2]\nକୁଂଭକାର ମୁଁ ।\n\nଗଠିଦେବା ସିଖିଛି\nରଂଗେଈ ଦେଈ,\nତୁମ ମୁଖରେ ହସ ବୁଣିବା ସିଖିଛି ।\n\n[Chorus]\nମୋତେ ସପ୍ନ ଦେଖିବାକୁ ମନା ନାହିଁ\nମନା ନାହିଁ ମଝି ରାସ୍ତାରେ ହଜି ଜିବାକୁ\nଧୃବତାରା ଖୋଜିଦେବ ରାସ୍ତା ।\n\n[Bridge]\nଆସ ପାହାଡ ଚଢିବା\nଆସ ଜନ୍ହ ଦେଖିବା\nବାଦଲ ସାଂଗେ କାଂଧ ମିଳେଈ\nଝଡିବାର ମଂତ୍ର ସିଖିବା ।\n\n[Final Chorus]\nମୋତେ ସପ୍ନ ଦେଖିବାକୁ ମନା ନାହିଁ ।\nମନା ନାହିଁ ଗୁଂଥିଦେବାକୁ\nତୁମ ସପ୍ନକୁ ମୋ ସପ୍ନରେ ।\n\n[Soft Outro]\nମନା ନାହିଁ ଗୁଂଥିଦେବାକୁ\nତୁମ ସପ୍ନକୁ ମୋ ସପ୍ନରେ ।",
      "style_prompt": "Intimate Odia indie-folk lyric ballad, warm natural male voice, clear complete words, subtle Odissi-influenced melodic turns. Soft acoustic guitar, bamboo flute responses, restrained mardala and warm sustained bass. Unhurried flowing pulse, minimal opening, gradually warmer verses. Separate the repeated ସାଉଁଟି phrases with a breath; leave a full pause after କୁଂଭକାର ମୁଁ. Instruments sustain beneath the pauses. A quietly hopeful refrain, an open mountain-and-moon bridge, a tender dream-weaving ending. Keep ornaments brief and the poem prominent. Let whole Odia thoughts shape the melody; use brief Odissi-informed turns without fragmenting words. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The author’s voice is the centre of the collection. Keep the tenderness of the preferred acoustic take; use regional melodic inflection as a colour, without turning this free verse into a formal Odissi composition.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language. The author has requested soft-answer duet trials; those remain review candidates, not the default or a replacement for the published version.\n\n**What to validate.** Let whole Odia thoughts shape the melody; use brief Odissi-informed turns without fragmenting words. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.\n\nThe optional duet trial of 27 September keeps the Odia direction above: brief Odissi-informed turns after complete phrases, flute responses and restrained mardala. The second voice answers the mountain-and-moon invitation, then joins the final weaving of dreams. That is a contemporary interpretation of this poem, not a claim that Odia lyric song requires a duet. These are new text-prompt candidates, not covers of the published recording. Before selecting an additional Duet version, check the male voice leads through the first chorus, the female replies stay gentle, every word remains clear, and both the gathering breath and potter pause survive. The original recording remains available.",
        "Cultural grounding": "Odisha Tourism describes the close relationship between poetry and Odissi music, including the importance of preserving words intact.\n\nMusical reference: [Odisha Tourism — Music](https://odishatourism.gov.in/content/tourism/en/experience/themes/music.html).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "odia-audio-01",
          "title": "ମୋତେ ସପ୍ନ ଦେଖିବାକୁ ମନା ନାହିଁ",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/odia/i-am-free-to-dream-odia.mp3",
          "duration_seconds": 180.0,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "other": "Other production credits to be confirmed before release"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--odia-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "odia-video-source",
          "title": "ମୋତେ ସପ୍ନ ଦେଖିବାକୁ ମନା ନାହିଁ · Music video",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/odia/source/melodicpal-original.mp4",
          "duration_seconds": null,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--odia-video-source.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "English",
      "slug": "english",
      "title": "I Am Free to Dream",
      "lyric_status": "English adaptation",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--english.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/english.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/english.md",
      "source_sha256": "005db4d0d17cef8de7c2e24e0a7092a82e8fef352bb49832bda73cdd57b06c34",
      "lyrics": "[Intro — softly]\nI am free to dream,\nfree to lose my way.\nThe North Star will lead me on.\n\n[Verse 1]\nPiece by piece,\nI gather the world into my arms,\nhoping to mend it,\nhoping to make it beautiful.\n\n[Verse 2]\nI am a potter.\n\nI've learned to give things form,\nto bring them colour,\nto sow a smile upon your face.\n\n[Chorus]\nI am free to dream,\nfree to lose my way.\nThe North Star will lead me on.\nI am free to dream.\n\n[Bridge — gently rising]\nCome, let's climb the mountains.\nCome, let's watch the moon.\nShoulder to shoulder with the clouds,\nlet's learn to fall as rain.\n\n[Final Chorus]\nI am free to dream,\nfree to weave your dreams with mine.\nThread by thread,\nyour dreams with mine.\nI am free to dream.\n\n[Soft Outro]\nYour dreams with mine…\nI am free to dream.",
      "style_prompt": "Contemporary Nashville acoustic country-folk ballad. Warm youthful male storytelling vocal, natural English accent, intimate soulful delivery. Quiet joy, affection, wonder and freedom to dream. Gentle, unhurried 6/8 sway; fingerpicked steel-string guitar, upright bass, light brushes, soft piano and short warm pedal-steel replies. Spacious conversational phrasing and a graceful, memorable melody. Start with voice and guitar, gradually adding warmth and close refrain harmonies without increasing pace. Leave a breath after “Piece by piece” and a full pause after “I am a potter,” with soft instruments sustaining underneath. End in peaceful, hopeful contentment. No driving beat, exaggerated twang, mournful delivery or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The conversational English lyric suits a contemporary Nashville country-folk setting. Fingerpicked guitar and answering pedal steel can give the potter and dream-weaving images a personal, handmade warmth. Keep the country identity clear while expressing contentment and possibility.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male storyteller with a natural English accent and conversational stresses. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The chosen reference is contemporary Nashville acoustic country, within the wider English-speaking musical world. The Country Music Hall of Fame documents the guitar, bass and steel-guitar traditions that inform this palette. The restrained arrangement below is a creative choice for this poem. The author also selected a jazz alternative: it explores the same English lyric in a different setting, rather than treating country as the only English-language option. Both are contemporary interpretations; neither represents all English-speaking musical cultures.\n\n[Country Music Hall of Fame — History of Country Music Instruments](https://countrymusichalloffame.org/learn/family-and-community-resources/history-of-country-music-instruments)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "english-audio-country",
          "title": "I Am Free to Dream - Country",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/english/country/i-am-free-to-dream-english-country.mp3",
          "duration_seconds": 183.5,
          "variation": "country",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--english-audio-country.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "english-audio-jazz",
          "title": "I Am Free to Dream - Jazz",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/english/jazz/i-am-free-to-dream-english-jazz.mp3",
          "duration_seconds": 203.95,
          "variation": "jazz",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--english-audio-jazz.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "english-video-country",
          "title": "I Am Free to Dream - Country",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/english/country/i-am-free-to-dream-english-country.mp4",
          "duration_seconds": null,
          "variation": "country",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--english-video-country.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "english-video-jazz",
          "title": "I Am Free to Dream - Jazz",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/english/jazz/i-am-free-to-dream-english-jazz.mp4",
          "duration_seconds": null,
          "variation": "jazz",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--english-video-jazz.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Tamil",
      "slug": "tamil",
      "title": "கனவு காண எனக்குத் தடையில்லை",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--tamil.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/tamil.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/tamil.md",
      "source_sha256": "2d657b0f3d8280798edf655052b3c0e290bec23392e0509e4f1f684717155a24",
      "lyrics": "[Intro]\nஎனக்குக் கனவு காணத் தடையில்லை,\nநடுவழியில் தொலைந்து போகவும் தடையில்லை.\nதுருவ நட்சத்திரம் வழிகாட்டும்.\n\n[Verse 1]\nசிறிது சிறிதாய்ச் சேர்த்து,\nஉலகை இறுக அணைத்திருக்கிறேன்—\nஅதை ஒன்றுசேர்க்கும் நம்பிக்கையில்,\nஅழகுபடுத்தும் நம்பிக்கையில்.\n\n[Verse 2]\nநான் ஒரு குயவன்.\n\nஉருவம் தரக் கற்றிருக்கிறேன்,\nவண்ணம் தீட்டி,\nஉன் முகத்தில் புன்னகை விதைக்கக் கற்றிருக்கிறேன்.\n\n[Chorus]\nஎனக்குக் கனவு காணத் தடையில்லை,\nநடுவழியில் தொலைந்து போகவும் தடையில்லை.\nதுருவ நட்சத்திரம் வழிகாட்டும்.\n\n[Bridge]\nவா, மலை ஏறுவோம்.\nவா, நிலவைப் பார்ப்போம்.\nமேகங்களோடு தோள் சேர்த்து,\nமழையாய்ப் பொழியும் மந்திரம் கற்போம்.\n\n[Final Chorus]\nஎனக்குக் கனவு காணத் தடையில்லை.\nஉன் கனவுகளை என் கனவுகளோடு\nபின்னிச் சேர்க்கவும் தடையில்லை.\n\n[Soft Outro]\nஉன் கனவுகளை என் கனவுகளோடு...\nபின்னிச் சேர்க்கவும் தடையில்லை.",
      "style_prompt": "Tender Tamil mellisai-inspired indie ballad with a warm intimate male voice and natural Tamil diction. Lyrical flowing melody, subtle Carnatic inflections, brief graceful ornaments. Delicate veena responses, soft bamboo flute, gentle mridangam and a light acoustic bed. Leave room for long Tamil phrases to finish. Begin sparsely and grow warmer through the verses. Breathe after the gathering phrase; leave a full pause after நான் ஒரு குயவன். Sustain instruments under the silence. Open the melody at the mountain-and-moon bridge and close with a quiet veena reply to the dream-weaving refrain. Keep Tamil vowel lengths and doubled consonants clear; place small melodic turns after complete phrases. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Choose a soft, melodious Tamil song with restrained Carnatic shading. The tactile sound of plucked veena suits the act of shaping clay; the long smile-sowing phrase needs room to finish naturally.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language. The author requested a soft-answer duet as an additional version alongside the published solo.\n\n**Duet variation — author selected.** The author selected [the earlier soft-answer duet](https://suno.com/song/081ca235-b828-44de-93be-e0b79ed779bb) for its female vocal blend. It keeps a Tamil mellisai-inspired direction with restrained Carnatic inflections, delicate veena, bamboo flute and light mridangam. The intended male-led verses open to female answering phrases at the invitation and a shared final refrain, suggesting two dreams woven together. This is a contemporary poetic choice, not a requirement of Tamil music. This take was generated from text, not as a cover of the published solo; identical melody or backing is not claimed. The solo remains the primary version. Fluent listeners should check vowel lengths, doubled consonants, complete long phrases and the pause after “நான் ஒரு குயவன்.” Later reference-cover trials remain separate, unselected candidates.\n\n**What to validate.** Keep Tamil vowel lengths and doubled consonants clear; place small melodic turns after complete phrases. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Tanjavur musician and scholar Rama Kausalya describes a musical world of Tamil and Telugu compositions, veena and violin traditions. That shared classical background allows several contemporary Tamil song approaches.\n\nLanguage or community context: [Sahapedia — Interview with Rama Kausalya](https://www.sahapedia.org/tanjavur-and-the-performing-arts-interview-rama-kausalya).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "tamil-audio-01",
          "title": "கனவு காண எனக்குத் தடையில்லை",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/tamil/i-am-free-to-dream-tamil.mp3",
          "duration_seconds": 152.04,
          "variation": "solo",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "other": "Other production credits to be confirmed before release"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--tamil-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "tamil-video-01",
          "title": "கனவு காண எனக்குத் தடையில்லை · Music video",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/tamil/i-am-free-to-dream-tamil.mp4",
          "duration_seconds": null,
          "variation": "solo",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "other": "Other production credits to be confirmed before release",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--tamil-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "tamil-duet-audio-01",
          "title": "கனவு காண எனக்குத் தடையில்லை · Duet",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/f01c427df238096140d2fd44887d6509ebc2e72b/media/tamil/duet/i-am-free-to-dream-tamil-duet-01.mp3",
          "duration_seconds": 177.64,
          "variation": "duet",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--tamil-duet-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "tamil-duet-video-01",
          "title": "கனவு காண எனக்குத் தடையில்லை · Duet",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/f01c427df238096140d2fd44887d6509ebc2e72b/media/tamil/duet/i-am-free-to-dream-tamil-duet-01.mp4",
          "duration_seconds": 177.64,
          "variation": "duet",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--tamil-duet-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Telugu",
      "slug": "telugu",
      "title": "కలలు కనడానికి నాకు అడ్డులేదు",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--telugu.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/telugu.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/telugu.md",
      "source_sha256": "3b5749062cf75f39f4dc846c2305b84e81833fe20f520a9a158f91915e860a65",
      "lyrics": "[Intro]\nకలలు కనడానికి నాకు అడ్డులేదు,\nనడిదారిలో దారి తప్పినా అడ్డులేదు.\nధ్రువతార దారి చూపుతుంది.\n\n[Verse 1]\nఏరుకుంటూ... ఏరుకుంటూ...\nలోకాన్ని గుండెలకు హత్తుకున్నాను—\nఒక్కటిగా కలపాలనే ఆశతో,\nఅందంగా మలచాలనే ఆశతో.\n\n[Verse 2]\nనేనొక కుమ్మరిని.\n\nరూపం ఇవ్వడం నేర్చుకున్నాను,\nరంగులద్ది,\nనీ ముఖాన చిరునవ్వులు పూయించడం నేర్చుకున్నాను.\n\n[Chorus]\nకలలు కనడానికి నాకు అడ్డులేదు,\nనడిదారిలో దారి తప్పినా అడ్డులేదు.\nధ్రువతార దారి చూపుతుంది.\n\n[Bridge]\nరా, కొండలెక్కుదాం.\nరా, జాబిల్లిని చూద్దాం.\nమేఘాలతో భుజం కలిపి,\nవానై కురిసే మంత్రం నేర్చుకుందాం.\n\n[Final Chorus]\nకలలు కనడానికి నాకు అడ్డులేదు.\nనీ కలలను నా కలలతో\nఅల్లుకోవడానికి కూడా అడ్డులేదు.\n\n[Soft Outro]\nనీ కలలను నా కలలతో...\nఅల్లుకోవడానికి అడ్డులేదు.",
      "style_prompt": "Calm Telugu indie-folk ballad with warm youthful male vocals, intimate soulful delivery and natural Telugu diction. Gentle fingerpicked guitar, breathy bamboo flute, soft bass, very light hand percussion and occasional veena replies. Flowing word-led melody with brief Carnatic-informed turns. Unhurried pulse and spacious phrasing; use a gentle 6/8 sway only where it fits the lyric. Leave a breath between gathering phrases and a fuller pause after the potter declaration, with soft instruments sustaining beneath. Begin sparsely, bloom gradually without increasing pace, and close with peaceful hope. Let long Telugu phrases flow comfortably; sustain vowels without swallowing consonants or hurrying endings. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Use the warmth and continuity of the Telugu lines as the organising principle. Retain the preferred voice-and-fingerpicked-guitar intimacy, with breathy flute and occasional veena replies leaving long sentences room to finish. These choices support the potter's gentle making and the invitation to share dreams.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let long Telugu phrases flow comfortably; sustain vowels without swallowing consonants or hurrying endings. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "In his interview, musician M. Balamuralikrishna discusses composition, light music and the relationship of poetry to musical expression.\n\nLanguage or community context: [Sahapedia — M. Balamuralikrishna](https://www.sahapedia.org/m-balamuralikrishna).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "telugu-audio-v4",
          "title": "కలలు కనడానికి నాకు అడ్డులేదు",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/telugu/v4/i-am-free-to-dream-telugu-v4.mp3",
          "duration_seconds": 162.02,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--telugu-audio-v4.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "telugu-video-v4",
          "title": "కలలు కనడానికి నాకు అడ్డులేదు · Music video",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/telugu/v4/i-am-free-to-dream-telugu-v4.mp4",
          "duration_seconds": null,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--telugu-video-v4.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Bengali",
      "slug": "bengali",
      "title": "স্বপ্ন দেখতে আমার মানা নেই",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--bengali.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/bengali.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/bengali.md",
      "source_sha256": "e8fdb7a7fb4a233a4d3b9ef980014a85caffe5b9a79a56e6fcdc515f5a690c5d",
      "lyrics": "[Intro]\nস্বপ্ন দেখতে আমার মানা নেই,\nপথের মাঝে হারিয়ে যেতেও মানা নেই।\nধ্রুবতারা পথ দেখাবে।\n\n[Verse 1]\nকুড়িয়ে... কুড়িয়ে...\nসংসারটাকে বুকে জড়িয়ে রেখেছি—\nজুড়ে দেওয়ার আশায়,\nসাজিয়ে দেওয়ার আশায়।\n\n[Verse 2]\nআমি এক কুমোর।\n\nগড়ে তুলতে শিখেছি,\nরঙে রাঙিয়ে,\nতোমার মুখে হাসি ফোটাতে শিখেছি।\n\n[Chorus]\nস্বপ্ন দেখতে আমার মানা নেই,\nপথের মাঝে হারিয়ে যেতেও মানা নেই।\nধ্রুবতারা পথ দেখাবে।\n\n[Bridge]\nএসো, পাহাড়ে উঠি।\nএসো, চাঁদ দেখি।\nমেঘের সঙ্গে কাঁধ মিলিয়ে,\nবৃষ্টি হয়ে ঝরার মন্ত্র শিখি।\n\n[Final Chorus]\nস্বপ্ন দেখতে আমার মানা নেই।\nতোমার স্বপ্ন আমার স্বপ্নের সঙ্গে\nবুনে দিতেও মানা নেই।\n\n[Soft Outro]\nতোমার স্বপ্ন আমার স্বপ্নের সঙ্গে...\nবুনে দিতেও মানা নেই।",
      "style_prompt": "Dreamy Bengali poetic folk ballad with bhatiyali-inspired spacious phrasing. Warm intimate male voice, natural Bengali diction, long breathing lines and gently descending endings. Dotara, airy bamboo flute and sparse soft hand percussion, an elastic relaxed pulse. Breath between কুড়িয়ে... কুড়িয়ে... and a full pause after আমি এক কুমোর. Keep instrumental notes floating beneath the silence. Gradually open from a solitary verse to a quietly hopeful refrain; broaden the mountain-and-cloud bridge, then return to a tender close voice for weaving dreams together. Use long, connected Bengali lines and gentle descending resolutions; keep the spacious delivery quietly happy. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Borrow the sense of a long breath travelling across space for the North Star and cloud images. Keep the lyric as a new Bengali poem-setting; it is not Rabindrasangeet or an inherited folk song.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Published vocal choice — Solo.** [The selected recording](https://suno.com/song/b216df41-663e-4df3-a465-616fdcb03544) and its matching video are presented as the primary solo version, following the author’s direction.\n\n**Future generations — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language. The author has requested soft-answer duet trials; those remain review candidates, not the default or a replacement for the published version.\n\n**What to validate.** Use long, connected Bengali lines and gentle descending resolutions; keep the spacious delivery quietly happy. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.\n\nThe optional duet trial of 27 September retains bhatiyali-inspired space, long breath-connected lines, gently descending endings, dotara and airy flute. Soft female replies give the invitation an answering voice; close harmony at the end suggests two dreams woven together. This is a contemporary poetic choice, not a traditional duet requirement. These are new text-prompt candidates, not covers of the published recording. Before selecting an additional Duet version, check Bengali stresses and complete phrases, the male solo through the first chorus, the secondary female replies, and the gathering breath and potter pause. The original recording remains available.",
        "Cultural grounding": "Sahapedia’s discussion of northern Bengal’s folk songs distinguishes bhawaiya from the expansive river-song world of bhatiyali. These are particular traditions, not interchangeable names for Bengali music.\n\nMusical reference: [Sahapedia — Solitude, Love, Nature and Womanhood in Bhawaiya Songs](https://www.sahapedia.org/solitude-love-nature-culture-and-womanhood-bhawaiya-songs-0).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "bengali-audio-01",
          "title": "স্বপ্ন দেখতে আমার মানা নেই · Solo",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/7564db2a152cdeef9094f90fab0a441123f738b7/media/bengali/i-am-free-to-dream-bengali.mp3",
          "duration_seconds": 160.82,
          "variation": "solo",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--bengali-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "bengali-video-01",
          "title": "স্বপ্ন দেখতে আমার মানা নেই · Solo",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/c462b59b27a2edac3fa166b12c3b10766bd5c452/media/bengali/i-am-free-to-dream-bengali.mp4",
          "duration_seconds": 160.8,
          "variation": "solo",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--bengali-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Hindi",
      "slug": "hindi",
      "title": "मुझे सपने देखने की मनाही नहीं",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--hindi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/hindi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/hindi.md",
      "source_sha256": "745dfc9055b838b3bfdddf3eb16268f247a2635af651cef236bf3efc5b10b069",
      "lyrics": "[Intro]\nमुझे सपने देखने की मनाही नहीं,\nबीच राह में खो जाने की भी मनाही नहीं।\nध्रुवतारा राह दिखाएगा।\n\n[Verse 1]\nसमेटते... समेटते...\nदुनिया को सीने से लगा रखा है—\nजोड़ देने की आस में,\nसँवार देने की आस में।\n\n[Verse 2]\nमैं एक कुम्हार हूँ।\n\nआकार देना सीखा है,\nरंगों से सजाकर,\nतुम्हारे चेहरे पर मुस्कान खिलाना सीखा है।\n\n[Chorus]\nमुझे सपने देखने की मनाही नहीं,\nबीच राह में खो जाने की भी मनाही नहीं।\nध्रुवतारा राह दिखाएगा।\n\n[Bridge]\nआओ, पहाड़ चढ़ें।\nआओ, चाँद निहारें।\nबादलों से कंधा मिलाकर,\nबारिश बन बरसने का मंत्र सीखें।\n\n[Final Chorus]\nमुझे सपने देखने की मनाही नहीं।\nतुम्हारे सपनों को अपने सपनों में\nपिरोने की भी मनाही नहीं।\n\n[Soft Outro]\nतुम्हारे सपनों को अपने सपनों में...\nपिरोने की भी मनाही नहीं।",
      "style_prompt": "Intimate Hindi geet-style indie ballad with light Hindustani melodic shading and a gentle six-beat dadra feel. Warm natural male vocals, clear words, a memorable returning refrain, restrained meend. Soft harmonium, bansuri replies, delicate tabla and understated acoustic guitar. Separate समेटते... समेटते... and pause fully after मैं एक कुम्हार हूँ. Let held instruments carry the breaths. Begin quietly, add warmth through the verses, lift the mountain-and-moon bridge, then resolve the final dream-weaving lines with tenderness. Keep the poem at the front of the mix. Shape each Hindi sentence before adding a small meend; let the six-beat accompaniment yield to the words. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give Hindi the collection’s most clearly returning melodic refrain. The poem’s direct statement of freedom benefits from a tune listeners can remember after one hearing.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Shape each Hindi sentence before adding a small meend; let the six-beat accompaniment yield to the words. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sangeet Natak Akademi recognizes Bhupinder Singh’s work in sugam sangeet. This supplies a light-music reference. A contemporary Hindi geet with gentle dadra accompaniment is a proposed setting for this poem; a musician should check the sung phrasing against the rhythmic cycle.\n\nLanguage or community context: [Sangeet Natak Akademi — Bhupinder Singh](https://www.sangeetnatak.gov.in/public/uploads/awardees/docs/Bhupinder_Singh.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Malayalam",
      "slug": "malayalam",
      "title": "സ്വപ്നം കാണാൻ എനിക്ക് വിലക്കില്ല",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--malayalam.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/malayalam.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/malayalam.md",
      "source_sha256": "00a8b3f3194644e7462e64b8beb7e4454b09a83dfd2326c1cc6ac0a599a5239d",
      "lyrics": "[Intro]\nസ്വപ്നം കാണാൻ എനിക്ക് വിലക്കില്ല,\nപാതിവഴിയിൽ വഴിതെറ്റാനും വിലക്കില്ല.\nധ്രുവനക്ഷത്രം വഴി കാട്ടും.\n\n[Verse 1]\nപെറുക്കി... പെറുക്കി...\nലോകത്തെ മാറോടണച്ചിരിക്കുന്നു—\nഒന്നുചേർക്കാമെന്ന പ്രതീക്ഷയിൽ,\nഅണിയിച്ചൊരുക്കാമെന്ന പ്രതീക്ഷയിൽ.\n\n[Verse 2]\nഞാനൊരു കുശവൻ.\n\nരൂപം നൽകാൻ പഠിച്ചിട്ടുണ്ട്,\nനിറങ്ങൾ ചാർത്തി,\nനിൻ മുഖത്ത് പുഞ്ചിരി വിരിയിക്കാൻ പഠിച്ചിട്ടുണ്ട്.\n\n[Chorus]\nസ്വപ്നം കാണാൻ എനിക്ക് വിലക്കില്ല,\nപാതിവഴിയിൽ വഴിതെറ്റാനും വിലക്കില്ല.\nധ്രുവനക്ഷത്രം വഴി കാട്ടും.\n\n[Bridge]\nവാ, മല കയറാം.\nവാ, നിലാവ് കാണാം.\nമേഘങ്ങളോട് തോൾ ചേർത്ത്,\nമഴയായി പെയ്യാൻ മന്ത്രം പഠിക്കാം.\n\n[Final Chorus]\nസ്വപ്നം കാണാൻ എനിക്ക് വിലക്കില്ല.\nനിന്റെ സ്വപ്നങ്ങളെ എന്റെ സ്വപ്നങ്ങളോട്\nഇഴചേർക്കാനും വിലക്കില്ല.\n\n[Soft Outro]\nനിന്റെ സ്വപ്നങ്ങളെ എന്റെ സ്വപ്നങ്ങളോട്...\nഇഴചേർക്കാനും വിലക്കില്ല.",
      "style_prompt": "Gentle Malayalam light-music ballad with an intimate warm male voice, natural diction and supple lyrical phrasing. Soft idakka answers between lines, low bamboo flute and a small sustained string texture. A relaxed flowing pulse and brief expressive melodic turns. Breathe between പെറുക്കി... പെറുക്കി...; leave a full pause after ഞാനൊരു കുശവൻ. Sustain softly beneath the breaths. Begin spare, gradually warm the verses, open the mountain-and-moon bridge, then close with voice and a delicate flute response. Contemporary secular poem-setting, restrained percussion. Give long Malayalam words enough notes and breath; keep consonants clear through supple phrase endings. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A supple voice and small pitched-percussion replies can make the embrace and rain images feel intimate. Keep the whole word audible through every melodic turn.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Give long Malayalam words enough notes and breath; keep consonants clear through supple phrase endings. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Kerala’s official music textbook describes sopana music and its idakka accompaniment. Here the instrument is a colour in a new secular arrangement, not a claim to reproduce temple performance.\n\nMusical reference: [Kerala SCERT/KITE — Music, Class XII](https://samagra.kite.kerala.gov.in/files/samagra-resource/uploads/tbookscmq/Class_XII/Music/Music.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "malayalam-audio-01",
          "title": "സ്വപ്നം കാണാൻ എനിക്ക് വിലക്കില്ല",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/7a7c2e253b9065f168f20200220fb35ddfa31e18/media/malayalam/i-am-free-to-dream-malayalam.mp3",
          "duration_seconds": 162.52,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--malayalam-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "malayalam-video-01",
          "title": "സ്വപ്നം കാണാൻ എനിക്ക് വിലക്കില്ല",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/7a7c2e253b9065f168f20200220fb35ddfa31e18/media/malayalam/i-am-free-to-dream-malayalam.mp4",
          "duration_seconds": 162.54,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--malayalam-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Kannada",
      "slug": "kannada",
      "title": "ಕನಸು ಕಾಣಲು ನನಗೆ ತಡೆಯಿಲ್ಲ",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kannada.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kannada.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kannada.md",
      "source_sha256": "c41803bcca45fe36aedf7a68fc329892ec23c26695386b77e57abb7f5965c2f8",
      "lyrics": "[Intro]\nಕನಸು ಕಾಣಲು ನನಗೆ ತಡೆಯಿಲ್ಲ,\nನಡುದಾರಿಯಲ್ಲಿ ಕಳೆದುಹೋಗಲೂ ತಡೆಯಿಲ್ಲ.\nಧ್ರುವತಾರೆ ದಾರಿ ತೋರುತ್ತದೆ.\n\n[Verse 1]\nಒಂದೊಂದಾಗಿ... ಒಂದೊಂದಾಗಿ...\nಜಗತ್ತನ್ನು ಎದೆಗಪ್ಪಿಕೊಂಡಿದ್ದೇನೆ—\nಕೂಡಿಸುವ ಆಸೆಯಿಂದ,\nಅಂದಗೊಳಿಸುವ ಆಸೆಯಿಂದ.\n\n[Verse 2]\nನಾನೊಬ್ಬ ಕುಂಬಾರ.\n\nರೂಪ ಕೊಡಲು ಕಲಿತಿದ್ದೇನೆ,\nಬಣ್ಣ ಹಚ್ಚಿ,\nನಿನ್ನ ಮೊಗದಲ್ಲಿ ನಗು ಅರಳಿಸಲು ಕಲಿತಿದ್ದೇನೆ.\n\n[Chorus]\nಕನಸು ಕಾಣಲು ನನಗೆ ತಡೆಯಿಲ್ಲ,\nನಡುದಾರಿಯಲ್ಲಿ ಕಳೆದುಹೋಗಲೂ ತಡೆಯಿಲ್ಲ.\nಧ್ರುವತಾರೆ ದಾರಿ ತೋರುತ್ತದೆ.\n\n[Bridge]\nಬಾ, ಬೆಟ್ಟ ಏರೋಣ.\nಬಾ, ಚಂದಿರನ ನೋಡೋಣ.\nಮೋಡಗಳೊಡನೆ ಹೆಗಲು ಸೇರಿಸಿ,\nಮಳೆಯಾಗಿ ಸುರಿಯುವ ಮಂತ್ರ ಕಲಿಯೋಣ.\n\n[Final Chorus]\nಕನಸು ಕಾಣಲು ನನಗೆ ತಡೆಯಿಲ್ಲ.\nನಿನ್ನ ಕನಸುಗಳನ್ನು ನನ್ನ ಕನಸುಗಳೊಂದಿಗೆ\nಹೆಣೆಯಲೂ ತಡೆಯಿಲ್ಲ.\n\n[Soft Outro]\nನಿನ್ನ ಕನಸುಗಳನ್ನು ನನ್ನ ಕನಸುಗಳೊಂದಿಗೆ...\nಹೆಣೆಯಲೂ ತಡೆಯಿಲ್ಲ.",
      "style_prompt": "Kannada bhavageethe-inspired lyrical ballad, warm intimate male voice, clear diction and expressive poetry-led phrasing. Quiet piano, lyrical violin, occasional bamboo flute and very light hand percussion. Relaxed four-beat flow with flexible space for long lines. Separate ಒಂದೊಂದಾಗಿ... ಒಂದೊಂದಾಗಿ... and pause fully after ನಾನೊಬ್ಬ ಕುಂಬಾರ. Held notes sustain beneath the breaths. Gentle stanza-to-stanza melodic variation, a quietly memorable refrain, an expanding mountain-and-moon bridge, then a soft lingering dream-weaving ending. Understated contemporary chamber sound. Shape melody around the Kannada poem's meaning; vary stanza endings subtly while keeping a recognisable refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "This is an especially strong fit because the poem should remain recognisable as poetry while gaining a memorable melodic life. Musical emphasis should follow the thought, not an imposed pop accent.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Shape melody around the Kannada poem's meaning; vary stanza endings subtly while keeping a recognisable refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sugama Sangeetha practitioners describe a close relationship between Kannada poetry, melody and clear expressive diction.\n\nMusical reference: [Sugama Sangeetha — The genre](https://www.sugamasangeetha.in/sugama-sangeetha).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Marathi",
      "slug": "marathi",
      "title": "स्वप्नं पाहायला मला मनाई नाही",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--marathi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/marathi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/marathi.md",
      "source_sha256": "34e639f9084d7ade802714bcf22c440e307f7bfdf6da76b5804ddc697d72fe5a",
      "lyrics": "[Intro]\nस्वप्नं पाहायला मला मनाई नाही,\nवाटेत हरवायलाही मनाई नाही.\nध्रुवतारा वाट दाखवेल.\n\n[Verse 1]\nवेचत... वेचत...\nसारं जग उराशी कवटाळलं आहे—\nजोडून द्यायच्या आशेने,\nसजवून द्यायच्या आशेने.\n\n[Verse 2]\nमी एक कुंभार.\n\nआकार द्यायला शिकलो आहे,\nरंग भरून,\nतुझ्या चेहऱ्यावर हसू फुलवायला शिकलो आहे.\n\n[Chorus]\nस्वप्नं पाहायला मला मनाई नाही,\nवाटेत हरवायलाही मनाई नाही.\nध्रुवतारा वाट दाखवेल.\n\n[Bridge]\nचल, डोंगर चढूया.\nचल, चंद्र पाहूया.\nढगांच्या खांद्याला खांदा लावून,\nपाऊस होऊन बरसण्याचा मंत्र शिकूया.\n\n[Final Chorus]\nस्वप्नं पाहायला मला मनाई नाही.\nतुझी स्वप्नं माझ्या स्वप्नांत\nगुंफायलाही मनाई नाही.\n\n[Soft Outro]\nतुझी स्वप्नं माझ्या स्वप्नांत...\nगुंफायलाही मनाई नाही.",
      "style_prompt": "Tender Marathi bhavgeet with warm intimate male vocals and clear natural diction. Poetry-led melody, compact expressive phrases, slow gentle lilt. Soft piano, harmonium, a lyrical violin and delicate tabla. Separate वेचत... वेचत... with a breath; pause fully after मी एक कुंभार. Instruments sustain under the silence. Sparse opening, warmer successive verses, a wider melodic rise at the mountain-and-moon bridge, and a close tender ending on गुंफायलाही मनाई नाही. Keep ornamentation restrained and emotion in the words. Let Marathi speech accents guide compact melodic phrases; open the refrain warmly without theatrical projection. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Choose emotional precision rather than theatrical scale. A compact melody gives the words about making, colouring and smiling their own space.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Marathi speech accents guide compact melodic phrases; open the refrain warmly without theatrical projection. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "NCPA describes Marathi bhavgeet as an expressive meeting of poetry, melody and rhythm. That directly supports a poetry-led setting. The small ensemble and quietly happy delivery proposed here are choices for this particular adaptation.\n\nMusical reference: [NCPA — Celebrating evergreen bhavgeets of Arun Date](https://www.ncpamumbai.com/event/nava-shukratara-celebrating-evergreen-bhavgeets-of-arun-date/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Bhojpuri",
      "slug": "bhojpuri",
      "title": "सपना देखे के मनाही नइखे",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--bhojpuri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/bhojpuri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/bhojpuri.md",
      "source_sha256": "fc378cdce9b40bddcb64b3140b827e5576aa15cc7294fff17a51ce4ef26e3f5d",
      "lyrics": "[Intro]\nहमरा सपना देखे के मनाही नइखे,\nबीच राह में भटक जाए के मनाही नइखे।\nध्रुवतारा राह देखाई।\n\n[Verse 1]\nबटोरत... बटोरत...\nदुनिया के छाती से लगवले बानी—\nएकरा के जोड़े के आस में,\nएकरा के सँवारे के आस में।\n\n[Verse 2]\nहम कुम्हार बानी।\n\nरूप देवे के सीखले बानी,\nरंग भर के,\nतोहरा मुँह पर हँसी खिलावे के सीखले बानी।\n\n[Chorus]\nहमरा सपना देखे के मनाही नइखे,\nबीच राह में भटक जाए के मनाही नइखे।\nध्रुवतारा राह देखाई।\n\n[Bridge]\nआवऽ, पहाड़ चढ़ीं।\nआवऽ, चाँद निहारीं।\nबादर से काँधा मिलाके,\nबरखा बन बरसे के मंतर सीखीं।\n\n[Final Chorus]\nहमरा सपना देखे के मनाही नइखे।\nतोहार सपना अपना सपना में\nगूँथे के भी मनाही नइखे।\n\n[Soft Outro]\nतोहार सपना अपना सपना में...\nगूँथे के भी मनाही नइखे।",
      "style_prompt": "Tender Bhojpuri Purabi-inspired acoustic folk ballad, warm conversational male vocals and natural Bhojpuri diction. Gentle kajri-like lilt, soft dholak, expressive sarangi answers and quiet harmonium. Relaxed phrase endings, restrained ornamentation, a hopeful returning refrain. Breathe between बटोरत... बटोरत... and pause fully after हम कुम्हार बानी. Instruments sustain beneath the silence. Begin intimately, let the rain-and-cloud bridge bloom, and settle into a soft dream-weaving ending. Keep the rhythm light and the lyrical feeling affectionate. Use conversational Bhojpuri and gently leaning phrase endings; keep the Purabi colour affectionate and unhurried. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The clouds and rain make a gentle kajri influence meaningful. This is a newly composed Bhojpuri love-and-hope song; its metre and lyric structure do not make it a traditional kajri automatically.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use conversational Bhojpuri and gently leaning phrase endings; keep the Purabi colour affectionate and unhurried. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "NCPA’s monsoon programme identifies kajri and related folk forms with the emotional world of rain, separation and union.\n\nMusical reference: [NCPA — Ghan Garaje: Monsoon Melodies](https://www.ncpamumbai.com/event/ghan-garaje-monsoon-melodies-4/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Haryanvi",
      "slug": "haryanvi",
      "title": "मन्नै सपने देखण की मनाही कोन्या",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--haryanvi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/haryanvi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/haryanvi.md",
      "source_sha256": "8f9a7c332a217b7aacbac84ae8f48b37085de845b8934a89c805f9d6122ec1ec",
      "lyrics": "[Intro]\nमन्नै सपने देखण की मनाही कोन्या,\nबीच रस्ते भटकण की भी मनाही कोन्या।\nध्रुवतारा राह दिखावैगा।\n\n[Verse 1]\nसमेट कै... समेट कै...\nदुनिया नै छाती तै ला राखी सै—\nजोड़ण की आस में,\nसजावण की आस में।\n\n[Verse 2]\nमैं एक कुम्हार सूँ।\n\nआकार देणा सीख लिया सै,\nरंग भर कै,\nतेरे चेहरे पै हँसी खिलाणी सीख ली सै।\n\n[Chorus]\nमन्नै सपने देखण की मनाही कोन्या,\nबीच रस्ते भटकण की भी मनाही कोन्या।\nध्रुवतारा राह दिखावैगा।\n\n[Bridge]\nआ, पहाड़ चढ़ां।\nआ, चाँद नै देखां।\nबादलां तै कंधा मिला कै,\nबरखा बण कै बरसण का मंतर सीखां।\n\n[Final Chorus]\nमन्नै सपने देखण की मनाही कोन्या।\nतेरे सपन्यां नै मेरे सपन्यां में\nपिरोण की भी मनाही कोन्या।\n\n[Soft Outro]\nतेरे सपन्यां नै मेरे सपन्यां में...\nपिरोण की भी मनाही कोन्या।",
      "style_prompt": "Intimate Haryanvi folk-geet with ragini-informed storytelling directness, warm grounded male voice and clear native diction. A steady gentle four-beat pulse, soft dholak, short sarangi responses and sparse bansuri. Natural speech-shaped verses and a tuneful hopeful refrain. Separate समेट कै... समेट कै...; pause fully after मैं एक कुम्हार सूँ. Let instruments sustain beneath the breaths. Grow gradually toward the mountain invitation, then soften the final woven-dreams lines. Tender delivery, modest vocal range, restrained percussion. Keep Haryanvi's local pronunciation and direct storytelling; sing close and warmly rather than projecting a stage call. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Keep the frankness of “I am a potter” and the sturdy assurance of “I am free.” Use the direct delivery associated with regional storytelling at an intimate scale.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Haryanvi's local pronunciation and direct storytelling; sing close and warmly rather than projecting a stage call. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Haryana’s Department of Art and Cultural Affairs describes its ballad and folk-song traditions and instruments including sarangi, bansuri and dholak.\n\nMusical reference: [Haryana Art and Cultural Affairs — Music](https://artandculturalaffairshry.gov.in/music/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Gujarati",
      "slug": "gujarati",
      "title": "મને સપનાં જોવાની મનાઈ નથી",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--gujarati.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/gujarati.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/gujarati.md",
      "source_sha256": "21aff43fbfc26bb780deb0d807b41a80fb5906f7d6e7833c15bff0d0f5bd62e9",
      "lyrics": "[Intro]\nમને સપનાં જોવાની મનાઈ નથી,\nઅધવચ્ચે રસ્તો ભૂલી જવાની પણ મનાઈ નથી.\nધ્રુવતારો રસ્તો બતાવશે.\n\n[Verse 1]\nવીણતાં... વીણતાં...\nદુનિયાને હૈયે વળગાડી છે—\nજોડી દેવાની આશામાં,\nસજાવી દેવાની આશામાં.\n\n[Verse 2]\nહું એક કુંભાર છું.\n\nઆકાર આપતાં શીખ્યો છું,\nરંગો પૂરીને,\nતારા ચહેરા પર સ્મિત ખીલવતાં શીખ્યો છું.\n\n[Chorus]\nમને સપનાં જોવાની મનાઈ નથી,\nઅધવચ્ચે રસ્તો ભૂલી જવાની પણ મનાઈ નથી.\nધ્રુવતારો રસ્તો બતાવશે.\n\n[Bridge]\nચાલ, પહાડ ચઢીએ.\nચાલ, ચાંદ નિહાળીએ.\nવાદળો સાથે ખભો મિલાવી,\nવરસાદ બની વરસવાનો મંત્ર શીખીએ.\n\n[Final Chorus]\nમને સપનાં જોવાની મનાઈ નથી.\nતારાં સપનાં મારાં સપનામાં\nગૂંથવાની પણ મનાઈ નથી.\n\n[Soft Outro]\nતારાં સપનાં મારાં સપનામાં...\nગૂંથવાની પણ મનાઈ નથી.",
      "style_prompt": "Gujarati sugam-sangeet-inspired lyrical ballad, warm intimate male voice, clear Gujarati diction and graceful tuneful phrasing. Gentle tabla, light harmonium, violin interludes and occasional bansuri. Relaxed lilting pulse, balanced melodic lines, quietly memorable refrain. Separate the repeated gathering phrases and pause fully after the potter declaration, with instruments sustaining below. Begin sparsely, grow warmer through the verses, open the mountain-and-moon bridge, and end affectionately on weaving dreams together. Understated contemporary chamber production. Use clear Gujarati word endings and balanced melodic lines; give the refrain a soft, memorable arrival. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A graceful, carefully shaped tune can carry the lyric’s optimism without imposing a garba dance function. Aim for affection and clarity.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use clear Gujarati word endings and balanced melodic lines; give the refrain a soft, memorable arrival. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "NCPA’s Avinashi Avinash programme situates Gujarati sugam sangeet within a substantial tradition of composed light music.\n\nMusical reference: [NCPA — Avinashi Avinash](https://www.ncpamumbai.com/event/avinashi-avinash/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Punjabi",
      "slug": "punjabi",
      "title": "ਮੈਨੂੰ ਸੁਪਨੇ ਵੇਖਣ ਦੀ ਮਨਾਹੀ ਨਹੀਂ",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--punjabi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/punjabi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/punjabi.md",
      "source_sha256": "9a2f8184b4d93657b9c450398259fec0580b64fb072b5adff02104f7f51df136",
      "lyrics": "[Intro]\nਮੈਨੂੰ ਸੁਪਨੇ ਵੇਖਣ ਦੀ ਮਨਾਹੀ ਨਹੀਂ,\nਅੱਧ ਰਾਹੇ ਗੁਆਚ ਜਾਣ ਦੀ ਵੀ ਮਨਾਹੀ ਨਹੀਂ।\nਧਰੂ ਤਾਰਾ ਰਾਹ ਵਿਖਾਵੇਗਾ।\n\n[Verse 1]\nਸਮੇਟਦਿਆਂ... ਸਮੇਟਦਿਆਂ...\nਦੁਨੀਆ ਨੂੰ ਹਿੱਕ ਨਾਲ ਲਾਇਆ ਹੋਇਆ ਏ—\nਇਸ ਨੂੰ ਜੋੜਨ ਦੀ ਆਸ ਵਿੱਚ,\nਇਸ ਨੂੰ ਸਜਾਉਣ ਦੀ ਆਸ ਵਿੱਚ।\n\n[Verse 2]\nਮੈਂ ਇੱਕ ਘੁਮਿਆਰ ਹਾਂ।\n\nਰੂਪ ਦੇਣਾ ਸਿੱਖ ਲਿਆ ਏ,\nਰੰਗ ਭਰ ਕੇ,\nਤੇਰੇ ਮੁੱਖ ਉੱਤੇ ਹਾਸਾ ਖਿੜਾਉਣਾ ਸਿੱਖ ਲਿਆ ਏ।\n\n[Chorus]\nਮੈਨੂੰ ਸੁਪਨੇ ਵੇਖਣ ਦੀ ਮਨਾਹੀ ਨਹੀਂ,\nਅੱਧ ਰਾਹੇ ਗੁਆਚ ਜਾਣ ਦੀ ਵੀ ਮਨਾਹੀ ਨਹੀਂ।\nਧਰੂ ਤਾਰਾ ਰਾਹ ਵਿਖਾਵੇਗਾ।\n\n[Bridge]\nਆ, ਪਹਾੜ ਚੜ੍ਹੀਏ।\nਆ, ਚੰਨ ਨਿਹਾਰੀਏ।\nਬੱਦਲਾਂ ਨਾਲ ਮੋਢਾ ਜੋੜ ਕੇ,\nਮੀਂਹ ਬਣ ਵਰ੍ਹਨ ਦਾ ਮੰਤਰ ਸਿੱਖੀਏ।\n\n[Final Chorus]\nਮੈਨੂੰ ਸੁਪਨੇ ਵੇਖਣ ਦੀ ਮਨਾਹੀ ਨਹੀਂ।\nਤੇਰੇ ਸੁਪਨੇ ਆਪਣੇ ਸੁਪਨਿਆਂ ਵਿੱਚ\nਪਰੋਣ ਦੀ ਵੀ ਮਨਾਹੀ ਨਹੀਂ।\n\n[Soft Outro]\nਤੇਰੇ ਸੁਪਨੇ ਆਪਣੇ ਸੁਪਨਿਆਂ ਵਿੱਚ...\nਪਰੋਣ ਦੀ ਵੀ ਮਨਾਹੀ ਨਹੀਂ।",
      "style_prompt": "Tender Punjabi folk-geet ballad, warm intimate male voice with natural Punjabi diction, open sustained phrases and gentle ornaments. Airy algoza-like flute replies, sparse tumbi accents, soft dholak and sustained bass. Easy swaying pulse, spacious verses and a quietly uplifting refrain. Separate the repeated gathering phrases and pause fully after the potter declaration; instruments sustain beneath the breaths. Lift the mountain invitation with an open melodic call. Add a soft vocal echo of the existing refrain near the end, then finish intimately. Let Punjabi lines open into sustained notes after clear consonants; preserve word meanings through melodic bends. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Open, sustained calls suit the invitation to climb together. Keep the delivery affectionate, with the energy of Punjabi articulation but enough softness for the potter and smile.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Punjabi lines open into sustained notes after clear consonants; preserve word meanings through melodic bends. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Dr. Gurnam Singh’s collected writing discusses Punjabi folk vocal music as a varied tradition. This design selects a lyrical song approach rather than a single dance rhythm as a language-wide identity.\n\nMusical reference: [Dr. Gurnam Singh — Articles on music](https://www.amritkirtan.com/pdfdocs/Articles%20by%20Dr.%20Gurnam%20Singh.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Assamese",
      "slug": "assamese",
      "title": "সপোন দেখাত মোৰ বাধা নাই",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--assamese.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/assamese.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/assamese.md",
      "source_sha256": "ebfc596795a0e4b9af364202217a754c6e477f19d6a0aedec116503cee76f85b",
      "lyrics": "[Intro]\nসপোন দেখাত মোৰ বাধা নাই,\nমাজবাটত হেৰাই যাবলৈও বাধা নাই।\nধ্ৰুৱতৰাই বাট দেখুৱাব।\n\n[Verse 1]\nবুটলি... বুটলি...\nপৃথিৱীখন বুকুত আঁকোৱালি লৈছোঁ—\nজোৰা লগোৱাৰ আশাৰে,\nসজাই তোলাৰ আশাৰে।\n\n[Verse 2]\nমই এজন কুমাৰ।\n\nগঢ় দিবলৈ শিকিছোঁ,\nৰঙেৰে বোলাই,\nতোমাৰ মুখত হাঁহি ফুলাবলৈ শিকিছোঁ।\n\n[Chorus]\nসপোন দেখাত মোৰ বাধা নাই,\nমাজবাটত হেৰাই যাবলৈও বাধা নাই।\nধ্ৰুৱতৰাই বাট দেখুৱাব।\n\n[Bridge]\nআহা, পাহাৰ বগাওঁ।\nআহা, জোন চাওঁ।\nডাৱৰৰ স'তে কান্ধ মিলাই,\nবৰষুণ হৈ সৰাৰ মন্ত্ৰ শিকোঁ।\n\n[Final Chorus]\nসপোন দেখাত মোৰ বাধা নাই।\nতোমাৰ সপোন মোৰ সপোনৰ স'তে\nগাঁথিবলৈও বাধা নাই।\n\n[Soft Outro]\nতোমাৰ সপোন মোৰ সপোনৰ স'তে...\nগাঁথিবলৈও বাধা নাই।",
      "style_prompt": "Modern Assamese poetic indie-folk ballad, warm intimate male voice and natural Assamese diction. Spacious folk phrasing, dotara-like plucked figures, bamboo flute and very soft hand drum over a gently rolling pulse. Long breathing lines and light melodic ornament. Separate the repeated gathering phrases and leave a full pause after the potter declaration, sustaining softly beneath the silence. Begin spare, grow warmer through the verses, open the mountain-and-moon bridge with flute, then close like a tender lullaby on weaving dreams together. Use natural Assamese phrase groups, spacious vowels and modest turns; let the refrain feel inviting and assured. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Take spacious folk phrasing and the human scale of a plucked-string accompaniment as inspiration. Preserve the existing Assamese wording and give it an independent melody.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use natural Assamese phrase groups, spacious vowels and modest turns; let the refrain feel inviting and assured. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sarma and Monteiro’s field research describes Goalpariya music’s changing performance contexts. Goalpariya is a distinct regional linguistic and musical tradition; a standard Assamese lyric with borrowed colours should not be presented as a traditional Goalpariya song.\n\nMusical reference: [Sarma and Monteiro — Contemporary Folk Dynamics](https://www.tandfonline.com/doi/full/10.1080/0015587X.2019.1622923).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Urdu",
      "slug": "urdu",
      "title": "خواب دیکھنا منع نہیں",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--urdu.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/urdu.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/urdu.md",
      "source_sha256": "11b4cc3b1a056362c508b45e84cb392be85621047cffde056f899860f7d265b7",
      "lyrics": "[Intro]\nخواب دیکھنا مجھے منع نہیں،\nبیچ راہ میں کھو جانا بھی منع نہیں۔\nقطبی تارا راہ دکھائے گا۔\n\n[Verse 1]\nسمیٹتے... سمیٹتے...\nدنیا کو سینے سے لگا رکھا ہے—\nاسے جوڑنے کی آس میں،\nاسے سنوارنے کی آس میں۔\n\n[Verse 2]\nمیں ایک کمہار ہوں۔\n\nصورت گری سیکھی ہے،\nرنگ بھر کر،\nتمہارے چہرے پر مسکراہٹ بونا سیکھا ہے۔\n\n[Chorus]\nخواب دیکھنا مجھے منع نہیں،\nبیچ راہ میں کھو جانا بھی منع نہیں۔\nقطبی تارا راہ دکھائے گا۔\n\n[Bridge]\nآؤ، پہاڑ چڑھیں۔\nآؤ، چاند کو دیکھیں۔\nبادلوں سے کندھا ملا کر،\nبارش بن کے برسنے کا منتر سیکھیں۔\n\n[Final Chorus]\nخواب دیکھنا مجھے منع نہیں۔\nتمہارے خواب اپنے خوابوں میں\nپرونا بھی منع نہیں۔\n\n[Soft Outro]\nتمہارے خواب اپنے خوابوں میں...\nپرونا بھی منع نہیں۔",
      "style_prompt": "Intimate Urdu sung nazm with restrained ghazal-informed phrasing. Warm close male voice, clear Urdu diction, delicate meend and expressive silences. Soft harmonium, lyrical sarangi replies and very light tabla entering after a rubato opening. Let complete thoughts determine each phrase. Breathe between the repeated gathering phrases and pause fully after the potter declaration; instruments sustain beneath the silence. A modest melodic lift for mountains and moon, then an almost spoken tenderness in the final woven-dreams lines. Minimal, secular and reflective. Carry each Urdu thought across the line; use delicate slides after clear consonants and resolve with quiet assurance. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Urdu can linger on a thought before completing it. Give this version more silence and fewer regular accents than the Hindi geet version, retaining the original secular address to a beloved.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Carry each Urdu thought across the line; use delicate slides after clear consonants and resolve with quiet assurance. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "NCPA discusses the relationship between Urdu ghazal poetry and its musical treatment. Here the continuous poem is treated as a sung nazm with restrained ghazal-informed delivery. The adaptation does not acquire the formal verse structure of a ghazal simply through its accompaniment.\n\nLanguage or community context: [NCPA — Compositional Marvels](https://www.ncpamumbai.com/news/compositional-marvels/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Konkani",
      "slug": "konkani",
      "title": "म्हाका सपनां पळोवपाक मनाय ना",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--konkani.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/konkani.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/konkani.md",
      "source_sha256": "2f5d8f17a32522eb261f26dec198eff80a2fe72565c171e9dc121593cb040f9d",
      "lyrics": "[Intro]\nम्हाका सपनां पळोवपाक मनाय ना,\nवाटेर वाट चुकपाकय मनाय ना.\nध्रुवतारो वाट दाखयतलो.\n\n[Verse 1]\nवेंचून... वेंचून...\nसंवसाराक काळजाशी धरला—\nजोडपाच्या आस्तेन,\nसोबीत करपाच्या आस्तेन.\n\n[Verse 2]\nहांव एक कुंभार.\n\nआकार दिवपाक शिकलां,\nरंग भरून,\nतुज्या तोंडार हांसो फुलोवपाक शिकलां.\n\n[Chorus]\nम्हाका सपनां पळोवपाक मनाय ना,\nवाटेर वाट चुकपाकय मनाय ना.\nध्रुवतारो वाट दाखयतलो.\n\n[Bridge]\nये, दोंगर चडूंया.\nये, चंद्र पळोवूंया.\nढगांक खांदो लावून,\nपावस जावन पडपाचो मंत्र शिकूंया.\n\n[Final Chorus]\nम्हाका सपनां पळोवपाक मनाय ना.\nतुजीं सपनां म्हज्या सपनांत\nगुंफपाकय मनाय ना.\n\n[Soft Outro]\nतुजीं सपनां म्हज्या सपनांत...\nगुंफपाकय मनाय ना.",
      "style_prompt": "Tender Konkani love ballad with a Goan mando-inspired verse-and-refrain sway. Warm intimate male voice, natural Konkani diction, graceful melodic lines. Nylon-string guitar, lyrical violin and a softly played ghumot-like pulse in a relaxed six-beat flow. Separate the gathering phrases; leave a full pause after the potter declaration, with held instruments below. Begin gently, deepen the verses, open the mountain-and-moon bridge, then add a quiet second voice to the final existing refrain. A affectionate and hopeful dream-weaving ending. Confirm the Goan Konkani variety; let each verse flow into a gently lilting refrain with clear local vowels. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Its gentle return of verse and refrain suits the final weaving of two lives. This deliberately chooses a Goan perspective within the much broader Konkani-speaking world.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Confirm the Goan Konkani variety; let each verse flow into a gently lilting refrain with clear local vowels. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Smithsonian Folkways describes mando as a slow verse-and-refrain form associated with love and nostalgia, shaped by Goan cultural exchange.\n\nMusical reference: [Smithsonian Folkways — Mando of Goa](https://folkways.si.edu/mando-of-goa/india-world/music/album/smithsonian).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Maithili",
      "slug": "maithili",
      "title": "सपना देखबाक मनाही नहि अछि",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--maithili.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/maithili.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/maithili.md",
      "source_sha256": "8fcb624651365c8ccbaf17c910b16bcc4b4fc50033db2ac9dd6340947cec6ea5",
      "lyrics": "[Intro]\nहमरा सपना देखबाक मनाही नहि अछि,\nआध बाटमे हेरा जाएबाक सेहो मनाही नहि अछि।\nध्रुवतारा बाट देखाओत।\n\n[Verse 1]\nसमेटैत... समेटैत...\nसंसारकेँ छातीसँ लगा रखने छी—\nजोड़बाक आसमे,\nसजेबाक आसमे।\n\n[Verse 2]\nहम एकटा कुम्हार छी।\n\nआकार देब सीखने छी,\nरंग भरि कऽ,\nअहाँक मुँहपर हँसी फुलाएब सीखने छी।\n\n[Chorus]\nहमरा सपना देखबाक मनाही नहि अछि,\nआध बाटमे हेरा जाएबाक सेहो मनाही नहि अछि।\nध्रुवतारा बाट देखाओत।\n\n[Bridge]\nआउ, पहाड़ चढ़ी।\nआउ, चान देखि।\nमेघसँ कान्ह मिला कऽ,\nबरखा बनि बरसबाक मंत्र सीखी।\n\n[Final Chorus]\nहमरा सपना देखबाक मनाही नहि अछि।\nअहाँक सपना अपन सपनामे\nगूँथबाक सेहो मनाही नहि अछि।\n\n[Soft Outro]\nअहाँक सपना अपन सपनामे...\nगूँथबाक सेहो मनाही नहि अछि।",
      "style_prompt": "Intimate Maithili literary folk-geet, warm natural male voice, clear Maithili diction and affectionate speech-shaped phrasing. Gentle rocking pulse, soft dholak, small harmonium responses and bamboo flute. Short recurring melodic cells and a hopeful refrain. Separate समेटैत... समेटैत...; pause fully after हम एकटा कुम्हार छी. Sustain instruments beneath the breaths. Begin close and quiet, warm the verses, lift the mountain invitation, then let a soft voice echo the existing dream-weaving refrain. Tender contemporary folk production. Keep Maithili address and verb endings intact; use a small returning melodic cell with affectionate speech cadence. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Choose a personal, affectionate geet rather than repurposing a wedding or ritual song. The dream-weaving image should feel as close as speaking to someone beside you.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Maithili address and verb endings intact; use a small returning melodic cell with affectionate speech cadence. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Kailash Mishra’s IGNCA study describes a broad range of Maithili folk-song forms and their social and literary contexts.\n\nMusical reference: [IGNCA — Classification and Structure of Maithili Folksongs](https://ignca.gov.in/PDF_data/Classification_Structure_Maithili_FolkSongs.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Nepali",
      "slug": "nepali",
      "title": "मलाई सपना देख्न मनाही छैन",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--nepali.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/nepali.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/nepali.md",
      "source_sha256": "b7807a870dd47ea49bc8005d1406dda3a51a077d9bec5968033fc406b111f1dd",
      "lyrics": "[Intro]\nमलाई सपना देख्न मनाही छैन,\nबीच बाटोमै हराउन पनि मनाही छैन।\nध्रुवताराले बाटो देखाउनेछ।\n\n[Verse 1]\nबटुल्दै... बटुल्दै...\nसंसारलाई छातीमा अँगालेको छु—\nजोड्ने आशामा,\nसजाउने आशामा।\n\n[Verse 2]\nम एक कुमाले हुँ।\n\nआकार दिन सिकेको छु,\nरङ भरेर,\nतिम्रो मुहारमा मुस्कान फुलाउन सिकेको छु।\n\n[Chorus]\nमलाई सपना देख्न मनाही छैन,\nबीच बाटोमै हराउन पनि मनाही छैन।\nध्रुवताराले बाटो देखाउनेछ।\n\n[Bridge]\nआऊ, पहाड चढौँ।\nआऊ, जून हेरौँ।\nबादलसँग काँध मिलाएर,\nवर्षा बनी झर्ने मन्त्र सिकौँ।\n\n[Final Chorus]\nमलाई सपना देख्न मनाही छैन।\nतिम्रा सपना मेरा सपनासँग\nउन्न पनि मनाही छैन।\n\n[Soft Outro]\nतिम्रा सपना मेरा सपनासँग...\nउन्न पनि मनाही छैन।",
      "style_prompt": "Warm Nepali contemporary folk ballad with intimate male storytelling vocals and natural Nepali diction. Expressive Nepali sarangi answers, gentle madal and light acoustic guitar, an easy unhurried pulse. Melodic verses and a modest hopeful refrain. Breathe between बटुल्दै... बटुल्दै... and pause fully after म एक कुमाले हुँ. Instruments sustain beneath the breaths. Begin sparsely, let the mountain invitation gain a little melodic warmth at the same pace, then return to voice and sarangi for the tender final woven-dreams lines. Let Nepali storytelling lead the sarangi responses; hold the final vowel comfortably without blurring the whole word. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A narrative voice and bowed replies suit the poem’s journey from wandering to companionship. Give the mountain invitation melodic openness while keeping the same unhurried pace and the original images.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Nepali storytelling lead the sarangi responses; hold the final vowel comfortably without blurring the whole word. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Smithsonian’s Gaines of Nepal recording documents sarangi-based singing by a particular musician community. The proposed contemporary arrangement acknowledges that lineage rather than treating it as the whole of Nepali musical culture.\n\nMusical reference: [Smithsonian Folkways — The Gaines of Nepal](https://folkways.si.edu/the-gaines-of-nepal/world/music/album/smithsonian).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Sindhi",
      "slug": "sindhi",
      "title": "مون کي خواب ڏسڻ جي منع ناهي",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--sindhi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/sindhi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/sindhi.md",
      "source_sha256": "fffa6a896494de69d385185dd63503c0474f0422db30de9fc8cb048ea98804b8",
      "lyrics": "[Intro]\nمون کي خواب ڏسڻ جي منع ناهي،\nاڌ واٽ ۾ وڃائجي وڃڻ جي به منع ناهي.\nقطب تارو واٽ ڏيکاريندو.\n\n[Verse 1]\nميڙيندي... ميڙيندي...\nدنيا کي سيني سان لائي رکيو اٿم—\nان کي جوڙڻ جي آس ۾،\nان کي سنوارڻ جي آس ۾.\n\n[Verse 2]\nمان هڪ ڪنڀر آهيان.\n\nشڪل ڏيڻ سکيو اٿم،\nرنگ ڀري،\nتنهنجي مُک تي مُرڪ ڦُلائڻ سکيو اٿم.\n\n[Chorus]\nمون کي خواب ڏسڻ جي منع ناهي،\nاڌ واٽ ۾ وڃائجي وڃڻ جي به منع ناهي.\nقطب تارو واٽ ڏيکاريندو.\n\n[Bridge]\nاچ، جبل چڙهون.\nاچ، چنڊ ڏسون.\nڪڪرن سان ڪلهو ملائي،\nمينهن بڻجي وسڻ جو منتر سکون.\n\n[Final Chorus]\nمون کي خواب ڏسڻ جي منع ناهي.\nتنهنجا خواب پنهنجن خوابن ۾\nاُڻڻ جي به منع ناهي.\n\n[Soft Outro]\nتنهنجا خواب پنهنجن خوابن ۾...\nاُڻڻ جي به منع ناهي.",
      "style_prompt": "Contemplative Sindhi poetic folk ballad with kafi-informed vocal spaciousness, warm intimate male voice and natural Sindhi diction. Low tamburo-like drone, bowed surando replies and restrained hand percussion. Gradually widening melodic lines and a quietly intensifying refrain, minimal harmonic movement. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly below. Lift the mountain-and-cloud bridge, then let the final weaving of dreams become the emotional arrival. Contemporary secular poem-setting, tender and unhurried. Use patient Sindhi melodic lines over a drone; repeat the refrain with warmer expression rather than more volume. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Use patient vocal lines and expressive silences to carry affection and wonder. Let repeated melodic phrases become warmer as the shared dreams emerge, with the drone keeping the arrangement calm.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use patient Sindhi melodic lines over a drone; repeat the refrain with warmer expression rather than more volume. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Ghulam Ali Allana’s Folk Music of Sind documents Sindhi musical traditions and instruments, including surando. The arrangement below is newly proposed; it does not reproduce a named Shah jo Raag sur or a traditional devotional composition.\n\nMusical reference: [Ghulam Ali Allana — Folk Music of Sind](https://library-sindhi-sp-2020.s3.us-east-2.amazonaws.com/files/Folk_Music_Sind-Dr_Ghulam_Ali_Allana-1982-Complete.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Dogri",
      "slug": "dogri",
      "title": "मिगी सपने दिक्खने दी मनाही नेईं",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--dogri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/dogri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/dogri.md",
      "source_sha256": "cf990244f730a9f4117f36eb8a8a4ae3906dbc1ee26970f6d80d0e4aa6c03729",
      "lyrics": "[Intro]\nमिगी सपने दिक्खने दी मनाही नेईं,\nअद्ध बाटै च भुल्ली जाने दी बी मनाही नेईं।\nध्रुव तारा रस्ता दस्सग।\n\n[Verse 1]\nबटोरदे... बटोरदे...\nदुनिया गी हिक्कै कन्नै लाई रक्खी ऐ—\nजोड़ने दी आस च,\nसजाने दी आस च।\n\n[Verse 2]\nमैं इक कुम्हार आं।\n\nरूप देना सिक्खेआ ऐ,\nरंग भरियै,\nतेरे मुंहै पर हस्सी खिड़ाना सिक्खेआ ऐ।\n\n[Chorus]\nमिगी सपने दिक्खने दी मनाही नेईं,\nअद्ध बाटै च भुल्ली जाने दी बी मनाही नेईं।\nध्रुव तारा रस्ता दस्सग।\n\n[Bridge]\nआ, पहाड़ चढ़चै।\nआ, चन्न दिक्खचै।\nबद्दलें कन्नै मोढा लाईयै,\nबरखा बनियै बरसने दा मंतर सिक्खचै।\n\n[Final Chorus]\nमिगी सपने दिक्खने दी मनाही नेईं।\nतेरे सपने अपने सपनें च\nपरोने दी बी मनाही नेईं।\n\n[Soft Outro]\nतेरे सपने अपने सपनें च...\nपरोने दी बी मनाही नेईं।",
      "style_prompt": "Tender Dogri poetic folk ballad, warm natural male voice and clear Dogri diction. Spacious solo lines with brief soft unison responses on existing refrain words, a bhaakh-inspired vocal gesture in a new contemporary arrangement. Soft bamboo flute and quiet drone, very light dholak entering late. Separate the gathering phrases; pause fully after the potter declaration with a held tone below. Begin solitary, gently lift the mountain bridge, and introduce the answering voice at the final dream-weaving refrain. Intimate and hopeful. Keep Dogri verse lines intimate; a brief unison answer on existing words can open the final refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The solitary opening can gradually become a shared song. Keep the response short enough that the original intimate poem never becomes a crowd chorus.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Dogri verse lines intimate; a brief unison answer on existing words can open the final refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Nidhi Verma’s study describes bhaakh as a Dogri group vocal tradition performed without instrumental accompaniment. This new arrangement borrows the idea of shared vocal space. Its optional flute, drone and light drum are contemporary additions; it is not presented as a traditional bhaakh.\n\nMusical reference: [Songs of Separation — A Study of Select Dogri Folk Songs, Bhaakhs](https://www.researchgate.net/publication/348960430_SONGS_OF_SEPARATION_A_STUDY_OF_SELECT_DOGRI_FOLK_SONGS_BHAAKHS).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Sanskrit",
      "slug": "sanskrit",
      "title": "स्वप्नान् द्रष्टुं न मे निषेधः",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--sanskrit.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/sanskrit.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/sanskrit.md",
      "source_sha256": "4d47f9e939b690b3e34933da9cfc8285dc0f73c7878e0d6198b50ec4029d19a5",
      "lyrics": "[Intro]\nस्वप्नान् द्रष्टुं न मे निषेधः,\nमार्गाद् विचलितुमपि न मे निषेधः।\nध्रुवतारा मे मार्गं दर्शयिष्यति।\n\n[Verse 1]\nसञ्चित्य... सञ्चित्य...\nजगदिदं दृढमालिङ्गितं मया—\nसन्धानाशया,\nअलङ्करणाशया।\n\n[Verse 2]\nकुम्भकारोऽहम्।\n\nरूपं दातुं शिक्षितोऽहम्,\nवर्णैरलङ्कृत्य,\nतव मुखे स्मितं वप्तुं शिक्षितोऽहम्।\n\n[Chorus]\nस्वप्नान् द्रष्टुं न मे निषेधः,\nमार्गाद् विचलितुमपि न मे निषेधः।\nध्रुवतारा मे मार्गं दर्शयिष्यति।\n\n[Bridge]\nएहि, पर्वतमारोहाव।\nएहि, चन्द्रं पश्याव।\nमेघैः सहांसं संयोज्य,\nवर्षणमन्त्रं शिक्षावहै।\n\n[Final Chorus]\nस्वप्नान् द्रष्टुं न मे निषेधः।\nतव स्वप्नान् मम स्वप्नेषु\nगुम्फितुमपि न मे निषेधः।\n\n[Soft Outro]\nतव स्वप्नान् मम स्वप्नेषु...\nगुम्फितुमपि न मे निषेधः।",
      "style_prompt": "Secular Sanskrit poetic chamber song with Dhrupad-informed luminous resonance and intimacy. Natural resonant male voice, precise Sanskrit consonants and vowel lengths, spacious sustained tones and restrained ornament. Tanpura drone, sparse rudra-veena-like plucks, low pakhawaj entering after the first verse. Free opening on the supplied words, then a measured gentle pulse; minimal harmonic movement. Breathe between सञ्चित्य... सञ्चित्य... and pause fully after कुम्भकारोऽहम्। Sustain the drone below. Lift the mountain-and-cloud bridge through vocal register, then close almost alone. Sing only the supplied poem, without added invocations or chant syllables. Respect Sanskrit vowel quantity and word boundaries; let a luminous sustained melody follow the poem's free phrasing. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Make this a spacious version. The potter’s calm declaration and the North Star can gain warmth through sustained tone and silence. The intimacy should survive the more resonant sound.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Respect Sanskrit vowel quantity and word boundaries; let a luminous sustained melody follow the poem's free phrasing. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "NCPA’s Dhrupad programming illustrates a voice-centred practice with pakhawaj accompaniment. Sanskrit can also be sung through many other traditions; Dhrupad is a deliberate choice for this particular interpretation.\n\nMusical reference: [NCPA — Promising Artistes Series](https://www.ncpamumbai.com/event/ncpa-citi-promising-artistes-series/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Sambalpuri",
      "slug": "sambalpuri",
      "title": "ମତେ ସପନ୍ ଦେଖ୍‌ବାକେ ମନା ନାଇଁ",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--sambalpuri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/sambalpuri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/sambalpuri.md",
      "source_sha256": "35c3ada9b202386f239a481e244685f329549012c12df128cbb78bb12a15164b",
      "lyrics": "[Intro - Male Solo]\nମତେ ସପନ୍ ଦେଖ୍‌ବାକେ ମନା ନାଇଁ,\nମଝି ବାଟେ ହଜିଯିବାକେ ବି ମନା ନାଇଁ।\nଧ୍ରୁବତାରା ବାଟ୍ ଦେଖେଇଦେବା।\n\n[Verse 1 - Male Solo]\nସାଉଁଟି... ସାଉଁଟି...\nସଂସାର୍‌କେ ଜାବ୍‌ଡ଼ି ଧରିଛେଁ—\nଜୁଡ଼ିଦେବାର୍ ଆଶାନେ,\nସଜେଇଦେବାର୍ ଆଶାନେ।\n\n[Verse 2 - Male Solo]\nକୁମ୍ଭାର୍ ମୁଇଁ।\n\nଗଢ଼ିଦେବାର୍ ସିଖିଛେଁ,\nରଙ୍ଗ୍ ଲଗେଇ,\nତୋର୍ ମୁହେଁ ହସ୍ ବୁନ୍‌ବାର୍ ସିଖିଛେଁ।\n\n[Chorus - Male Lead]\nମତେ ସପନ୍ ଦେଖ୍‌ବାକେ ମନା ନାଇଁ,\nମଝି ବାଟେ ହଜିଯିବାକେ ବି ମନା ନାଇଁ।\nଧ୍ରୁବତାରା ବାଟ୍ ଦେଖେଇଦେବା।\n\n[Bridge - Male Lead, Soft Female Responses]\nଆ, ପାହାଡ଼୍ ଚଢ଼୍‌ମା।\nଆ, ଜନ୍ ଦେଖ୍‌ମା।\nବାଦଲ୍ ସାଙ୍ଗେ କାନ୍ଧ୍ ମିଲେଇ,\nବର୍ଷା ହେଇ ଝର୍‌ବାର୍ ମନ୍ତର୍ ସିଖ୍‌ମା।\n\n[Final Chorus - Male and Female Duet]\nମତେ ସପନ୍ ଦେଖ୍‌ବାକେ ମନା ନାଇଁ।\nତୋର୍ ସପନ୍‌କେ ମୋର୍ ସପନ୍‌ନେ\nଗୁଁଥିଦେବାକେ ବି ମନା ନାଇଁ।\n\n[Soft Outro - Both Voices]\nତୋର୍ ସପନ୍‌କେ ମୋର୍ ସପନ୍‌ନେ...\nଗୁଁଥିଦେବାକେ ବି ମନା ନାଇଁ।",
      "style_prompt": "Sambalpuri folk ballad, gently lilting and unhurried, bamboo-flute replies over lightly played dhol, soft bass and quiet acoustic guitar; instruments sustain through clear breaths between gathering phrases and a fuller pause after the potter declaration. The bridge opens warmly without speeding up, the refrain blooms into quiet communal joy, and the duet outro settles tenderly. Warm youthful male lead with natural Sambalpuri pronunciation, affectionate conversational delivery, solo opening and verses, soft female answering phrases in the bridge, then close male-female duet.",
      "musical_reasoning": {
        "Why this musical direction": "Its identity begins with Sambalpuri speech rhythm: compact word endings, short connected melodic turns and a gently lilting regional pulse. Bamboo-flute replies and lightly played dhol keep that direction audible; quiet guitar and bass provide contemporary support. The softer pace is our choice for this poem's calm joy.\n\nThe author chose a male lead with soft female answering phrases and a tender close-harmony ending. The invitation to climb and see the moon gives the second voice a poetic purpose; the final weaving of two dreams brings the voices together. The duet reference is the exchange between voices in Sambalpuri songs such as *Rangabati*. We take that conversational idea as inspiration, while asking for this poem's own tune and words. The soft female role and close harmony are choices for our arrangement, not a prescription for Sambalpuri music generally.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Vocal choice — author-selected soft duet.** The [selected recording](https://suno.com/song/a2b3ded1-b0a2-4e02-917e-66a8b4815ced) is the musical reference. Preserve its Sambalpuri variation when refining the voices. Solo remains the starting point for new arrangements elsewhere; this duet is a deliberate exception.\n\n**Duet refinement — awaiting selection.** The 27 September Cover trial uses that exact recording as its audio reference and retains its lilting pulse, flute replies, lightly played dhol and conversational Sambalpuri delivery in the prompt. Only the vocal direction is clarified: male solo opening, verses and first chorus; brief soft female replies in the invitation; tender close harmony at the end. This develops the conversational idea described above without turning the whole poem into alternating lead verses. The author approved reference-based covers, which may change melody and backing. Check those against the selected source, listen for a gentle secondary female role before the ending, and confirm gathering breaths and the potter pause. The selected recording stays available in Duet while these candidates await review.\n\n**Why and what to check.** A local singer should assess the speech cadence, compact endings and gentle folk pulse, then check whether female replies support the male narrative and whether the final harmony keeps every word clear. Compare the invitation and dream-weaving ending with the solo verses. Confirm the actual performance with timestamps; the author's selection does not replace pronunciation or musician review.",
        "Cultural grounding": "Sambalpur district documents distinctive local language, folk songs and instruments including dhole, madal, nishan and bansi. This gives the arrangement a specific western-Odisha reference. The quiet pulse and vocal contour below are new choices for this poem, to refine with a Sambalpuri singer.\n\nMusical reference: [Sambalpur District — Culture and Heritage](https://sambalpur.odisha.gov.in/en/tourism/culture-Heritage).\n\nThe Government of India's [profile of Krishna Patel](https://static.pib.gov.in/WriteReadData/specificdocs/documents/2023/apr/doc202345178301.pdf) identifies *Rangabati* as a Sambalpuri duet sung with Jitendra Haripal. This supports a specific duet reference. Solo singing is also part of the region's practice: the [Odisha Culture Department's Rangabati festival programme](https://culture.odisha.gov.in/sites/default/files/2021-06/activities_report_culture_2012_13.pdf) lists solo vocal, choral and group performances.\n\nThese sources establish context. They do not validate our generated melody, local pronunciation, soft-response balance or close-harmony ending; those still need listening review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "sambalpuri-audio-01",
          "title": "ମତେ ସପନ୍ ଦେଖ୍‌ବାକେ ମନା ନାଇଁ · Duet",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/421ab214c41ff356d02a8b74189d52fcdb585af8/media/sambalpuri/i-am-free-to-dream-sambalpuri.mp3",
          "duration_seconds": 151.2,
          "variation": "duet",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--sambalpuri-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "sambalpuri-video-01",
          "title": "ମତେ ସପନ୍ ଦେଖ୍‌ବାକେ ମନା ନାଇଁ · Duet",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/421ab214c41ff356d02a8b74189d52fcdb585af8/media/sambalpuri/i-am-free-to-dream-sambalpuri.mp4",
          "duration_seconds": 151.2,
          "variation": "duet",
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--sambalpuri-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Kashmiri",
      "slug": "kashmiri",
      "title": "I Am Free to Dream — Kashmiri adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kashmiri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kashmiri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kashmiri.md",
      "source_sha256": "7b7affd0dd2e44a081f22c4d1e5e2df0558811e74f17fccbb0ee04fef547fa1c",
      "lyrics": null,
      "style_prompt": "Intimate Kashmiri poetic chamber ballad, natural Koshur diction and a warm close male voice. Clear santoor figures, sparse bowed saaz-e-Kashmir-like replies and very soft dokra-like percussion. Spacious melodic phrasing, restrained ornament and flexible unhurried pulse. Separate the repeated gathering phrases and pause fully after the potter declaration; sustain softly below. Begin with voice and santoor, broaden the mountain-and-moon bridge, and return to a tender solitary ending on woven dreams. Contemporary secular arrangement with Kashmiri instrumental colour. Fit the melody to a native-reviewed Koshur lyric; leave vowel colour, phrase length and ornaments to a fluent singer. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The mountain, moon and star images invite a clear, spacious sound. Let the hammered-string resonance represent light, with a bowed line connecting the human thoughts.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Fit the melody to a native-reviewed Koshur lyric; leave vowel colour, phrase length and ornaments to a fluent singer. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sangeet Natak Akademi’s commissioned report on Sufiana Mousiqi describes instruments including santoor, saaz-e-Kashmir and dokra. Their presence alone would not make a generated song a traditional Sufiana composition.\n\nMusical reference: [Sangeet Natak Akademi — Sufiana Mousiqi report](https://indiaich-sna.in/sites/default/files/2023-11/report_6.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Manipuri (Meitei)",
      "slug": "manipuri",
      "title": "I Am Free to Dream — Manipuri (Meitei) adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--manipuri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/manipuri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/manipuri.md",
      "source_sha256": "2b218c134f7d33a04094867c2723f0c38227ee812d65281f0a1df9d4ea65eb46",
      "lyrics": null,
      "style_prompt": "Contemporary Meitei poetic narrative ballad, warm intimate male voice and natural Meitei diction. Sparse expressive pena-like bowed responses in conversation with the voice, quiet low accompaniment and a light pulse entering gradually. Clear complete phrases, restrained ornament, generous space. Separate the repeated gathering phrases and pause fully after the potter declaration, sustaining softly below. Let voice and bowed melody alternate through the mountain-and-moon bridge, then converge in a tender dream-weaving ending. A secular lyrical song with an intimate storytelling scale. Let complete Meitei phrases lead; give pena replies their own space, then bring voice and instrument together gently. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A narrative approach suits the poem’s movement from personal permission to shared dreams. Choose a Meitei musical perspective; Manipuri regional culture includes many other communities.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Meitei phrases lead; give pena replies their own space, then bring voice and instrument together gently. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Research by Johnson Rajkumar and Gurumayum Deepika examines pena phamshak as narrative music and its use in Manipuri cinema.\n\nMusical reference: [Rajkumar and Deepika — Pena Phamshak](https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1674).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Bodo",
      "slug": "bodo",
      "title": "I Am Free to Dream — Bodo adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--bodo.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/bodo.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/bodo.md",
      "source_sha256": "281dc92483253fb69b5371ec7e45930275cc574863f9fce5869944e11602bb10",
      "lyrics": null,
      "style_prompt": "Tender Bodo contemporary folk ballad, warm intimate male voice with clear natural Bodo diction. Sifung flute leads the instrumental motif, sparse serja-like bowed replies and a restrained low kham pulse. Simple spacious melody shaped around the words. Separate the repeated gathering phrases and pause fully after the potter declaration, with a soft held tone below. Start spare, grow warmer through the verses, broaden the mountain-and-cloud bridge, then add a quiet unison echo of the existing final refrain. Gentle hopeful ending, voice always prominent. Keep the reviewed Bodo words intelligible on every melodic turn; a small opening motif can widen with the invitation. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give flute the North Star and cloud imagery while a bowed reply supports the potter’s human voice. Let a Bodo adapter determine the relationship of speech and tune.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep the reviewed Bodo words intelligible on every melodic turn; a small opening motif can widen with the invitation. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The CII North-East GI booklet documents Bodo musical instruments including sifung, serja and kham. These provide specific starting references, not a complete recipe for Bodo music.\n\nMusical reference: [CII — North-East Geographical Indications booklet](https://www.ciiipr.in/pdf/North-East-Booklet-%28without%20certificate%29.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Santali",
      "slug": "santali",
      "title": "I Am Free to Dream — Santali adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--santali.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/santali.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/santali.md",
      "source_sha256": "c7294d1ee84131b27e47f3c24203f3b27a4aa1bbca4546f5408d91b0563a9312",
      "lyrics": null,
      "style_prompt": "Intimate Santali contemporary folk song, natural Santali diction and warm solo storytelling vocals. Sparse expressive banam-like bowed replies and a gentle tumdak-like drum pulse. Spacious word-led melody, modest instrumental range and a small unison response reserved for the final existing refrain. Breathe between the repeated gathering phrases and pause fully after the potter declaration; let a bowed note sustain beneath it. Gradually open the mountain-and-moon bridge, then finish with one tender voice on weaving dreams together. Let a Santali singer shape the tune and word endings; bring a soft unison reply only after the solo story is clear. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The banam’s voice-like reply can make the potter verse especially tactile. A shared refrain can express joining dreams while preserving the author’s individual voice in the verses.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let a Santali singer shape the tune and word endings; bring a soft unison reply only after the solo story is clear. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Metropolitan Museum documents the Santal dhodro banam as a bowed instrument. This supports the bowed-string reference. The proposed drum pulse, melody and late unison response still need a Santali musician’s input.\n\nMusical reference: [The Metropolitan Museum — Dhodro Banam](https://www.metmuseum.org/art/collection/search/503581).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Marwari",
      "slug": "marwari",
      "title": "I Am Free to Dream — Marwari adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--marwari.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/marwari.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/marwari.md",
      "source_sha256": "ba54e0704932a4a70f10b291d72b2203de88dce3e592e57d4b8a4d5217cd97d0",
      "lyrics": null,
      "style_prompt": "Tender Marwari folk ballad with Maand-informed melodic grace, warm intimate male voice and natural Marwari diction. Expressive kamayacha-like bowed replies, subdued khartal and soft dholak. Relaxed lilting pulse, elastic phrase endings and restrained ornament. Separate the repeated gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Begin intimately, let the mountain-and-moon bridge widen, then settle into an affectionate welcoming refrain about weaving dreams together. A newly composed secular poem-setting. Use elastic Marwari phrase endings with modest Maand-inspired turns; make the final invitation sound welcoming. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The final joining of dreams can be sung as an intimate welcome. Use melodic grace and elastic line endings; the emotional destination is companionship rather than spectacle.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use elastic Marwari phrase endings with modest Maand-inspired turns; make the final invitation sound welcoming. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Rajasthan Foundation identifies Maand among Rajasthani singing styles. This offers one possible vocal reference for the Marwari adaptation. A musician should shape its melodic turns for the new lyric; the proposed chamber accompaniment is not a transcription of a traditional ensemble.\n\nLanguage or community context: [Rajasthan Foundation — Music of Rajasthan](https://foundation.rajasthan.gov.in/MusicOfRajasthan.aspx).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Tulu",
      "slug": "tulu",
      "title": "I Am Free to Dream — Tulu adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--tulu.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/tulu.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/tulu.md",
      "source_sha256": "fda28c94231ca8798419b35a4ed1a0ed8e347281abacc2ef31c399da2549a973",
      "lyrics": null,
      "style_prompt": "Contemporary Tulu poetic folk ballad with natural Tulu diction, warm intimate lead vocals and a gentle work-song-inspired lead-and-response shape. A small group echoes only existing refrain words. Quiet hand percussion, sparse plucked acoustic accompaniment and spacious word-led melody. Separate the repeated gathering phrases and pause fully after the potter declaration, with a held instrumental tone beneath it. Begin solo, let the mountain invitation open the melody, then bring voices together softly for the woven-dreams ending. Secular, affectionate and restrained. Use natural Tulu phrase lengths; let a small response echo complete supplied words without breaking the solo narrative. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Gathering and making are actions, so a gentle lead-and-response organisation has a meaningful connection to the poem. This is a new secular song, not a paddana or ritual enactment.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use natural Tulu phrase lengths; let a small response echo complete supplied words without breaking the solo narrative. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "B. A. Viveka Rai describes Tulu kabita work songs in which a lead singer sings lines and others join a chorus, distinguishing them from other oral genres and ritual contexts.\n\nMusical reference: [B. A. Viveka Rai — Epics in the Oral Genre System of Tulunadu](https://journal.oraltradition.org/wp-content/uploads/files/articles/11i/15_rai.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Khasi",
      "slug": "khasi",
      "title": "I Am Free to Dream — Khasi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--khasi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/khasi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/khasi.md",
      "source_sha256": "3139f9602f99e7a0deb8300ef745065cee6bf5f6af78f9038456b55488bf69d7",
      "lyrics": null,
      "style_prompt": "Tender Khasi acoustic poetic ballad, warm intimate male voice and clear natural Khasi diction. Duitara-led plucked accompaniment, light besli flute answers and quiet low hand percussion. Clear melodic lines, a gentle returning refrain and understated contemporary harmonies near the end. Breathe between the repeated gathering phrases and pause fully after the potter declaration; sustain a soft tone below. Begin spare, open the mountain-and-cloud bridge, then restore the plucked motif warmly for a tender shared-dreams ending. Give Khasi consonants and phrase endings space around the duitara; make the returning refrain easy and unforced. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A plucked repeating figure can hold the poem together while the voice describes stars, clouds and shared dreams. Keep its identity in the language and melodic delivery as well as the instrument.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Give Khasi consonants and phrase endings space around the duitara; make the returning refrain easy and unforced. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Meghalaya’s government music documentation identifies Khasi instruments including duitara and besli and discusses regional musical practice.\n\nMusical reference: [Government of Meghalaya — Nongstoin musical traditions](https://meghalaya.gov.in/index.php/node/34297).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Mizo",
      "slug": "mizo",
      "title": "I Am Free to Dream — Mizo adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--mizo.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/mizo.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/mizo.md",
      "source_sha256": "3f9f06c44f7aaee1359389340f767a0ce7d365e8f174d06b6a6198a0f7e1db90",
      "lyrics": null,
      "style_prompt": "Tender Mizo contemporary acoustic love song with lengzem zai inspiration. Warm intimate lead voice, natural Mizo diction and a melody shaped carefully around the language. Soft acoustic guitar, restrained khuang-like pulse and close vocal harmonies entering gradually. Separate the repeated gathering phrases; pause fully after the potter declaration with instruments sustaining beneath it. Start solo, gently open the mountain-and-moon bridge, broaden the final existing refrain with warm harmonies, then end on one quiet voice. Hopeful and affectionate. Have a Mizo singer check word meanings in the tune; keep the love-song delivery warm and any harmony gentle. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Treat this as an affectionate song about making a shared future. An intimate solo gradually joined by harmony gives the ending a clear emotional purpose.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Have a Mizo singer check word meanings in the tune; keep the love-song delivery warm and any harmony gentle. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Champhai district identifies lengzem zai as love songs and describes khuang among Mizo instruments. Lengzem names a theme rather than a fixed musical structure. Guitar and close harmony are contemporary arrangement choices; a fluent singer should check the words in the resulting melody.\n\nMusical reference: [Government of Mizoram, Champhai — Culture and Heritage](https://champhai.nic.in/culture-heritage/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Garhwali",
      "slug": "garhwali",
      "title": "I Am Free to Dream — Garhwali adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--garhwali.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/garhwali.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/garhwali.md",
      "source_sha256": "54a3ead4b7a1c6c3f2af947785e8fad43af18f7ec7be519b1863df8ae1124f3d",
      "lyrics": null,
      "style_prompt": "Intimate Garhwali contemporary folk ballad with a love-dialogue-inspired vocal shape. Warm natural lead, a second voice echoing only existing lyric phrases, airy flute and very light dhol-damau colours. Unhurried calling melodic lines and a gentle unhurried pulse. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly below. Keep early verses solo; introduce the answering voice at the mountain invitation and join both voices in the final dream-weaving refrain. Finish quietly on the lead voice. Let the Garhwali invitation become a soft melodic call and reply, with whole local phrases answered at an easy pace. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The invitation to climb together naturally supports an answering voice. Borrow the dialogue principle without inventing a new reply or changing the poem’s perspective.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let the Garhwali invitation become a soft melodic call and reply, with whole local phrases answered at an easy pace. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Kumaon Mandal Vikas Nigam’s Uttarakhand overview describes bajuband as a love dialogue and identifies other local song forms with distinct functions.\n\nMusical reference: [Kumaon Mandal Vikas Nigam — Folk Songs](https://www.kmvn.in/folk-song).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kumaoni",
      "slug": "kumaoni",
      "title": "I Am Free to Dream — Kumaoni adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kumaoni.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kumaoni.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kumaoni.md",
      "source_sha256": "659de3e0993f0d2a324fbb1039481e491502e78c2bbbc8ec2adfb2dfe905b149",
      "lyrics": null,
      "style_prompt": "Spacious Kumaoni poetic folk ballad, warm clear solo voice and natural Kumaoni diction. Begin with an unaccompanied melodic call; add quiet bamboo flute responses and a low sustained acoustic bed. Long breathing lines, restrained ornament, a very gentle pulse entering only in the second half. Separate the repeated gathering phrases and pause fully after the potter declaration. Keep the voice close during that silence. Let the mountain bridge gain melodic warmth, then return to free, tender timing for the final woven-dreams lines. Begin with a close Kumaoni solo call; let long phrases settle naturally before a quiet pulse enters later. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let this differ from the Garhwali version by preserving solitude for longer. The North Star is a distant point of assurance, and togetherness arrives through the words rather than a full duet.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Begin with a close Kumaoni solo call; let long phrases settle naturally before a quiet pulse enters later. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Uttarakhand’s documented folk-song landscape includes several distinct social and performance forms. This version starts with a Kumaoni solo-call concept; a local singer should decide whether a nyoli-informed treatment fits the final text.\n\nMusical reference: [Kumaon Mandal Vikas Nigam — Folk Songs](https://www.kmvn.in/folk-song).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Magahi",
      "slug": "magahi",
      "title": "I Am Free to Dream — Magahi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--magahi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/magahi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/magahi.md",
      "source_sha256": "e95d89ac99a875a353aa61e7d5c91d212508c78ebcdc181b613872c0259b2b46",
      "lyrics": null,
      "style_prompt": "Intimate Magahi contemporary folk-geet, warm conversational male vocals and natural Magahi diction. Gentle rocking pulse, low soft dholak, short bamboo flute replies and a quiet harmonium bed. Compact tuneful phrases with a small recurring refrain response on existing words. Separate the repeated gathering phrases and pause fully after the potter declaration, with held notes below. Begin close and simple, add warmth through the verses, give the mountain invitation a modest melodic lift, and end affectionately on weaving dreams together. Use the collaborator's Magahi speech cadence for compact verses; let a gently rocking refrain answer each thought. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give this version a compact, close conversational feel. The poem’s gathering and potter images suit an everyday human setting; a short recurring response can bring warmth without a grand orchestral build.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use the collaborator's Magahi speech cadence for compact verses; let a gently rocking refrain answer each thought. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "IGNCA maintains a Magadh cultural collection with material on Magahi language and literature. The musical design here remains a contemporary proposal pending consultation on a specific local song tradition.\n\nLanguage or community context: [IGNCA — Magadh cultural collection](https://ignca.gov.in/coilnet/mg.htm).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Chhattisgarhi",
      "slug": "chhattisgarhi",
      "title": "I Am Free to Dream — Chhattisgarhi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--chhattisgarhi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/chhattisgarhi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/chhattisgarhi.md",
      "source_sha256": "9f402beb6d926a72205ce0682ddef40402e78518f48c9f49bcabc256204e062a",
      "lyrics": null,
      "style_prompt": "Tender Chhattisgarhi contemporary folk song with dadaria inspiration, warm conversational lead and natural Chhattisgarhi diction. A restrained answering voice repeats only existing refrain words. Light mandar-like percussion, short flute replies and a relaxed cyclical pulse. Breathe between the repeated gathering phrases; pause fully after the potter declaration, sustaining softly below. Begin intimate, gather gentle momentum at the mountain-and-moon bridge, then soften the final response into a tender woven-dreams ending. Clear words and a modest acoustic ensemble. Use conversational Chhattisgarhi lines and gentle answering phrases; keep the dadaria-inspired exchange affectionate. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Choose the warmth of direct human address. A short answering phrase can make the shared-dreams idea audible, while the verses remain the potter’s personal statement.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use conversational Chhattisgarhi lines and gentle answering phrases; keep the dadaria-inspired exchange affectionate. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "IGNCA identifies dadaria within Chhattisgarh’s diverse folk-song traditions; the ICH archive also preserves named performers’ Dadaria recordings.\n\nMusical reference: [IGNCA — Chhattisgarh Folk Songs and Dances](https://ignca.gov.in/coilnet/chgr0042.htm).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Awadhi",
      "slug": "awadhi",
      "title": "I Am Free to Dream — Awadhi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--awadhi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/awadhi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/awadhi.md",
      "source_sha256": "fb10d0b9c3678d844125d331bf6ec5b2fb4e61224ede9ad074c654e78a35551d",
      "lyrics": null,
      "style_prompt": "Tender Awadhi lyrical lok-geet with gentle Purab colour, warm intimate male vocals and natural Awadhi diction. Soft harmonium, airy bansuri and very light dholak sway. Smooth singing with clear word endings, small graceful turns and an unhurried returning refrain. Separate the repeated gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Let the mountain invitation rise and the rain phrase descend gently, then close with quiet assurance on weaving dreams together. Contemporary secular acoustic poem-setting. Let Awadhi words flow in smooth complete phrases, with short Purab-inspired turns and clear sentence endings. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Make this a gentle personal address, with a slightly more lyrical, sustained line than the compact Magahi concept. Rain remains a poetic image, not a reason to force a festival or devotional form.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Awadhi words flow in smooth complete phrases, with short Purab-inspired turns and clear sentence endings. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "An IIT Bombay D’source project on Awadhi explores its living presence in songs and popular media. That is a useful reminder to allow a contemporary musical setting as well as older folk references.\n\nLanguage or community context: [IIT Bombay D’source — Raising Awareness of Awadhi](https://dsource.in/dcontent/idc-archive/collection/view-pdf.php?file=doc%2Fidc-apoorv-anurag-p3-report.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Gondi",
      "slug": "gondi",
      "title": "I Am Free to Dream — Gondi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--gondi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/gondi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/gondi.md",
      "source_sha256": "6fccddaf354b307d1177582ee087e2c959aab723120b75414675a14fe15e5a77",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Gondi narrative song, warm clear storyteller voice and natural diction in the approved Gondi variety. Sparse bana-like bowed responses, minimal low hand percussion and a melody led by complete verbal phrases. A restrained Pardhan-inspired instrumental conversation in a new secular song. Separate the repeated gathering phrases and pause fully after the potter declaration; a soft bowed tone carries the breath. Gradually animate the mountain invitation, then return to a long tender final phrase about weaving dreams together. Choose the Gondi variety first; let its spoken phrases lead a spare melody and any community-approved bowed replies. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The potter and the assembling of a world make a narrative presentation meaningful. Final musical decisions need a Gondi-speaking collaborator from the chosen community and dialect.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the Gondi variety first; let its spoken phrases lead a spare melody and any community-approved bowed replies. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Ethnomusicologist Roderic Knight documents Pardhan musicians’ narrative singing and the three-string bana. This is a particular community lineage, not a description of every Gondi-speaking community.\n\nMusical reference: [Roderic Knight, Oberlin — The Pardhan](https://www2.oberlin.edu/faculty/rknight/pardhan.htm).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Ho",
      "slug": "ho",
      "title": "I Am Free to Dream — Ho adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--ho.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/ho.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/ho.md",
      "source_sha256": "1b9d049b382e064d14bb98e44197feea3e69b4cf8a3460bedbe6da9d9501a666",
      "lyrics": null,
      "style_prompt": "Tender Ho contemporary folk song, warm solo voice and natural Ho diction. Restrained dumang drum pulse, light rutu flute replies and a small unison group reserved for the existing final refrain. Clear spacious melody shaped around complete words. Separate the repeated gathering phrases; pause fully after the potter declaration, with a soft held tone underneath. Start intimately, gently open the mountain-and-cloud bridge, then let shared voices carry the woven-dreams refrain before one voice closes. Modest acoustic scale and hopeful feeling. Compose around reviewed Ho wording; let a small repeated tune and a late unison response support complete phrases. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the individual dream gently become something held by more than one voice. A quiet communal response fits the closing image while leaving the early stanzas personal.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Compose around reviewed Ho wording; let a small repeated tune and a late unison response support complete phrases. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Ministry of Tribal Affairs’ Ho community profile documents music and instruments including dumang and rutu. Ho needs its own linguistic and musical treatment rather than a Santali substitution.\n\nMusical reference: [SCSTRTI — Ho handbook](https://repository.tribal.gov.in/bitstream/123456789/73819/1/SCST_2013_handbook_0029.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Braj Bhasha",
      "slug": "braj",
      "title": "I Am Free to Dream — Braj Bhasha adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--braj.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/braj.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/braj.md",
      "source_sha256": "e7b52f0c0d96fe4ef11f7c95376d3fc2263c157dbfd2487b904f6dd1c0124593",
      "lyrics": null,
      "style_prompt": "Tender Braj Bhasha contemporary folk ballad with restrained rasiya-inspired melodic exchange. Warm conversational male voice, natural Braj diction, soft dholak, bamboo flute and short harmonium replies. Spacious verses and a gently buoyant refrain; a second voice echoes only supplied refrain words. Breathe between the gathering phrases and pause fully after the potter declaration, with a held tone beneath. Open the melody at the mountain invitation, then join voices softly on weaving dreams together. Intimate secular love poetry, clear complete words and brief ornaments. Keep Braj speech cadence audible; let restrained rasiya-inspired exchanges answer only complete supplied refrain words. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The invitation to share dreams can support an affectionate melodic exchange. Borrow a little rhetorical lift and response from regional song, but keep the beloved human and the poem secular. This is a new Braj lyric setting, not a traditional rasiya.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Braj speech cadence audible; let restrained rasiya-inspired exchanges answer only complete supplied refrain words. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Research on the regional North Indian music industry documents Braj genres including rasiya and languriya and their continuing adaptation to new media. Braj musical life includes more than a single devotional setting.\n\nMusical reference: [Peter Manuel — The regional North Indian popular music industry](https://www.cambridge.org/core/journals/popular-music/article/regional-north-indian-popular-music-industry-in-2014-from-cassette-culture-to-cyberculture/F062ABC02960A4A6362BD14D3BDE625E).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Bundeli",
      "slug": "bundeli",
      "title": "I Am Free to Dream — Bundeli adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--bundeli.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/bundeli.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/bundeli.md",
      "source_sha256": "4589677caf463be65497d7772a59dd8b42971469c4c722fbe5014dbcdd8112c3",
      "lyrics": null,
      "style_prompt": "Intimate Bundeli lyrical folk ballad, warm grounded male voice and natural Bundeli diction. Clear storytelling verses and a memorable returning refrain, softly played dholak and spare bowed-string answers. An easy steady pulse with space at complete thoughts. Separate the repeated gathering phrases and pause fully after the potter declaration; instruments sustain beneath it. Add warmth stanza by stanza, lift the mountain-and-moon bridge without speeding up, and bring the final dream-weaving refrain home quietly. Affectionate, modest and word-led. Use grounded Bundeli storytelling verses and one returning refrain tune; allow local phrase endings to settle fully. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A recurring refrain can hold together the poem’s changes of image: the star, gathered world, potter and clouds. Choose an intimate lyrical delivery; the poem does not require the heroic projection of an epic recital or the pace of a dance performance.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use grounded Bundeli storytelling verses and one returning refrain tune; allow local phrase endings to settle fully. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Hindwi’s sourced Bundeli folk-song collection includes a song structured around a returning tek, or refrain. That provides a concrete textual reference for stanza-and-refrain organisation, rather than evidence for one compulsory Bundeli rhythm.\n\nMusical reference: [Hindwi — A Bundeli folk song with a returning tek](https://www.hindwi.org/folk-songs/bundeli-lokgit-ha-sakhi-ri-main-to-bhai-na-biraj-ki-mor-folk-songs).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Angika",
      "slug": "angika",
      "title": "I Am Free to Dream — Angika adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--angika.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/angika.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/angika.md",
      "source_sha256": "341ce0f5c30204458210e324a2489d49407e7698826b3948346db8c0d2bc8df4",
      "lyrics": null,
      "style_prompt": "Tender Angika contemporary poetic folk song, warm intimate male voice with natural Angika diction. Conversational verse openings, gently sustained phrase endings and a softly rocking refrain. Quiet harmonium, light hand drum and brief bamboo flute replies. Breathe distinctly between the gathering phrases and pause fully after the potter declaration, with held notes underneath. Start without percussion, gradually warm the verses, let the mountain-and-cloud bridge unfold in longer lines, then return to an affectionate close voice for weaving dreams together. Let Angika verse openings sit near speech, then gently sustain each closing thought; keep the refrain compact. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Keep the feeling of a poem sung to someone sitting nearby. The gathering and making images suit a close conversational verse, while the repeated promise of freedom can have a small rocking tune. The instrumentation below is a proposed contemporary arrangement.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Angika verse openings sit near speech, then gently sustain each closing thought; keep the refrain compact. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The community documentation of Pramila Devi records an Angika oral history in her own language. It offers a living-language reference; it does not establish a fixed musical arrangement for all Angika songs.\n\nLanguage or community context: [Pramila Devi — Angika oral-history record](https://wikisource.org/wiki/File%3APramila_Devi%27s_oral_history.webm).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Khortha",
      "slug": "khortha",
      "title": "I Am Free to Dream — Khortha adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--khortha.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/khortha.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/khortha.md",
      "source_sha256": "9576cc61e0ff5b143161a667d34ef5f0c23aeb21f3b72240d4bd6b6927b7a3fc",
      "lyrics": null,
      "style_prompt": "Intimate Khortha contemporary folk-geet, warm natural male vocals and clear Khortha diction. A gentle circling pulse, soft low hand drum, brief bamboo flute replies and sparse plucked accompaniment. Let long phrases float over the rhythm without breaking words. Separate the repeated gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Build through melodic warmth, open the mountain-and-cloud bridge in longer lines, then settle into the original quiet pulse for a tender woven-dreams ending. Let complete Khortha lines float over a quiet circling pulse; settle ornaments after the words, not inside them. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let a repeated rhythmic figure suggest gathering and making, with more open melodic space for the clouds. A restrained jhumar-influenced sway is a proposal for a local singer to assess, not a claim that the unchanged poem already fits a traditional form.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Khortha lines float over a quiet circling pulse; settle ornaments after the words, not inside them. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Shubham Kumar’s study in Naad Nartan discusses Khortha folk music, including nature-related and religious song categories. Those categories are distinct; the cloud imagery here does not make the poem a ritual song.\n\nMusical reference: [Shubham Kumar — Study of Khortha folk music](https://naadnartan.in/wp-content/uploads/2023/02/Shubham-Kumar.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Nagpuri / Sadri",
      "slug": "nagpuri",
      "title": "I Am Free to Dream — Nagpuri / Sadri adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--nagpuri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/nagpuri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/nagpuri.md",
      "source_sha256": "74bf6be95f0bd2305920b003fc9f0e7789bebcb6c169335914ceb064ba83df21",
      "lyrics": null,
      "style_prompt": "Tender Nagpuri geet with a restrained jhumar-inspired lift, warm intimate male lead and natural Nagpuri diction. Gentle rolling hand-drum pulse, bamboo flute replies and quiet bass. Relaxed storytelling verses, a clear tuneful refrain and a small unison echo on existing words. Breathe between the gathering phrases and pause fully after the potter declaration, with a sustained tone below. Gradually introduce the communal response at the mountain invitation, then let shared voices soften into the final dream-weaving lines. Keep the rhythmic lift gentle. Keep Nagpuri storytelling relaxed; give the jhumar-inspired refrain lift through articulation without speeding up. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let this version grow from individual speech to a shared refrain. Compared with the Khortha concept’s floating long lines, give Nagpuri a more clearly articulated returning hook and a small communal response.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Nagpuri storytelling relaxed; give the jhumar-inspired refrain lift through articulation without speeding up. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sangeet Natak Akademi’s performance record lists Mukund Nayak and his group presenting Jhoomar and Nagpuri Geet. This identifies a specific regional performance reference without implying all Sadri-speaking communities use identical forms.\n\nMusical reference: [Sangeet Natak Akademi — Annual Report 2015–16](https://sangeetnatak.gov.in/public/uploads/reports/164275176355045.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Bhili — variety to be selected",
      "slug": "bhili",
      "title": "I Am Free to Dream — Bhili — variety to be selected adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--bhili.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/bhili.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/bhili.md",
      "source_sha256": "7e7abc0f4268f4bcdc3d52101af9cf95e4062b4bc5ebac830e92a371646fd423",
      "lyrics": null,
      "style_prompt": "Tender contemporary Bhili poetic folk song in the approved local variety. Warm clear solo storytelling voice, one quiet local hand drum, short flute replies and a small unison response on existing refrain words. Spacious complete phrases and a gentle pulse shaped by the language. Separate the repeated gathering phrases and pause fully after the potter declaration; sustain softly underneath. Keep early verses solo, introduce shared voices at the mountain invitation, and return to one tender voice for the final dream-weaving line. Intimate acoustic scale. Choose the specific Bhili variety with a collaborator; develop its vocal cadence before selecting the drum and tune. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Begin with a simple vocal shape that a collaborator can rebuild in their own variety. Gathering the world and inviting another person to join can move from solo voice to a restrained shared refrain without borrowing a festival text.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the specific Bhili variety with a collaborator; develop its vocal cadence before selecting the drum and tune. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "IGNCA’s Bhil artists documentation includes Bhuri Bai speaking about Bhil song. It is a particular community reference; the broad Bhili label does not identify one uniform lyric or musical tradition.\n\nLanguage or community context: [IGNCA — Bhuri Bai on Bhil Song](https://ignca.gov.in/divisionss/janapada-sampada/tribal-art-culture/bhil-artists-of-madhya-pradesh-and-rajasthan/video-clip-bhuri-bai-on-bhil-song/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kurukh",
      "slug": "kurukh",
      "title": "I Am Free to Dream — Kurukh adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kurukh.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kurukh.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kurukh.md",
      "source_sha256": "28fc147316925505045f8f20be920089ff2db16dfc336cc79f14149859126740",
      "lyrics": null,
      "style_prompt": "Intimate Kurukh contemporary folk song, warm natural male voice with clear Kurukh diction. Soft mandar responds between complete phrases, occasional delicate metallic accents and sparse flute. A gentle spacious pulse, small melodic figures and a quiet unison response on existing final refrain words. Leave distinct breaths between gathering phrases and a full pause after the potter declaration, with a soft held tone below. Broaden the mountain-and-moon bridge through melody, then let percussion fall away for a tender woven-dreams ending. Shape the melody around reviewed Kurukh phrases; let soft drum answers occupy the spaces after complete thoughts. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Use the drum as a quiet conversational partner, leaving the individual maker’s voice exposed. The shared refrain can express connection without borrowing words or patterns from a named seasonal ceremony.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Shape the melody around reviewed Kurukh phrases; let soft drum answers occupy the spaces after complete thoughts. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Jharkhand’s Tribal Welfare Research Institute identifies Kurukh as the Oraon community’s language and describes music using instruments including mandar, nagara and kartal.\n\nMusical reference: [Tribal Welfare Research Institute, Jharkhand — Oraon](https://www.trijharkhand.in/en/oraon).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Ahirani",
      "slug": "ahirani",
      "title": "I Am Free to Dream — Ahirani adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--ahirani.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/ahirani.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/ahirani.md",
      "source_sha256": "ed130ed7484567aea9a173ff3744d43cd2d21a5002f889443fb730e0d4990fcb",
      "lyrics": null,
      "style_prompt": "Tender Ahirani contemporary lyrical folk song with the intimacy of poetry arising from everyday work. Warm close male voice, natural Ahirani diction, compact speech-shaped phrases and a quietly memorable refrain. Sparse plucked strings and soft hand percussion entering late, a gentle rocking figure beneath flexible vocals. Separate the gathering phrases and pause fully after the potter declaration; let a note sustain underneath. Bring warmth to the shaping-and-colouring verse, briefly open the mountain bridge, then return to a simple affectionate dream-weaving ending. Use the selected Ahirani speech variety for compact, work-poetry-inspired lines; let repeated melody suggest patient making. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The potter can be the centre of this version. Let the music find beauty in the act of making, with compact phrases and a refrain that feels discovered in ordinary speech. Preserve the poem rather than forcing it into ovi couplets.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use the selected Ahirani speech variety for compact, work-poetry-inspired lines; let repeated melody suggest patient making. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The study Bahinabai Chaudhari’s Songs: A Performance Tradition in Maharashtra discusses her songs in relation to everyday labour and ovi. This offers a specific literary-performance connection to making and ordinary life, not a fixed metre for this new poem.\n\nLanguage or community context: [Bahinabai Chaudhari’s Songs — A Performance Tradition in Maharashtra](https://zenodo.org/records/12574334).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Lambadi / Banjara",
      "slug": "lambadi",
      "title": "I Am Free to Dream — Lambadi / Banjara adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--lambadi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/lambadi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/lambadi.md",
      "source_sha256": "9ad912256d1b2bfc1a8befb01756466f20fd3303675f6de3efadc02ef445ed4c",
      "lyrics": null,
      "style_prompt": "Tender Lambadi contemporary poetic folk song in the approved community variety. Warm intimate lead voice and clear natural diction, a small chorus answering only existing lyric lines. Soft handclaps, one low drum and sparse plucked accompaniment, a gentle swaying pulse. Separate the gathering phrases and pause fully after the potter declaration, with a held note underneath. Begin solo, open the mountain-and-moon invitation gradually, and join the voices softly for the final weaving of dreams. Affectionate secular song with restrained rhythmic energy. Choose the Lambadi community variety; use whole-line vocal answers and gentle accents that leave the solo words clear. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let a close individual voice gradually find companionship. The poem’s journey stays metaphorical; avoid adding a caravan or nomadic imagery simply because of the community label. The gentle ensemble below is a new song proposal.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the Lambadi community variety; use whole-line vocal answers and gentle accents that leave the solo words clear. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Ministry of Culture’s tribal-dance documentation identifies Lambadi performance with Banjara communities in Telangana and Andhra Pradesh. This is one regional reference within a wider community presence.\n\nLanguage or community context: [Ministry of Culture/PIB — Tribal dance documentation](https://static.pib.gov.in/WriteReadData/specificdocs/documents/2023/jan/doc2023127155401.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kangri",
      "slug": "kangri",
      "title": "I Am Free to Dream — Kangri adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kangri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kangri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kangri.md",
      "source_sha256": "c5826396c4d26a3bcfc3983312569dd850d117bd6ccf1d89358807cead72cb81",
      "lyrics": null,
      "style_prompt": "Intimate Kangri narrative folk ballad, warm natural male voice and clear Kangri diction. Quiet bamboo flute, spare bowed-string replies and a soft hand drum entering after the opening. Unhurried speech-shaped melody, gentle rises at invitations and a close comfortable vocal register. Breathe between the gathering phrases and pause fully after the potter declaration; sustain softly beneath it. Let the mountain-and-moon bridge open naturally, then add one quiet echo of the existing final dream-weaving line. Tender and spacious with a small acoustic ensemble. Keep Kangri narrative lines near a comfortable speech register; a second voice can answer the final invitation softly. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A slowly unfolding personal narrative suits the poem’s confidence and tenderness. Keep the voice close and the landscape in the words; the mountain setting does not require oversized echoes or ceremonial music.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Kangri narrative lines near a comfortable speech register; a second voice can answer the final invitation softly. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Himachal Tourism describes regional ballads and love narratives, including Raja-Gaddan associated with Kangra. Its overview covers several Himachali traditions, so it should not be read as one uniform Kangri music system.\n\nLanguage or community context: [Himachal Tourism — Ethnic traditions](https://himachaltourism.gov.in/destination/ethnic/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Ladakhi",
      "slug": "ladakhi",
      "title": "I Am Free to Dream — Ladakhi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--ladakhi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/ladakhi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/ladakhi.md",
      "source_sha256": "d6f4263868e34a995408d350014df12517b54b829c0e8577775695638204df1d",
      "lyrics": null,
      "style_prompt": "Spacious secular Ladakhi poetic chamber ballad, warm natural male voice and clear Ladakhi diction. Free opening phrase, sparse plucked accompaniment and very soft daman-inspired rhythmic punctuation. Reserve a brief distant surna-like reed colour for the instrumental bridge. Gentle measured pulse with room for complete words. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly below. Open the mountain-and-cloud melody, then return to voice and one held note for the woven-dreams ending. Intimate lyrical delivery. Let reviewed Ladakhi words set each phrase's length; keep the opening free and the later pulse lightly measured. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the North Star a patient, open vocal line and the potter a plain, close declaration. A quieter studio arrangement is proposed for the poem; neither temple chant nor ceremonial procession is the default.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let reviewed Ladakhi words set each phrase's length; keep the opening free and the later pulse lightly measured. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Ladakh administration documents training in folk songs and instruments such as daman and surna. This establishes regional secular performance references alongside the region’s religious music.\n\nMusical reference: [Administration of Ladakh — Traditional music workshop at Bodh-Kharboo](https://ladakh.gov.in/workshop-on-traditional-music-concludes-at-bodh-kharboo-events-for-promotion-of-cultural-tourism-in-bodh-kharboo-other-parts-of-kargil-in-pipeline-ec-mohsin/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Garo",
      "slug": "garo",
      "title": "I Am Free to Dream — Garo adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--garo.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/garo.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/garo.md",
      "source_sha256": "ecc7f8e789a675416e093bc2ce7de80db030063fd89f24635e9b801ed2af7467",
      "lyrics": null,
      "style_prompt": "Tender Garo contemporary acoustic lyric song, warm intimate male voice with natural Garo diction. Delicate chigring-like bamboo-string figures, quiet low drum and occasional airy flute notes. Clear spacious melody, solo verses and a small unison response on existing final refrain words. Breathe between the gathering phrases and pause fully after the potter declaration, with a soft held note below. Let the mountain invitation gently broaden the melody, then bring in a second voice for weaving dreams together and close on the original plucked figure. Give Garo lines room around the bamboo-string figure; introduce a short unison reply only after the solo melody settles. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A dry, delicate plucked texture can suit the potter’s hands, while a small group response can make the dream-weaving ending feel shared. Preserve Garo speech and melody rather than simply applying the Khasi arrangement.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Give Garo lines room around the bamboo-string figure; introduce a short unison reply only after the solo melody settles. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Meghalaya’s Department of Arts and Culture describes Garo instruments including chigring, a bamboo stringed instrument, in specific festival contexts. Borrowing its timbre for a secular song is a proposed contemporary choice.\n\nMusical reference: [Government of Meghalaya — Garo festivals and instruments](https://megartsculture.gov.in/festivals-garo.html).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kokborok",
      "slug": "kokborok",
      "title": "I Am Free to Dream — Kokborok adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kokborok.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kokborok.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kokborok.md",
      "source_sha256": "cd14c084457df53c8b15c644e2ef76329e0ab32bec1dac6e5ca40c31cf7b4f7c",
      "lyrics": null,
      "style_prompt": "Tender Kokborok contemporary love ballad, warm intimate male voice and clear natural Kokborok diction. Light chongpreng-like plucked figures, short sarinda replies and quiet hand percussion. Spacious word-led melody with small repeated cells in the verses and longer lines in the bridge. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Gradually let plucked and bowed phrases answer each other, then weave them gently around the voice in the final shared-dreams refrain. Restrained secular acoustic setting. Let Kokborok gathering lines use small repeated melodic cells; extend the phrase naturally for the mountain invitation. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A conversation between a short plucked figure and a bowed reply can follow the poem from gathering to shared dreams. Let it be a contemporary affectionate song rather than assigning it a ritual identity.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Kokborok gathering lines use small repeated melodic cells; extend the phrase naturally for the mountain invitation. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Tripura University’s Kokborok syllabus includes folk instruments such as sarinda and chongpreng. This supports the proposed instrumental palette. Their use does not by itself establish a traditional song form; the melody needs a Kokborok singer’s phrasing.\n\nMusical reference: [Tripura University — Kokborok syllabus](https://tripurauniv.ac.in/site/images/pdf/syllabus/kokborok_major_minor_24_10_25.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Mising",
      "slug": "mising",
      "title": "I Am Free to Dream — Mising adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--mising.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/mising.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/mising.md",
      "source_sha256": "a99bd4620caece400077b07df93f75e5dace934368d435c8aea8e9cc28163f1c",
      "lyrics": null,
      "style_prompt": "Tender Mising contemporary love song with Oi Nitom inspiration, warm intimate male lead and clear natural Mising diction. Lyrical calling phrases, spare flute replies and a soft unhurried rhythmic underpinning. A second voice answers only supplied invitation and refrain words. Separate the repeated gathering phrases and pause fully after the potter declaration, sustaining quietly below. Begin solo, gently open the mountain-and-moon bridge into a vocal exchange, then bring both voices together softly on weaving dreams. Restrained ornament and no extra sung syllables. Use a reviewed Mising calling phrase, with an Oi Nitom-inspired exchange limited to the supplied invitation words. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The poem’s direct invitation and final intimacy suit a love-song approach. Let a lyrical call gradually become a shared line, without adding vocables or claiming that the translated poem meets a traditional Oi Nitom form.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a reviewed Mising calling phrase, with an Oi Nitom-inspired exchange limited to the supplied invitation words. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "An Assam tribal-research report traces Ganesh Pegu’s Oi-Ni-tom performances and his work in modern Mising song. This provides a documented connection between community song traditions and contemporary light music.\n\nMusical reference: [Assam tribal-research report — Mising song and Ganesh Pegu](https://www.repository.tribal.gov.in/bitstream/123456789/75230/1/AIRT_2018_0007_report.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Ao",
      "slug": "ao",
      "title": "I Am Free to Dream — Ao adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--ao.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/ao.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/ao.md",
      "source_sha256": "9af34b67ce5c7fee10aee437f93acb017bbb943ffc011a8f85100910cae52ce5",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Ao acoustic poetic song in the approved Ao variety. Warm clear male lead, sparse acoustic guitar and very light percussion entering late. Word-led melody, mostly solo verses, a small unison group gradually joining the existing final refrain with restrained contemporary harmony. Breathe between gathering phrases and pause fully after the potter declaration; let a soft chord sustain below. Open the mountain invitation, bring voices together on weaving dreams, then leave one voice for the final line. Tender secular song, no added ceremonial calls. Choose the intended Ao variety; start with speech-led solo phrasing and let a small response join the final refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The poem’s movement from “I” toward shared dreams gives a reason for the ensemble to grow. Begin with an individual voice and let community appear through the final refrain, without borrowing ceremonial calls or presenting all Naga traditions as Ao.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the intended Ao variety; start with speech-led solo phrasing and let a small response join the final refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Mokokchung district’s cultural documentation places folk songs within Ao community life and also describes contemporary public music events. It supports an approach that recognises both living tradition and modern musical choices.\n\nMusical reference: [Mokokchung district — Culture and Heritage](https://mokokchung.nic.in/culture-heritage/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kutchi",
      "slug": "kutchi",
      "title": "I Am Free to Dream — Kutchi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kutchi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kutchi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kutchi.md",
      "source_sha256": "609a561804e0e341632d28e27e9cf82760e6525c8f9a8c185c93348e1d0407ad",
      "lyrics": null,
      "style_prompt": "Intimate Kutchi poetic folk ballad, warm natural male voice and clear Kutchi diction. Brief jodiya-pawa-like flute phrases alternate with sparse bowed surando replies; a quiet low pulse enters after the opening. Spacious complete thoughts, restrained ornament and a softly returning refrain. Separate the gathering phrases and pause fully after the potter declaration, with a single tone sustaining beneath it. Open the mountain-and-moon bridge, let flute and bowed strings meet gently around the final dream-weaving lines, then close on the opening flute motif. Let complete Kutchi thoughts set the phrasing; alternate flute and bowed replies so neither crowds the local diction. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the guiding star a sustained flute colour and the potter a bowed reply. The conversation between those sounds can suggest the final joining of dreams. Keep the poem personal; neither desert scenery nor a religious text needs to be added.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Kutchi thoughts set the phrasing; alternate flute and bowed replies so neither crowds the local diction. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Living Lightly project hosted by IGNCA names surando and jodiya pawa within the music and storytelling of Kachchh pastoralists. These are specific instrumental references. The alternating replies and quiet vocal arrangement below are newly proposed for the Kutchi lyric.\n\nMusical reference: [IGNCA — Living Lightly: Journeys with Pastoralists](https://ignca.gov.in/invitations/invite_20161202concept.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Malvi",
      "slug": "malvi",
      "title": "I Am Free to Dream — Malvi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--malvi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/malvi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/malvi.md",
      "source_sha256": "5c8681008100887537e8bda828266fd61aeb80e6de4109fd1d1e2ae00b85cd97",
      "lyrics": null,
      "style_prompt": "Intimate Malvi lyrical folk ballad with restrained maach-informed sung storytelling. Warm clear male voice, natural Malvi diction, quiet harmonium, light dholak and short instrumental replies after complete lines. Speech-shaped verses opening into a tuneful returning refrain, gentle steady pulse. Separate the gathering phrases and pause fully after the potter declaration; sustain softly beneath it. Let the mountain invitation gain a little warmth through melody, then return to a close affectionate voice for the woven-dreams ending. Modest acoustic scale. Use Malvi speech-like verse openings and a tuneful refrain; keep maach-inspired storytelling at an intimate scale. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Borrow the sense of a thought being sung, answered and developed. A little melodic variation can carry the story while keeping the voice intimate. The result is a new lyric setting drawing on a theatre-music reference.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use Malvi speech-like verse openings and a tuneful refrain; keep maach-inspired storytelling at an intimate scale. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sahapedia’s study of maach describes Malwa’s musical theatre and its relationship to local folk songs and classical music. This regional reference concerns Malwa in central India, not the similarly named region in Punjab.\n\nMusical reference: [Sahapedia — Maach: Malwa’s Centuries-old Folk Theatre Form](https://www.sahapedia.org/maach-malwas-centuries-old-folk-theatre-form).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Mewari",
      "slug": "mewari",
      "title": "I Am Free to Dream — Mewari adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--mewari.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/mewari.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/mewari.md",
      "source_sha256": "739d755629db5ded00a4d2ac645d04667b881e85b9efea6ca1e87b63a7f9d07b",
      "lyrics": null,
      "style_prompt": "Tender Mewari contemporary lyrical folk song, warm intimate male voice and natural Mewari diction. A simple returning melody over a gentle circular pulse, quiet dholak, light manjira accents and short bowed-string replies. Spacious verses and restrained ornament. Breathe between the gathering phrases and pause fully after the potter declaration, with a held note beneath it. Let the mountain-and-moon invitation open the melody, then add a quiet answering voice on existing final refrain words. End with the affectionate feeling of welcoming another person’s dreams. Let a Mewari singer shape the small returning melody; place ornaments at whole-phrase endings over a quiet pulse. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Choose a melody that repeatedly returns to a feeling of welcome. Unlike the Marwari file’s Maand-informed approach, this proposal uses a simpler, less ornamented refrain and lets the collective feeling emerge gradually. A local singer should determine its regional character.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let a Mewari singer shape the small returning melody; place ornaments at whole-phrase endings over a quiet pulse. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Incredible India’s Udaipur cultural overview identifies music, dance and festival performance within Mewar’s artistic life. It provides regional context, not proof of a single Mewari song form or rhythm.\n\nLanguage or community context: [Incredible India — Udaipur’s Canvas of Creativity](https://www.incredibleindia.gov.in/en/rajasthan/udaipur/udaipurs-canvas-of-creativity).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Bagheli",
      "slug": "bagheli",
      "title": "I Am Free to Dream — Bagheli adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--bagheli.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/bagheli.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/bagheli.md",
      "source_sha256": "2d9451fef84589dbaf3b51366cd6987f49ea4914c9dba5fcc8a199efde969de2",
      "lyrics": null,
      "style_prompt": "Tender Bagheli poetic folk ballad with gentle seasonal-song colour, warm intimate male vocals and natural Bagheli diction. Airy flute, quiet harmonium and a lightly swaying hand drum. Spacious lines with unhurried melodic resolution and a simple returning refrain. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Let the mountain invitation rise and the cloud-and-rain phrase descend gracefully, then return to a reassuring quiet note for the final weaving of dreams. A new secular lyric setting. Give Bagheli sentences an unhurried melodic resolution; let the cloud-and-rain image fall gently into a hopeful refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the cloud-and-rain stanza become the melodic centre. A gentle seasonal-song influence suits this image, while the rest of the poem remains a newly composed personal lyric. Preserve Bagheli phrasing rather than fitting it to the existing Bhojpuri tune.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Give Bagheli sentences an unhurried melodic resolution; let the cloud-and-rain image fall gently into a hopeful refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Hindwi’s Bagheli language introduction identifies several regional folk-song forms, including kajri, and discusses the place of nature in local literature. The forms have different social functions and should not be treated as interchangeable.\n\nLanguage or community context: [Hindwi Dictionary — Bagheli language and folk literature](https://www.hindwidictionary.com/bagheli).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Mundari",
      "slug": "mundari",
      "title": "I Am Free to Dream — Mundari adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--mundari.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/mundari.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/mundari.md",
      "source_sha256": "e436f5db8b9f3833b8178879d61c2ebea29d0b11df82d7390e36f986ca57206e",
      "lyrics": null,
      "style_prompt": "Intimate Mundari contemporary poetic folk song, warm clear solo voice and natural Mundari diction. Brief flute replies, a quiet local hand-drum pulse and a small unison group reserved for existing final refrain words. Simple spacious melody shaped by complete phrases. Separate the repeated gathering phrases and pause fully after the potter declaration, with a soft tone sustained below. Gradually open the mountain-and-cloud bridge, let shared voices carry the dream-weaving refrain, then finish on one tender voice. Restrained acoustic arrangement. Develop the melody from reviewed Mundari phrase lengths; let one soft shared response grow from the solo line. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The world being gathered into an embrace can move naturally from one voice toward several. Let shared singing express that change, while the potter remains a clearly individual speaker. Mundari needs its own lyric and phrase rhythm alongside the existing Ho and Santali files.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Develop the melody from reviewed Mundari phrase lengths; let one soft shared response grow from the solo line. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "IGNCA’s account of Munda folk songs discusses song in relation to cultural life and cites the collection Rutu Saditan. It supplies a literary and cultural reference rather than one prescribed sound for all Mundari-speaking communities.\n\nLanguage or community context: [IGNCA — Munda Folk Songs and Cultural Life](https://ignca.gov.in/coilnet/jk018.htm).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Karbi",
      "slug": "karbi",
      "title": "I Am Free to Dream — Karbi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--karbi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/karbi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/karbi.md",
      "source_sha256": "f25f254c13a66ac44d946df82421b5be29501c154488b087fc72726fcde48307",
      "lyrics": null,
      "style_prompt": "Tender Karbi contemporary poetic ballad, warm intimate male voice with clear natural Karbi diction. Short pongsi-like bamboo flute responses and soft cheng-inspired drum punctuation. A free opening becomes a gentle measured pulse, with complete words and spacious phrases. Breathe between the gathering phrases and pause fully after the potter declaration; let flute resonance carry the silence. Add movement at the mountain-and-moon invitation, then return to voice and a small flute reply for the final dream-weaving lines. Hopeful secular song, restrained ensemble. Let the Karbi voice establish timing before the drum enters; use short flute replies after complete thoughts. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the flute carry the distant star image and the voice keep the potter close. The contrast between held breath and a quiet emerging pulse can make the invitation feel hopeful without turning the song into a festival performance.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let the Karbi voice establish timing before the drum enters; use short flute replies after complete thoughts. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "West Karbi Anglong’s official cultural account identifies pongsi bamboo flute and cheng drums among Karbi instruments. The new arrangement selects a small part of that palette rather than reproducing a ceremonial ensemble.\n\nMusical reference: [West Karbi Anglong — Tradition, Language and Festival](https://westkarbianglong.assam.gov.in/resource/tradition-language-and-festival).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Lepcha",
      "slug": "lepcha",
      "title": "I Am Free to Dream — Lepcha adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--lepcha.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/lepcha.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/lepcha.md",
      "source_sha256": "dd55a17d85c1da179985eed96000e638520b99351fdc58706a94ad87873b0e10",
      "lyrics": null,
      "style_prompt": "Spacious Lepcha contemporary poetic chamber song, warm close male voice and natural Lepcha diction. Panthong-Palit-like flute alternates with complete vocal phrases over a very light sustained acoustic bed. Minimal percussion, introduced gently only at the bridge. Patient breath-led melody and restrained ornament. Separate the gathering phrases and pause fully after the potter declaration, leaving a soft tone underneath. Open the mountain-and-moon invitation, then finish with the dream-weaving line sung alone and a short flute echo. Intimate secular lyric setting. Let Lepcha vocal phrases alternate patiently with the flute; preserve complete words through the longest sustained notes. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Make breath itself a compositional feature. The star and moon images can have open musical space, while the potter declaration stays almost spoken. The mountain image need not become an invocation or a ritual narrative.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Lepcha vocal phrases alternate patiently with the flute; preserve complete words through the longest sustained notes. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "India’s Geographical Indications registry documents the Sikkim Lepcha Panthong Palit flute and names the Dzongu community organisation that applied for its registration. This gives the flute reference a specific community connection.\n\nMusical reference: [Intellectual Property India — Sikkim Lepcha Panthong Palit](https://search.ipindia.gov.in/GIRPublicSearch/Application/Details/900).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kodava",
      "slug": "kodava",
      "title": "I Am Free to Dream — Kodava adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kodava.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kodava.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kodava.md",
      "source_sha256": "3621dff7e8c25ffdf627f8805b44a418a4a9ced71a70c6f4e4bded748d2ffb7f",
      "lyrics": null,
      "style_prompt": "Intimate Kodava contemporary narrative lyric song, warm steady male voice and clear natural Kodava diction. Measured plucked acoustic accompaniment, light percussion used sparingly and mostly solo delivery. Complete speech-shaped phrases opening into a tuneful refrain. Separate the gathering phrases and pause fully after the potter declaration, sustaining a soft note below. Broaden the mountain invitation gently, then let a second voice echo one existing dream-weaving line before the lead closes quietly. A secular poem-setting with restrained expression. Use reviewed Kodava narrative phrasing with a measured refrain; a second voice can echo one complete final line. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Build a contemporary Kodava song around clear narrative delivery and the significance of words held in memory. A quiet response can acknowledge the final shared dreams, while the poem retains its individual author and human beloved.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use reviewed Kodava narrative phrasing with a measured refrain; a second voice can echo one complete final line. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Kodagu Heritage describes baloo paat as a ceremonial oral song tradition with specific family and ritual contexts. That context is a reason to avoid labelling this new secular poem a baloo paat.\n\nLanguage or community context: [Kodagu Heritage — Baloo Paat: Folk Songs of Kodavas](https://kodavaclan.com/kodaguheritage/baloo-paat-folk-songs-of-kodavas/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Badaga",
      "slug": "badaga",
      "title": "I Am Free to Dream — Badaga adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--badaga.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/badaga.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/badaga.md",
      "source_sha256": "482c767a40750df5f1325532ca68242f27d1e4cc2d0e0a281b209633c983ada0",
      "lyrics": null,
      "style_prompt": "Tender Badaga contemporary acoustic lyric song, warm intimate male voice and natural Badaga diction. Sparse acoustic strings and a quiet low drum pulse, compact clearly articulated verse melody and a gently returning refrain. Breathe between the gathering phrases and pause fully after the potter declaration, with a held tone beneath it. Open the vocal register at the mountain-and-moon invitation, then introduce a soft answering voice on existing final refrain words. End with a brief shared dream-weaving phrase and one quiet solo note. Affectionate secular song. Shape compact verses around the chosen Badaga pronunciation; open the vocal range gently at the invitation. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the poem begin as personal recollection and develop toward companionship. A gentle recurring figure can hold the dream images together without assigning them a ceremonial function. This contemporary design needs its regional character shaped by a Badaga singer.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Shape compact verses around the chosen Badaga pronunciation; open the vocal range gently at the invitation. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Badagas of the Blue Mountains community research page documents work on Badaga music, poetry and performance, including relationships with neighbouring communities and modern musical influences. It supports treating Badaga performance as living and varied.\n\nLanguage or community context: [Badagas of the Blue Mountains — Research on music and performance](https://badaga.co/research-on-badaga-badugu/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kui",
      "slug": "kui",
      "title": "I Am Free to Dream — Kui adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kui.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kui.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kui.md",
      "source_sha256": "c3b109c17f955755c5a7b12513d57c20b484e0a89b36a8dd1aaab25dabd9a8d2",
      "lyrics": null,
      "style_prompt": "Intimate Kui contemporary poetic folk song in the approved local variety, warm clear solo voice and natural Kui diction. Quiet local hand drum and short flute replies, a flexible opening with a gentle pulse emerging from the words. Small unison responses only on existing refrain lines near the end. Separate the gathering phrases and pause fully after the potter declaration, with a soft tone sustaining below. Give the mountain-and-cloud invitation a gentle lift, let the final dreams be sung together briefly, then end on one unaccompanied line. Work from a Kui-specific lyric and local speech rhythm; let a gentle pulse emerge only after the words find their shape. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Keep the act of making at the emotional centre: a person gathers, shapes and shares a world. Build the song with a Kui-speaking collaborator’s phrasing and musical knowledge rather than borrowing the Odia arrangement wholesale. The palette below is deliberately a provisional contemporary one.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Work from a Kui-specific lyric and local speech rhythm; let a gentle pulse emerge only after the words find their shape. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Odisha’s Kandha handbook distinguishes Kui in Kandhamal from Kuvi in Koraput. This is a crucial linguistic distinction when selecting a collaborator and interpreting regional music references.\n\nLanguage or community context: [SCSTRTI — Kandha handbook](https://tribal.nic.in/repository/ViewDoc.aspx?RepositoryNo=TRI28-08-2017121648&file=Docs%2FTRI28-08-2017121648.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Adi",
      "slug": "adi",
      "title": "I Am Free to Dream — Adi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--adi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/adi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/adi.md",
      "source_sha256": "4181cbfb2b44e0668389983c113f0f8822b6a1b6e5abf523922d8245383b3d04",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Adi narrative song in the approved local variety. Warm clear male lead, complete speech-shaped phrases, quiet sustained acoustic accompaniment and short replies after whole lines. A light pulse emerges gradually; a small group echoes only existing refrain words near the end. Separate the gathering phrases and pause fully after the potter declaration, with a held tone below. Open the mountain invitation into a gentle shared response, then return to one voice for weaving dreams together. Secular, tender and spacious. Choose the Adi variety and keep whole narrative phrases intact; reserve shared voices for the supplied final refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let each image arrive as a complete thought rather than as a series of short pop hooks. A solo opening can gradually become shared singing when the speaker invites the beloved to climb. The musical design is a new proposal, not a transcription of the referenced tradition.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the Adi variety and keep whole narrative phrases intact; reserve shared voices for the supplied final refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "IGNCA’s Anadi seminar record discusses Ponung as a vehicle of Adi oral literature and describes its religious and performance context. That context supports taking oral narrative seriously, without naming this new secular lyric a Ponung.\n\nLanguage or community context: [IGNCA — Anadi: oral traditions seminar](https://ignca.gov.in/hi/anadi/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Nyishi",
      "slug": "nyishi",
      "title": "I Am Free to Dream — Nyishi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--nyishi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/nyishi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/nyishi.md",
      "source_sha256": "546cc3d1afc6223b5026f2c01caa7c33fce1ca503726066b88f9653dc115758c",
      "lyrics": null,
      "style_prompt": "Tender contemporary Nyishi poetic song, warm close male voice and natural Nyishi diction. Compact speech-led verses, sparse plucked acoustic accompaniment and a gentle low walking pulse. A longer hopeful melodic arc opens the refrain. Separate the repeated gathering phrases and pause fully after the potter declaration, with a soft held note underneath. Gradually warm the verses, open the mountain-and-moon invitation, then relax the pulse for an unhurried final weaving of dreams. Small acoustic ensemble, restrained ornament and clear complete words. Build from the collaborator's Nyishi speech cadence; keep verses compact and give the refrain a longer hopeful arc. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the assurance of being free to dream a direct, grounded delivery. In contrast to the Adi concept’s broad narrative lines, the Nyishi proposal uses compact phrases with an easy forward motion, subject to the final language and a local singer’s judgment.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Build from the collaborator's Nyishi speech cadence; keep verses compact and give the refrain a longer hopeful arc. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Arunachal’s Department of Indigenous Affairs lists Nyishi community performances separately among its cultural resources. This supports a distinct community context for collaboration. The proposed vocal contour and accompaniment are contemporary choices awaiting a Nyishi musician’s input.\n\nLanguage or community context: [Arunachal Department of Indigenous Affairs — Cultural resources](https://www.indigenous.arunachal.gov.in/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Galo",
      "slug": "galo",
      "title": "I Am Free to Dream — Galo adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--galo.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/galo.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/galo.md",
      "source_sha256": "bcc468e833689386df681b5527f763bb6e3cf19224a02466cea9c48c9521270a",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Galo poetic ballad with warm natural male vocals and clear Galo diction. A small recurring vocal motif, quiet plucked accompaniment and sustained low notes, with light percussion entering late. Complete phrases and a restrained melodic range that opens gently at the bridge. Breathe between the gathering phrases and pause fully after the potter declaration, sustaining softly below. Develop the opening motif through the mountain invitation, then return to its simplest form on the final shared-dreams refrain. Tender secular acoustic song. Let reviewed Galo phrasing define a short vocal motif; develop it at the invitation and simplify it again at the close. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let a small musical idea change as the poem moves from wandering to making and sharing. This gives the song coherence without assuming a traditional Galo tune. The repeated gathering action becomes the moment when the motif finds a steady pulse.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let reviewed Galo phrasing define a short vocal motif; develop it at the invitation and simplify it again at the close. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Arunachal’s Department of Indigenous Affairs lists Galo language and music resources. This provides a community-specific starting point for collaborators. The recurring vocal motif proposed here is newly composed; no traditional melody or rhythm is inferred from the listing.\n\nLanguage or community context: [Arunachal Department of Indigenous Affairs — Cultural resources](https://www.indigenous.arunachal.gov.in/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Apatani",
      "slug": "apatani",
      "title": "I Am Free to Dream — Apatani adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--apatani.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/apatani.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/apatani.md",
      "source_sha256": "55ac6137a7257662f2f990b913263e7b93b943dca48b064fc0c34d8b1ed6e299",
      "lyrics": null,
      "style_prompt": "Spacious contemporary Apatani poetic chamber song, warm close male voice and clear natural Apatani diction. Long connected narrative phrases over sparse sustained strings and occasional plucked notes. Flexible timing, minimal ornament and very soft percussion reserved for the bridge. Separate the gathering phrases and pause fully after the potter declaration, with a held tone below. Let the mountain-and-cloud invitation bring the first gentle rhythmic lift, then return to free intimate timing for weaving dreams together. A new secular lyric setting. Let long Apatani sentences remain connected; build melodic warmth over sustained notes before adding a light pulse. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Treat the poem as a sequence of connected images rather than forcing every stanza into an equal number of beats. A patient melody can preserve the full gathering and smile-sowing thoughts. The male lead belongs to this new setting of the author’s voice, not a claim about Daminda performers.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let long Apatani sentences remain connected; build melodic warmth over sustained notes before adding a light pulse. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Apatani research volume discusses song categories and describes Daminda in its Dree festival context. That establishes a particular narrative and ceremonial reference. This new secular chamber lyric uses its own melody and arrangement, with a local singer shaping the long phrases.\n\nLanguage or community context: [Apatani Interdisciplinary Research Society — Apatani: Change and Continuity](https://airs.org.in/wp-content/uploads/2024/09/Apatani-ChangeandContinuity-1.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Tenyidie",
      "slug": "tenyidie",
      "title": "I Am Free to Dream — Tenyidie adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--tenyidie.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/tenyidie.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/tenyidie.md",
      "source_sha256": "2af2c663b59e285fd756f1ddef48bf4110c3c5ca5fcf7d9571f514bdb1783b88",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Tenyidie poetic song, warm clear male lead and natural Tenyidie diction. Nearly unaccompanied opening, short held acoustic chords and very light percussion entering late. Spacious word-led melody and a small unison response on existing final refrain words. Separate the gathering phrases and pause fully after the potter declaration, with a soft chord sustaining beneath. Open the mountain invitation, introduce a quiet second voice, then return to the lead alone for the final dream-weaving phrase. Tender secular vocal focus. Have a fluent Tenyidie singer check meaning in the melody; keep the opening almost alone and responses brief. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Put the language and voice ahead of instrumental colour. The transition from a solitary statement to a soft shared refrain can express the poem’s final intimacy. Tenyidie receives its own reviewed text and melodic contours, separate from the Ao file.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Have a fluent Tenyidie singer check meaning in the melody; keep the opening almost alone and responses brief. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Vibha Joshi’s Angami field account at IGNCA distinguishes general folk singing from songs tied to a particular festival and village. This supports choosing a new secular song rather than borrowing an occasion-specific text.\n\nLanguage or community context: [Vibha Joshi / IGNCA — The Angami: Fire and Water](https://ignca.gov.in/divisionss/janapada-sampada/northeastern-regional-centre/primal-elements-the-oral-tradition/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Tangkhul",
      "slug": "tangkhul",
      "title": "I Am Free to Dream — Tangkhul adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--tangkhul.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/tangkhul.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/tangkhul.md",
      "source_sha256": "b0176dca57791fa7b5c90ac17a555f1c4db05e0a839b6400bb0af47619867cd1",
      "lyrics": null,
      "style_prompt": "Tender contemporary Tangkhul acoustic ballad, warm intimate male voice and natural Tangkhul diction. Clear singable refrain, light fingerpicked strings, short bowed-string replies and a restrained low pulse. Complete conversational verses with small melodic lifts. Breathe between the gathering phrases and pause fully after the potter declaration, sustaining softly below. Make the mountain-and-moon invitation the melodic high point, then soften the final woven-dreams line and leave a short instrumental answer. Understated secular love-and-hope song. Choose the intended Tangkhul variety; keep consonants clear in the refrain and let the invitation widen the tune gently. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the poem a clear, singable refrain and let instrumental replies carry emotion between complete thoughts. The hopeful mountain invitation can become the melodic high point while the potter stanza remains close to speech.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the intended Tangkhul variety; keep consonants clear in the refrain and let the invitation widen the tune gently. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Ukhrul district’s cultural account identifies Tangkhul song and music as part of local heritage. A community lyric archive also records traditional and contemporary Tangkhul song, showing a living rather than exclusively historical practice.\n\nLanguage or community context: [Ukhrul District — Culture and Heritage](https://ukhrul.nic.in/culture-heritage/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Dimasa",
      "slug": "dimasa",
      "title": "I Am Free to Dream — Dimasa adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--dimasa.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/dimasa.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/dimasa.md",
      "source_sha256": "84ecbd5479be987dd671e8f9396b5d2f99e7fd0595d4891a43605a766db4fa9e",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Dimasa poetic song, warm natural male voice and clear Dimasa diction. Brief muri-like wind replies and very soft khram-inspired drum punctuation. Spacious complete phrases, a modest gentle pulse and restrained melodic ornament. Separate the repeated gathering phrases and pause fully after the potter declaration, with one tone sustaining below. Begin with voice and wind, gradually warm the verses, gently move through the mountain-and-moon bridge, then close on the woven-dreams line with a fading instrumental reply. Let complete Dimasa lines determine the pulse; place short wind replies after the words and leave declarations spacious. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let short wind-instrument answers give direction to the wandering opening. Keep the poem’s human voice prominent and introduce rhythmic warmth only when gathering becomes making. A Dimasa collaborator should decide how these colours fit the finished lyric.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Dimasa lines determine the pulse; place short wind replies after the words and leave declarations spacious. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "A Ministry of Culture parliamentary response identifies khram and muri among Dimasa performance instruments. Their documented presence is a starting point for sound selection, not a complete score or proof of one universal Dimasa song form.\n\nMusical reference: [Ministry of Culture — Documentation of regional cultural forms](https://sansad.in/getFile/loksabhaquestions/annex/187/AU1492_16jr9t.pdf?source=pqals).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Rabha",
      "slug": "rabha",
      "title": "I Am Free to Dream — Rabha adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--rabha.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/rabha.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/rabha.md",
      "source_sha256": "672404204d48bab970bceea36ed38fe575da2a9b299b3c98c096581e225bc5f1",
      "lyrics": null,
      "style_prompt": "Tender contemporary Rabha poetic folk song, warm intimate male voice with natural Rabha diction. Light brangshi-like flute replies and a softly played kham-inspired pulse, open verse endings and spacious returning refrains. Separate the gathering phrases and pause fully after the potter declaration, letting a soft tone sustain below. Start close and quiet, open the mountain-and-cloud invitation through melody, then add a small unison response on existing dream-weaving refrain words. Finish gently with the opening flute motif. Use the reviewed Rabha variety with open phrase endings; leave a little space before the refrain and flute return. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the flute a quiet answering role and let the drum mark the movement of gathering without filling every gap. The final dream-weaving refrain can become shared singing, while the personal verses retain a single speaker.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use the reviewed Rabha variety with open phrase endings; leave a little space before the refrain and flute return. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Akashvani’s report on a Rabha instrument workshop in Dudhnoi names kham and brangshi, describing the latter as a flute. It provides a specific living-practice reference for the proposed instrumental colours.\n\nMusical reference: [Akashvani — Rabha kham and brangshi workshop](https://newsonair.gov.in/as/%E0%A6%86%E0%A6%9C%E0%A6%BF%E0%A7%B0%E0%A7%87-%E0%A6%AA%E0%A7%B0%E0%A6%BE-%E0%A6%97%E0%A7%8B%E0%A7%B1%E0%A6%BE%E0%A6%B2%E0%A6%AA%E0%A6%BE%E0%A7%B0%E0%A6%BE-%E0%A6%9C%E0%A6%BF%E0%A6%B2%E0%A6%BE/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Chakma",
      "slug": "chakma",
      "title": "I Am Free to Dream — Chakma adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--chakma.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/chakma.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/chakma.md",
      "source_sha256": "9f90b4f46d86d0062815631f7475c288b71c5393e7210b9d5b0bb20858c32d0c",
      "lyrics": null,
      "style_prompt": "Tender contemporary Chakma narrative love song, warm close male voice and natural Chakma diction. Sparse plucked acoustic strings, short flute answers and a recurring instrumental motif connecting complete thoughts. Flexible early verses, a gentle pulse entering with the refrain. Breathe between the gathering phrases and pause fully after the potter declaration, sustaining softly below. Open the mountain-and-moon bridge through vocal range, then return to a quieter version of the opening motif for weaving dreams together. Intimate secular lyric setting. Let Chakma sentences shape flexible verses; a short returning instrumental figure can connect the thoughts softly. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the poem unfold as an affectionate narrative. A repeated musical figure can connect the star, potter and rain without replacing them with borrowed religious or regional imagery. The final melody should be rebuilt around natural Chakma phrasing.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let Chakma sentences shape flexible verses; a short returning instrumental figure can connect the thoughts softly. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Chakma Autonomous District Council describes the community’s distinct language, script and cultural history. This is a community-context source; the ensemble and melodic design below are contemporary proposals rather than an authenticated traditional song form.\n\nLanguage or community context: [Chakma Autonomous District Council — The Chakma People](https://www.cadc.gov.in/the-chakma-people/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Rajbanshi",
      "slug": "rajbanshi",
      "title": "I Am Free to Dream — Rajbanshi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--rajbanshi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/rajbanshi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/rajbanshi.md",
      "source_sha256": "49f51cd92f3595ebe793732148a79e2fd246975113255ca026874307c24ed711",
      "lyrics": null,
      "style_prompt": "Tender Rajbanshi poetic folk ballad with restrained bhawaiya-inspired warmth, warm natural male voice and clear local diction. Dotara-like plucked figures, airy flute and very light percussion. Spacious sustained phrase endings, small expressive bends and a gently returning refrain. Separate the gathering phrases and pause fully after the potter declaration, with a held tone below. Let the mountain invitation reach outward, then resolve the opening wonder into quiet assurance on weaving dreams together. Hopeful ending and intimate acoustic scale. Use locally reviewed Rajbanshi vowels and restrained bhawaiya-inspired turns, resolving sustained phrases with warmth. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let sustained local phrase endings express wonder at the star and reassurance in the shared dreams. The bhawaiya-informed melodic character should stay affectionate. Develop the vocal turns with a Rajbanshi singer while keeping this poem’s own words and hopeful purpose.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use locally reviewed Rajbanshi vowels and restrained bhawaiya-inspired turns, resolving sustained phrases with warmth. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sahapedia’s discussion of bhawaiya explores love, nature and the emotional life of northern Bengal’s songs. The proposed use of that regional influence is deliberately narrower than treating it as the only Rajbanshi musical practice.\n\nMusical reference: [Sahapedia — The Solitude of Love: Bhawaiya Songs](https://www.sahapedia.org/solitude-love-nature-culture-and-womanhood-bhawaiya-songs-0).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Sikkimese Bhutia",
      "slug": "sikkimese-bhutia",
      "title": "I Am Free to Dream — Sikkimese Bhutia adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--sikkimese-bhutia.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/sikkimese-bhutia.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/sikkimese-bhutia.md",
      "source_sha256": "0f56da48d8bc48671a70ca1457a1f7fd94bed879e5a56cda4db1572fe29362db",
      "lyrics": null,
      "style_prompt": "Intimate secular Sikkimese Bhutia poetic chamber song, warm natural male voice with clear Drenjongke diction. Measured plucked-string accompaniment, short sustained string replies and a quiet low pulse. Patient complete phrases and a gently returning melodic line. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Open the mountain-and-moon bridge through range and resonance, then return to sparse plucks and a tender voice for the final woven-dreams image. Restrained contemporary acoustic arrangement. Use reviewed Drenjongke phrasing; let a patient returning melody leave each sentence clear over sparse plucked notes. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the song a patient returning melodic line and a small acoustic ensemble. Its personal promise and human beloved call for a secular lyrical setting; religious chanting should not be assumed from the community’s cultural background.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use reviewed Drenjongke phrasing; let a patient returning melody leave each sentence clear over sparse plucked notes. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Sikkim’s Tribal Research Institute identifies the community language as Sikkimese Bhutia, Lho-kay or Drenjong-kay. This gives the adaptation a specific linguistic identity distinct from a generic Tibetan-language label.\n\nLanguage or community context: [Tribal Research Institute, Sikkim — Bhutia community](https://trisikkim.org/en/tribes/bhutia-tribe).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Limbu",
      "slug": "limbu",
      "title": "I Am Free to Dream — Limbu adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--limbu.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/limbu.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/limbu.md",
      "source_sha256": "b3fd4b66d4060b1dd59485fe217eb77a01ef7fdc0c6e8759037414ab8be28042",
      "lyrics": null,
      "style_prompt": "Tender contemporary Limbu love lyric with palam-informed vocal dialogue. Warm intimate male lead and natural Limbu diction, mostly unaccompanied opening and a very light sustained acoustic bed entering later. Let exchanged complete phrases carry the rhythm. Separate the gathering phrases and pause fully after the potter declaration, with a soft tone below. A second voice first echoes supplied words at the mountain invitation; both voices meet gently on the existing final dream-weaving line. Minimal percussion, secular intimacy and an unhurried ending. Let complete Limbu phrases carry a palam-inspired vocal dialogue; make the exchanged invitation warm and unhurried. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The invitation to climb together gives an answering voice a clear purpose. Keep the author’s first-person account intact in the verses; let the partner echo existing words rather than inventing a new conversation or changing the poem’s meaning.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Limbu phrases carry a palam-inspired vocal dialogue; make the exchanged invitation warm and unhurried. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Ramesh K. Limbu’s study of Char Maya Palam analyses palam as a Limbu love-song practice and notes its performance among communities including those in India. This is a specific artistic reference, not a claim that the new poem follows a traditional palam structure.\n\nMusical reference: [Ramesh K. Limbu — Majesty of Limbu Love Songs](https://www.researchgate.net/publication/353776492_Majesty_of_Limbu_Love_Songs_The_Case_of_Sambahamphe%27s_Char_Maya_Palam).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Gojri",
      "slug": "gojri",
      "title": "I Am Free to Dream — Gojri adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--gojri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/gojri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/gojri.md",
      "source_sha256": "440505597e0c5d473deafc458186b449da9e92fbdc4ee34d6be76e4f3b450103",
      "lyrics": null,
      "style_prompt": "Intimate Gojri narrative folk ballad, warm lightly textured male voice and natural Gojri diction. Sparse bowed-string replies, soft hand drum and a quiet sustained acoustic foundation. Flexible storytelling phrases with small ornaments at complete thought endings. Breathe between the gathering phrases and pause fully after the potter declaration, with a held tone below. Let the maker’s confidence gently lift the song, open the mountain invitation, and resolve the initial wonder into a settled tender refrain about weaving dreams together. Use flexible Gojri narrative phrasing; keep small turns at thought endings and let the dream-weaving refrain sound assured. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let wandering express curiosity and trust, then let the maker’s confidence and final shared dreams give the refrain its warmth. Keep the actual star, potter, rain and dream-weaving images central to the narrative.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use flexible Gojri narrative phrasing; keep small turns at thought endings and let the dream-weaving refrain sound assured. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The tribal-research report on Gujjar and Bakarwal intangible heritage documents Gojri folk narratives and songs concerned with separation and relationships. The poem here can draw on an intimate narrative approach while retaining its hopeful resolution.\n\nLanguage or community context: [Tribal Research documentation — Gujjar and Bakarwal intangible heritage](https://www.repository.tribal.gov.in/upload/bitstream/123456789/62130/1/Documentation%20of%20Intangible%20Heritage%20of%20Gujjar%20And%20Bakarwal%20Tribes%20of%20Jammu%20And%20Kashmir.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Halbi",
      "slug": "halbi",
      "title": "I Am Free to Dream — Halbi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--halbi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/halbi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/halbi.md",
      "source_sha256": "9bc59324e396b9d33448817bf912bce27310550f9f4fc8a3b5fe77ea10825a1e",
      "lyrics": null,
      "style_prompt": "Tender contemporary Halbi poetic song, warm intimate male voice and natural Halbi diction. Compact returning refrain, soft local hand percussion, sparse plucked notes and brief flute replies. Let longer verse lines unfold freely over a gentle shared pulse. Separate the gathering phrases and pause fully after the potter declaration, sustaining a quiet tone beneath. Open the mountain-and-cloud bridge, then return to the simple opening contour with a soft response on existing final refrain words. Modest secular acoustic setting and affectionate ending. Let reviewed Halbi wording shape a compact refrain; longer verses can unfold freely before a quiet response returns. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "A compact refrain can give the poem continuity while the longer images unfold freely. Choose a modest human scale, letting the final shared voice arise from the weaving image. Halbi deserves its own spoken rhythm rather than the existing Chhattisgarhi or Gondi melody reused by default.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let reviewed Halbi wording shape a compact refrain; longer verses can unfold freely before a quiet response returns. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Chhattisgarh’s Tribal Research and Training Institute study of the Halba community covers language and folk traditions. It gives social context for collaboration; it does not establish a uniform musical arrangement for everyone who speaks Halbi.\n\nLanguage or community context: [Tribal Research and Training Institute — Anthropological Study of Halba Tribe](https://repository.tribal.gov.in/handle/123456789/75165).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Saurashtra",
      "slug": "saurashtra",
      "title": "I Am Free to Dream — Saurashtra adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--saurashtra.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/saurashtra.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/saurashtra.md",
      "source_sha256": "9e1d8087be95cfafb21852a9c5ea5802c03908f135805ca831e8650d6f74e6f0",
      "lyrics": null,
      "style_prompt": "Intimate Saurashtra-language poetic chamber ballad with restrained Carnatic melodic colour. Warm clear male voice, natural Saurashtra diction, delicate veena-like plucks, lyrical violin answers and soft mridangam. Mostly syllabic singing with small graceful phrase-ending turns. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly beneath it. Begin spare, widen the mountain-and-moon bridge, then close with voice and a few plucked notes on weaving dreams together. A new secular lyric, unhurried and affectionate. Keep Saurashtra-language words mostly syllabic; use small Carnatic-informed turns after complete phrases. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Keep the language’s own phrasing within a small melodic chamber setting. A few plucked and bowed replies can connect the craft imagery with the poem’s growing warmth. Saurashtra here names the language, not a requirement to use the Carnatic raga of the same name.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Saurashtra-language words mostly syllabic; use small Carnatic-informed turns after complete phrases. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Journal of the Music Academy, Madras documents kirtanas composed in the Saurashtra language. This provides evidence of a language-specific composed-song tradition; it does not require this new secular poem to become a devotional composition.\n\nLanguage or community context: [Music Academy, Madras — Journal, Volume 51, 1980](https://musicacademymadras.in/catalogue/files/journals/Vol.51_1980.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Warli",
      "slug": "warli",
      "title": "I Am Free to Dream — Warli adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--warli.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/warli.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/warli.md",
      "source_sha256": "37f215227fe54361f63d820ada40ebab23856acc2fb97e9456ee39993fa25d63",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Warli poetic folk song, warm natural male voice and clear Warli diction. Brief tarpa-like wind responses between stanzas, light hand percussion and spacious complete vocal phrases. A gentle recurring pulse, with wind colour kept clear of long sung lines. Separate the gathering phrases and pause fully after the potter declaration, with a soft sustained tone below. Open the mountain-and-moon melody, add a quiet unison echo of existing final refrain words, then let the wind phrase return once. Tender secular studio arrangement. Let a Warli singer establish local cadence; keep proposed wind replies between stanzas and the vocal lines uncluttered. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let a recurring wind phrase suggest joining and returning, while the voice describes making and sharing. The lyric must establish Warli identity in words and delivery; imagery borrowed from paintings would not supply a language adaptation.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let a Warli singer establish local cadence; keep proposed wind replies between stanzas and the vocal lines uncluttered. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Ministry of Tribal Affairs’ Tarpa collection documents Warli instrument making and performance. This supports the proposed wind-instrument reference. The quiet stanza replies below are a contemporary arrangement choice, to develop with a Warli musician.\n\nMusical reference: [Ministry of Tribal Affairs — Tarpa Instrument, Warli Tribe](https://tribex.tribal.gov.in/repository/subcategory/21).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Car Nicobarese",
      "slug": "car-nicobarese",
      "title": "I Am Free to Dream — Car Nicobarese adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--car-nicobarese.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/car-nicobarese.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/car-nicobarese.md",
      "source_sha256": "dc75714b2292c948421fc3327c387d9f4ffca4c6f7d4e291ad6a5fa2672b0914",
      "lyrics": null,
      "style_prompt": "Tender contemporary Car Nicobarese acoustic love song, warm intimate male lead and natural Car Nicobarese diction. Gently picked acoustic guitar, a very light pulse and spacious word-led melody. A small vocal response joins only the existing final refrain. Separate the repeated gathering phrases and pause fully after the potter declaration, with a held chord below. Begin solo, gently open the mountain-and-cloud invitation, then let two voices share the dream-weaving refrain before one voice closes. Intimate secular arrangement, no added lyrics. Use Car Nicobarese-specific phrasing; let a gentle modern acoustic melody open into a small shared final refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Keep the poem’s specific star, potter, mountains and clouds intact. A Car Nicobarese adapter should find natural expressions for them rather than automatically replacing them with island scenery. A close solo gradually joined by another voice can make the shared-dreams ending feel personal.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use Car Nicobarese-specific phrasing; let a gentle modern acoustic melody open into a small shared final refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Nicobar district cultural account describes both folklore performance and modern romantic songs using guitars and other instruments. This allows a contemporary acoustic proposal without treating island music as a single timeless style.\n\nLanguage or community context: [Nicobar district — Culture and Festivals](https://db.and.nic.in/nicobars/Profile/CultFest.php).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Jeseri / Dweep Bhasha",
      "slug": "jeseri",
      "title": "I Am Free to Dream — Jeseri / Dweep Bhasha adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--jeseri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/jeseri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/jeseri.md",
      "source_sha256": "ef1dce91454b8939dfe360e31de4a8e011401c8511e895a31e235bc63d4e0fd9",
      "lyrics": null,
      "style_prompt": "Tender contemporary Jeseri poetic song with an Oppana-informed lead-and-response idea. Warm intimate male lead, natural island diction, short answering voices, light handclaps and softly sustained acoustic chords. Spacious conversational verses and a gently returning refrain. Separate the gathering phrases and pause fully after the potter declaration, letting a chord sustain. Begin sparsely, warm gradually, bring responses on supplied words into the mountain-and-moon invitation, then finish with a quiet shared-dream refrain. Secular, affectionate and unhurried. Choose the intended Jeseri island variety; let brief vocal answers follow whole lines in a gentle conversational exchange. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the poem begin as a personal confidence and gradually become something shared. An answering voice has a clear role when the speaker invites another person to climb and dream together. Develop the actual melody around the chosen island’s Jeseri speech, rather than reusing the Malayalam setting.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the intended Jeseri island variety; let brief vocal answers follow whole lines in a gentle conversational exchange. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Lakshadweep’s official cultural account describes Oppana at marriages as lead singing followed by a group of women. That specific vocal relationship is the reference here; this new secular poem is not presented as a traditional Oppana or a wedding text.\n\nLanguage or community context: [Lakshadweep Administration — Culture and Heritage](https://lakshadweep.gov.in/about-lakshadweep/culture-heritage/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Mahl",
      "slug": "mahl",
      "title": "I Am Free to Dream — Mahl adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--mahl.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/mahl.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/mahl.md",
      "source_sha256": "4f6864b45b2c102b8f0829b5eac424ec661518ccb513491bb1cc133394dbb6c5",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Mahl ballad rooted in natural Minicoy vocal phrasing. Warm clear male lead, sparse plucked acoustic strings, low sustained tones and softly spaced hand-drum strokes. Patient recurring refrain, long complete vocal phrases and restrained melodic ornament. Separate the gathering phrases and pause fully after the potter declaration while a tone sustains. Begin sparsely, gradually connect the pulse through the verses, open the mountain-and-moon invitation, then taper into a tender woven-dreams ending. Small acoustic ensemble and secular lyrical warmth. Let natural Minicoy Mahl phrasing lead a patient melody; place soft drum replies between complete lines before adding a pulse. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Make the return of the refrain feel dependable, like the star that guides the speaker. A patient rhythmic cycle can connect the images while long vocal phrases remain free above it. Let a Mahl collaborator choose its local rhythmic inflection; preserve the mountains and potter rather than replacing them with island scenery.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let natural Minicoy Mahl phrasing lead a patient melody; place soft drum replies between complete lines before adding a pulse. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Lakshadweep’s official Minicoy page identifies Mahl as the spoken language and Lava as a festive dance tradition. This establishes a distinct Minicoy context. The quiet ballad below is a contemporary proposal, not a claim to reproduce Lava music or its performance structure.\n\nLanguage or community context: [Lakshadweep Administration — Minicoy](https://lakshadweep.gov.in/tourist-place/minicoy/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kurmali",
      "slug": "kurmali",
      "title": "I Am Free to Dream — Kurmali adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kurmali.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kurmali.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kurmali.md",
      "source_sha256": "ed2efc12265ff29a2a5e8b44377c7151e42daafada60cb76f6e25789cb7a1e60",
      "lyrics": null,
      "style_prompt": "Tender Kurmali folk lyric with a restrained Jhumur-inspired circling pulse. Warm direct male lead, natural Kurmali speech cadence, soft madol, occasional flute replies and light harmonium sustain. A small returning melodic figure connects the verses to a singable refrain. Breathe between the gathering phrases and pause fully after the potter declaration, with a held tone below. Start sparsely, warm through the verses, lift the mountain-and-moon invitation, then add a small unison response on existing final refrain words. Gentle motion and an intimate woven-dreams ending. Keep Kurmali speech cadence clear over a restrained Jhumur-inspired pulse; return to one small, singable melodic figure. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Use the repeated gathering idea to establish a small circling melody that can later become the refrain. The maker’s confidence gives this interpretation a gentle forward motion. A Kurmali singer should shape the pulse and phrase lengths so it has its own spoken character within the wider Jhumur family.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Kurmali speech cadence clear over a restrained Jhumur-inspired pulse; return to one small, singable melodic figure. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Daricha Foundation documents Jhumur across western Bengal, Jharkhand and parts of Odisha, including Kurmali in its linguistic setting. It describes varied rhythmic cycles and combinations of drums, harmonium and flute. The influence is regional and shared, not exclusive to one language.\n\nMusical reference: [Daricha Foundation — Jhumur](https://daricha.org/sub_genre.aspx?ID=45&Name=Jhumur).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Surjapuri",
      "slug": "surjapuri",
      "title": "I Am Free to Dream — Surjapuri adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--surjapuri.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/surjapuri.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/surjapuri.md",
      "source_sha256": "130d88fa7165e8d2f8508f13c44e0da3a2d4b8212dab15868c729d56acd533da",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Surjapuri poetic ballad, warm conversational male voice and natural local diction. Flexible verse timing, open phrase endings, faint harmonium, sparse plucked notes and short flute answers after complete thoughts. A soft hand drum enters beneath the returning refrain. Separate the gathering phrases and pause fully after the potter declaration with a quiet sustained chord. Begin sparsely, gradually warm the verses, open the mountain invitation into longer notes, then settle tenderly on weaving dreams together. Understated secular lyric setting. Use the intended Surjapuri variety; give long verse lines flexible timing and a soft melodic landing at the refrain. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let the poem sound like an affectionate conversation, with each image completed before the accompaniment answers. A freer verse and a more settled refrain distinguish this proposal from the Rajbanshi bhawaiya-informed setting. The final melody must follow reviewed Surjapuri words rather than an assumed neighbouring-language tune.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use the intended Surjapuri variety; give long verse lines flexible timing and a soft melodic landing at the refrain. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Khagesh Singha’s study places Surjapuri folk culture in the specific multilingual setting of Islampur in Uttar Dinajpur. That regional study provides context, not a prescribed musical form. The conversational arrangement below is a proposal to develop with a Surjapuri singer.\n\nLanguage or community context: [Khagesh Singha — Folk Culture of the Surjapuri People in Islampur](https://www.jhsr.in/published_volumes/folk-culture-of-the-surjapuri-people-in-islampur-subdivision-of-uttar-dinajpur-of-west-bengalan-assessment/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Nimadi",
      "slug": "nimadi",
      "title": "I Am Free to Dream — Nimadi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--nimadi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/nimadi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/nimadi.md",
      "source_sha256": "c1d9205a8b1a40090d04353d7a938b7fbb21084d531ee6c8246b12fff7586cc2",
      "lyrics": null,
      "style_prompt": "Tender contemporary Nimadi storytelling folk song, warm lightly textured male lead and clear natural Nimadi diction. Speech-led verses, sparse plucked strings, a low acoustic sustain and quiet hand percussion. A simple returning refrain gathers the story. Separate the gathering phrases and pause fully after the potter declaration, letting a tone sustain below. Begin close and sparse, build warmth through making, lift the mountain-and-moon invitation, then let a second voice echo supplied final refrain words. End with the lead alone, affectionate and quietly hopeful. Keep Nimadi storytelling close to speech; let a simple refrain invite one answering voice on the supplied final words. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the potter stanza the plain strength of someone describing work they know. A recurring refrain can gather the different images into a quietly confident story. The proposed shared ending draws on the possibility of group singing while leaving the author’s first-person voice in charge of the verses.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Keep Nimadi storytelling close to speech; let a simple refrain invite one answering voice on the supplied final words. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The NIMAD music project documents its collaboration with Nimadi singers performing folk songs and Kabir bhajans, including group singing. That is evidence of particular living performers and repertoire. This poem keeps its secular meaning; the arrangement does not turn it into a Kabir text or devotional composition.\n\nLanguage or community context: [NIMAD — Meet the Folk Musicians](https://www.nimad.in/meet-the-folks).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Mandarin Chinese",
      "slug": "mandarin",
      "title": "我有做梦的自由",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--mandarin.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/mandarin.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/mandarin.md",
      "source_sha256": "9489a8266bc7bb29b19c02a8220828d62b34d7564d46f627dc6fe7b349f052ed",
      "lyrics": "[Intro]\n我有做梦的自由，\n也有半途迷路的自由。\n北极星会为我指路。\n\n[Verse 1]\n一点一点……一点一点……\n我把世界收拢，紧紧抱在怀里，\n盼着把它拼合，\n盼着让它美丽。\n\n[Verse 2]\n我是一名陶匠。\n\n我学会了塑形，\n学会了着色，\n学会在你的脸上，\n种下一抹微笑。\n\n[Chorus]\n我有做梦的自由，\n也有半途迷路的自由。\n北极星会为我指路。\n\n[Bridge]\n来吧，我们去爬山，\n来吧，我们去看月亮。\n和云朵肩并着肩，\n学会化作雨，轻轻落下。\n\n[Final Chorus]\n我有做梦的自由，\n也有这样的自由——\n把你的梦，\n织进我的梦里。\n\n[Soft Outro]\n把你的梦……\n织进我的梦里。",
      "style_prompt": "Contemporary Mandarin Chinese poetic acoustic ballad. Warm youthful male vocal, intimate soulful delivery, clear Mandarin diction and natural phrase grouping. Quiet joy, affection, wonder and freedom to dream. Sparse guqin plucks, soft piano, rounded bass and restrained sustained strings; almost no percussion. Slow, spacious 4/4 with breathing room at line endings. A graceful, memorable melody with restrained ornamentation. Begin with voice, piano and guqin; gradually add warmth without accelerating. Leave a breath between the repeated gathering phrases and a fuller pause after the potter declaration, with soft resonance beneath the breaths. Let the refrain open gently and end in peaceful, hopeful contentment. No dramatic crescendo or mournful delivery.",
      "musical_reasoning": {
        "Why this musical direction": "A spacious Mandarin poetic ballad can give the North Star, mountains and moon room to unfold. Sparse guqin plucks and soft piano create a reflective setting, while the voice carries the poem with quiet happiness and clear words.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male lead with clear Mandarin pronunciation and complete, naturally grouped phrases. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The guqin is the specific cultural reference here. The Metropolitan Museum describes its association with Chinese literati and outdoor settings, including moonlit scenes. This proposal is a contemporary Mandarin song with guqin colour; its melody and accompaniment should be shaped around the actual lyric.\n\n[The Metropolitan Museum of Art — Guqin](https://www.metmuseum.org/art/collection/search/506800)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Spanish",
      "slug": "spanish",
      "title": "Soy libre de soñar",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--spanish.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/spanish.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/spanish.md",
      "source_sha256": "24b5dc51952d7d2438da9b08d040648ef7751a7c7a2ac935515b65fe04e8ce9c",
      "lyrics": "[Intro]\nSoy libre de soñar,\nde perderme a mitad del camino.\nLa Estrella Polar me guiará.\n\n[Verse 1]\nRecojo... recojo...\nel mundo y lo abrazo,\ncon la esperanza de unirlo,\nde hacerlo más hermoso.\n\n[Verse 2]\nSoy alfarero.\n\nAprendí a dar forma al barro,\na llenarlo de color,\na sembrar una sonrisa\nen tu rostro.\n\n[Chorus]\nSoy libre de soñar,\nde perderme a mitad del camino.\nLa Estrella Polar me guiará.\n\n[Bridge]\nVen, subamos las montañas.\nVen, miremos la luna.\nHombro a hombro con las nubes,\naprendamos el secreto\nde caer como lluvia.\n\n[Final Chorus]\nSoy libre de soñar,\nlibre de entretejer\ntus sueños con los míos.\n\n[Soft Outro]\nLibre de entretejer...\ntus sueños con los míos.",
      "style_prompt": "Tender Latin American acoustic bolero-inspired ballad in Spanish, drawing on Cuban and Mexican bolero. Warm youthful male vocal, intimate soulful delivery, clear natural Latin American Spanish. Quiet joy, affection, wonder and freedom to dream. Nylon-string guitar, gentle requinto replies, rounded acoustic bass and very soft hand percussion. Slow, relaxed 4/4 with spacious phrasing and an easy, memorable melody. Start with voice and guitar; gradually add warmth and a little close refrain harmony without increasing pace. Leave a breath between the repeated gathering phrases and a fuller pause after the potter declaration, with soft instruments sustaining beneath. End in peaceful, hopeful contentment. No driving dance beat, theatrical belting or mournful delivery.",
      "musical_reasoning": {
        "Why this musical direction": "A gentle bolero-inspired setting gives the Spanish lyric tenderness, an easy melodic flow and space for its longer sentences. The emotion is affectionate and hopeful: gathering the world, offering a smile and sharing dreams.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male lead with clear Latin American Spanish and natural word stress. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The reference is the Cuban and Mexican bolero tradition, recognized by UNESCO for its relationship with emotion and poetry. This is one Latin American setting for the Spanish text. The small ensemble and quiet, hopeful mood are choices for this adaptation.\n\n[UNESCO — Bolero: identity, emotion and poetry turned into song](https://ich.unesco.org/en/RL/bolero-identity-emotion-and-poetry-turned-into-song-01990)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Arabic — Modern Standard Arabic",
      "slug": "arabic",
      "title": "لي أن أحلم",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--arabic.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/arabic.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/arabic.md",
      "source_sha256": "6fd390c02102578dafa0b8fb966e02941d2debabe6f604d84f54019583a4c0ff",
      "lyrics": "[Intro]\nلي أن أحلم،\nولي أن أضلّ في منتصف الطريق،\nونجم الشمال يدلّني على الدرب.\n\n[Verse 1]\nأجمع... أجمع...\nهذا العالم وأضمّه إلى صدري،\nعلى أمل أن ألمّ شتاته،\nعلى أمل أن أزيده جمالاً.\n\n[Verse 2]\nأنا خزّاف.\n\nتعلّمت أن أشكّل الطين،\nوأن ألوّنه،\nوأن أزرع ابتسامة\nعلى وجهك.\n\n[Chorus]\nلي أن أحلم،\nولي أن أضلّ في منتصف الطريق،\nونجم الشمال يدلّني على الدرب.\n\n[Bridge]\nهيّا نصعد الجبال،\nهيّا نتأمّل القمر،\nكتفاً إلى كتف مع الغيوم،\nلنتعلّم سرّ الهطول مطراً.\n\n[Final Chorus]\nلي أن أحلم،\nولي أن أنسج\nأحلامك في أحلامي.\n\n[Soft Outro]\nلي أن أنسج...\nأحلامك في أحلامي.",
      "style_prompt": "Intimate oud-led Arabic acoustic chamber song in clear Modern Standard Arabic. Warm youthful male voice, soulful expressive delivery, natural word stress and restrained Arabic melodic ornamentation. Quiet joy, affection, wonder and freedom to dream. Soft oud, airy ney replies, restrained violin sustains and a very light riqq pulse. Poetry-led modal melody; spacious opening settling into a gentle, unhurried measured flow. Keep the lead voice central, with delicate instrumental responses. Gradually add warmth without accelerating. Leave a breath between the repeated gathering phrases and a fuller pause after the potter declaration, with soft instruments sustaining underneath. End in peaceful, hopeful contentment. No driving beat, dense vocal stacks, dramatic crescendo or mournful delivery.",
      "musical_reasoning": {
        "Why this musical direction": "An intimate oud-led chamber setting lets the Arabic poem lead the melody. The oud, airy ney and a few sustained violin notes can make the pauses expressive while keeping the song warm, affectionate and quietly hopeful.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male lead singing clear Modern Standard Arabic. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The instrumental reference is the small Arabic ensemble tradition. The Metropolitan Museum’s presentation of the Alwan ensemble describes the importance of poetry, vocal melody and maqam, alongside instruments such as oud, nay and riqq. A collaborating musician can choose a suitable maqam and rhythmic cycle after working with the lyric; this prompt leaves those decisions open.\n\n[The Metropolitan Museum of Art — Alwan Arab Music Ensemble programme](https://www.metmuseum.org/ko/press-releases/concerts-november-2011-2011-news)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "French",
      "slug": "french",
      "title": "Libre de rêver",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--french.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/french.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/french.md",
      "source_sha256": "c36291fd2a94f408f158631ccebac207acfbd4f4613d09e3ee1c5cdc565eeb4f",
      "lyrics": "[Intro]\nJe suis libre de rêver,\nde me perdre en chemin.\nL’étoile Polaire me guidera.\n\n[Verse 1]\nJe recueille... je recueille...\nle monde et le serre contre moi,\ndans l’espoir de le rassembler,\ndans l’espoir de l’embellir.\n\n[Verse 2]\nJe suis potier.\n\nJ’ai appris à donner forme,\nà donner des couleurs,\nà semer un sourire\nsur ton visage.\n\n[Chorus]\nJe suis libre de rêver,\nde me perdre en chemin.\nL’étoile Polaire me guidera.\n\n[Bridge]\nViens, gravissons les montagnes.\nViens, regardons la lune.\nÉpaule contre épaule avec les nuages,\napprenons le secret\nde tomber en pluie.\n\n[Final Chorus]\nJe suis libre de rêver,\nlibre de tisser\ntes rêves dans les miens.\n\n[Soft Outro]\nLibre de tisser...\ntes rêves dans les miens.",
      "style_prompt": "Intimate French chanson with a warm youthful male voice, soulful conversational delivery and clear natural French diction. Quiet joy, affection, wonder and freedom to dream. Nylon-string acoustic guitar, soft piano, gentle bass and occasional sustained cello; minimal brushed percussion. Slow, flexible 4/4, spacious phrase endings and a graceful, memorable melody shaped by the French words. Begin sparsely with voice and guitar; gradually add warmth while keeping the solo voice central and the pace unhurried. Leave a breath between the repeated gathering phrases and a fuller pause after the potter declaration, with soft instruments sustaining underneath. End in peaceful, hopeful contentment. No theatrical belting, driving beat, dramatic crescendo or mournful delivery.",
      "musical_reasoning": {
        "Why this musical direction": "An intimate chanson setting puts the French poem’s images and spoken flow at the centre. Small changes in melody, piano colour and vocal expression can carry the emotional build while preserving the calm, quietly joyful mood.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male lead with conversational French phrasing. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The reference is the poetic French chanson tradition. The Bibliothèque nationale de France’s account of Georges Brassens connects songwriting, poetry and intimate performance. This is a chosen setting within the wider Francophone musical world; the prompt uses no named performer’s vocal style.\n\n[Bibliothèque nationale de France — Brassens dans Gallica](https://www.bnf.fr/fr/actualites/hommage-georges-brassens-brassens-dans-gallica)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Portuguese — Brazilian setting",
      "slug": "portuguese",
      "title": "Sou livre para sonhar",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--portuguese.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/portuguese.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/portuguese.md",
      "source_sha256": "0e0eeaae8c448d2a9f424b4f32d811bc25946f4cb2dacf24362153c7e16c61d6",
      "lyrics": "[Intro]\nSou livre para sonhar,\npara me perder no meio do caminho.\nA Estrela Polar vai me guiar.\n\n[Verse 1]\nRecolho... recolho...\no mundo e o abraço,\nna esperança de juntar suas partes,\nna esperança de deixá-lo mais belo.\n\n[Verse 2]\nSou oleiro.\n\nAprendi a dar forma ao barro,\na cobri-lo de cor,\na semear um sorriso\nno seu rosto.\n\n[Chorus]\nSou livre para sonhar,\npara me perder no meio do caminho.\nA Estrela Polar vai me guiar.\n\n[Bridge]\nVem, vamos subir montanhas.\nVem, vamos olhar a lua.\nOmbro a ombro com as nuvens,\nvamos aprender o segredo\nde cair como chuva.\n\n[Final Chorus]\nSou livre para sonhar,\nlivre para entrelaçar\nseus sonhos nos meus.\n\n[Soft Outro]\nLivre para entrelaçar...\nseus sonhos nos meus.",
      "style_prompt": "Gentle Brazilian bossa nova-inspired acoustic ballad in Brazilian Portuguese. Warm youthful male voice, intimate soulful delivery, natural Brazilian diction. Quiet joy, affection, wonder and freedom to dream. Nylon-string guitar with relaxed bossa syncopation, rounded acoustic bass, very light brushes and sparse soft piano. Unhurried 4/4 feel, warm harmonies, spacious vocal phrasing and a graceful, memorable melody. Start with voice and guitar; gradually add warmth without increasing pace or rhythmic intensity. Leave a breath between the repeated gathering phrases and a fuller pause after the potter declaration, with soft instruments sustaining underneath. End in peaceful, hopeful contentment. No busy percussion, fast samba drive, dramatic crescendo or mournful delivery.",
      "musical_reasoning": {
        "Why this musical direction": "A gentle bossa nova-inspired setting fits the Brazilian Portuguese wording and gives the song a light, quietly happy movement. Soft syncopation can make it flow without sacrificing the spacious, soulful delivery.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male lead with intimate Brazilian Portuguese diction. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "This setting draws specifically on Brazilian bossa nova. Berklee’s anniversary programme highlights the Brazilian tradition and the guitar and piano musicians associated with it. The lyric already uses Brazilian Portuguese; collaborators may later propose other Lusophone settings as separate versions.\n\n[Berklee College of Music — Bossa Nova’s 50th Anniversary](https://college.berklee.edu/news/172/berklee-celebrates-bossa-nova-s-50th-anniversary)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Sora / Saora",
      "slug": "sora",
      "title": "I Am Free to Dream — Sora / Saora adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--sora.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/sora.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/sora.md",
      "source_sha256": "948dc4832b3d2f0ef0e536a279641cac9cf796e15d27e609451a9daeb8724abe",
      "lyrics": null,
      "style_prompt": "Tender contemporary Sora poetic song with a work-song-informed shared pulse. Warm intimate male lead, natural Sora diction, sparse low drum and short plucked-string notes. Complete conversational phrases, a small returning melodic figure and an answering voice entering late. Separate the gathering phrases and pause fully after the potter declaration, with a soft tone sustaining below. Begin almost alone, warm through gathering and making, open the mountain-and-moon invitation, then share the supplied final dream-weaving words. Gentle secular intimacy. Choose the Sora variety with the adapter; let complete phrases and a late answer develop a gentle shared-work motif. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "The act of gathering and the potter’s making can carry a modest repeated pulse. Begin with one person speaking through melody, then let a second voice make the final promise shared. The musical rhythm must be rebuilt around the selected Sora variety rather than inherited from the Odia version.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the Sora variety with the adapter; let complete phrases and a late answer develop a gentle shared-work motif. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Smithsonian Folkways’ Music of the Saoras includes documented work songs, love songs and a historical ballad. Those catalogue descriptions suggest several possible narrative approaches. This new song uses a restrained shared-work idea; the archive recordings have not been acoustically analysed for this audit.\n\nMusical reference: [Smithsonian Folkways — Music of the Saoras](https://folkways.si.edu/music-of-the-saoras/india-world/album/smithsonian).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kuvi",
      "slug": "kuvi",
      "title": "I Am Free to Dream — Kuvi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kuvi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kuvi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kuvi.md",
      "source_sha256": "7c4a0d4cd89921c9f924c2e28d302a1ff70d7f307dd66078aa31070fe5a629e0",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Kuvi poetic ballad, warm natural male voice and clear Kuvi diction. Free spacious verses, sparse acoustic plucks, a soft held tone and brief flute answers. A gentle pulse enters with the returning refrain; longer phrases retain their natural breathing. Separate the gathering phrases and pause fully after the potter declaration, sustaining softly beneath. Begin sparsely, warm through the verses, make the mountain-and-moon invitation the melodic high point, then settle into a tender woven-dreams ending. Restrained secular acoustic setting. Build a Kuvi-specific melody from reviewed speech; let free verses lead into a soft returning invitation. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Make the invitation the melodic centre: longer verse thoughts can wander freely, then the refrain offers a calm return. Keep the mountain image because it belongs to the original poem. A Kuvi adapter should determine local phrase lengths before the melody is fixed; the existing Kui text is not a substitute.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Build a Kuvi-specific melody from reviewed speech; let free verses lead into a soft returning invitation. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "CIIL’s Kuvi collection and Kuvi-Oriya-English Dictionary provide a specific language reference for adaptation. They do not prescribe a musical style. The arrangement here is a contemporary proposal awaiting a Kuvi-speaking musical collaborator, rather than an authenticated traditional form.\n\nLanguage or community context: [Central Institute of Indian Languages — Kuvi-Oriya-English Dictionary](https://sanchika.ciil.org/items/44e96322-9774-4a4e-a456-687fd171b273).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Koya",
      "slug": "koya",
      "title": "I Am Free to Dream — Koya adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--koya.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/koya.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/koya.md",
      "source_sha256": "8cd8e126388a4c2643e89f9dd1b3a19b4a87f046898e4eed7ef6ec33dd093bd6",
      "lyrics": null,
      "style_prompt": "Tender contemporary Koya folk lyric, warm intimate male lead with natural Koya diction. Soft drum pattern, sparse plucked strings and quiet percussion replies between complete lines. Spacious solo verses and a small unison response reserved for supplied final refrain words. Breathe between the gathering phrases and pause fully after the potter declaration while a tone sustains. Start sparsely, add rhythmic warmth through making, gently move into the mountain-and-moon invitation, then fade into the dream-weaving promise. Modest secular acoustic scale. Choose the Koya variety and let its wording guide the tune; keep drum replies light and the final response brief. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let making and gathering introduce small rhythmic gestures, while the North Star and potter remain clearly spoken thoughts. A restrained response at the final refrain can express companionship. Choose the intended Koya region before deciding the finished groove or any named local instrument.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the Koya variety and let its wording guide the tune; keep drum replies light and the final response brief. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Odisha’s tribal-research publication The Koya documents music, dance and drumming in specific community occasions. Its Malkangiri focus is one regional context, not a description of every Koya-speaking community. The song below is a new secular setting rather than a festival performance.\n\nMusical reference: [SCSTRTI — Koya handbook](https://repository.tribal.gov.in/bitstream/123456789/73799/1/SCST_2015_handbook_0047.pdf).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Korku",
      "slug": "korku",
      "title": "I Am Free to Dream — Korku adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--korku.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/korku.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/korku.md",
      "source_sha256": "5605ba1696903a92a88ad25b3388c85b65ab51091641b874067de35933b7f2e9",
      "lyrics": null,
      "style_prompt": "Gentle contemporary Korku love lyric with a light dance-song-informed refrain. Warm direct male voice, clear Korku diction, soft hand drum and a short repeating plucked motif. Conversational verses, open phrase endings and a quietly memorable refrain. Separate the gathering phrases and pause fully after the potter declaration, sustaining one soft note below. Start sparsely, build a gentle unhurried pulse through the verses, lift the mountain-and-moon invitation, then soften into a late answering voice on supplied woven-dreams words. Hopeful and intimate. Work with a Korku singer on a locally appropriate refrain; leave verse endings open and any dance-song influence gentle. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let an easy returning refrain give the poem gentle movement. Keep the verses conversational and the feeling affectionate: the source ends in freedom and companionship. The reviewed Korku lyric should determine where a refrain can repeat without breaking a thought.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Work with a Korku singer on a locally appropriate refrain; leave verse endings open and any dance-song influence gentle. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Stephen Fuchs’s Thirty Korku Dancing Songs presents material collected among Potharia Korku speakers in the late 1970s, including everyday relationships and lovers’ longing. This is a specific historical corpus; it does not establish one musical pattern for all Korku speakers today.\n\nMusical reference: [Stephen Fuchs — Thirty Korku Dancing Songs](https://dl.ndl.go.jp/view/prepareDownload?contentNo=1&itemId=info%3Andljp%2Fpid%2F10209638).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Kharia",
      "slug": "kharia",
      "title": "I Am Free to Dream — Kharia adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--kharia.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/kharia.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/kharia.md",
      "source_sha256": "95bd69a4145b8c6a7bf55e7497e6b171722d8e9abc294b224a45504278cf06a2",
      "lyrics": null,
      "style_prompt": "Tender contemporary Kharia poetic song, warm intimate male voice and natural Kharia diction. Complete sentence-shaped melodic phrases, lightly sustained acoustic strings, sparse plucked notes and a soft low pulse entering late. Brief flute answers close stanzas without crowding the words. Separate the gathering phrases and pause fully after the potter declaration with a tone held beneath. Begin almost alone, warm the verses, open the mountain-and-moon bridge, then settle into a quiet complete refrain and tender woven-dreams ending. Let complete Kharia sentences shape the melody; keep the pulse out of long lines until their breathing is settled. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Build the melodic return around a complete sentence rather than a clipped hook. The poem’s reassurance should come from hearing its thought clearly each time. Give the repeated gathering gesture two distinct breaths, then let the potter declaration become a calm point of arrival.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Kharia sentences shape the melody; keep the pulse out of long lines until their breathing is settled. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Tokyo University of Foreign Studies’ collection catalogues A Kharia Song Book as Kharia folk-song texts. This supplies a documented lyric reference, not evidence for a particular ensemble or melody. The proposed arrangement below needs development with a Kharia singer.\n\nLanguage or community context: [Tokyo University of Foreign Studies — A Kharia Song Book](https://tufs.repo.nii.ac.jp/records/26641).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Pnar",
      "slug": "pnar",
      "title": "I Am Free to Dream — Pnar adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--pnar.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/pnar.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/pnar.md",
      "source_sha256": "668f01ee06287768e12578695f5feceee6c3312aea31e1bac16736a4fb18c76d",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Pnar folk lyric, warm natural male voice and clear Pnar diction. A returning duitara-like plucked figure, very soft drum punctuation and a quiet sustained acoustic bed entering later. Short instrumental replies between complete thoughts, spacious verses and a gently lifting refrain. Separate the gathering phrases and pause fully after the potter declaration with a held tone below. Begin sparsely, warm through the verses, open the mountain-and-cloud invitation, then bring back the plucked figure for a tender dream-weaving ending. Use Pnar-specific phrasing around a returning duitara figure; let the instrument answer each complete thought softly. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let a short duitara figure connect the North Star, mountains and clouds already present in the poem. The melody can open outward with the invitation, then return to the intimacy of the potter’s hands and the shared dreams. Preserve a specifically reviewed Pnar lyric instead of reusing Khasi wording.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use Pnar-specific phrasing around a returning duitara figure; let the instrument answer each complete thought softly. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "East Jaintia Hills district documents Pnar songs that praise landscapes and lists instruments including duitara and ksing/nakra. These are specific local references for the proposed plucked and percussive colours; the new song does not claim to reproduce a festival composition.\n\nMusical reference: [East Jaintia Hills District — Culture and Festivals](https://eastjaintiahills.gov.in/culture-festivals/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Sumi",
      "slug": "sumi",
      "title": "I Am Free to Dream — Sumi adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--sumi.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/sumi.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/sumi.md",
      "source_sha256": "c4a88a1ffca0c01808a549b761cb5ffa33e229df559c9364c32a31379ee2125c",
      "lyrics": null,
      "style_prompt": "Tender contemporary Sumi vocal ballad, warm intimate male lead and clear natural Sumi diction. Sparse acoustic guitar, softly sustained tones and minimal percussion. Complete lyrical phrases, a solitary opening refrain and voices entering gradually. Separate the gathering phrases and pause fully after the potter declaration, with a quiet chord sustaining. Warm the verses gently, bring an answering voice into the mountain invitation, then a small unison group on supplied final dream-weaving words. End with the lead alone, affectionate and unhurried. Use reviewed Sumi pronunciation for a solitary opening refrain; introduce a small unison answer with the final shared dreams. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Use the move from individual speech to a shared voice as the emotional development. Let the first refrain remain solitary so the final weaving of dreams feels like a real change. Keep the gathering and potter lines close and unadorned; local syllables should shape the tune.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use reviewed Sumi pronunciation for a solitary opening refrain; introduce a small unison answer with the final shared dreams. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "Nagaland’s Department of Information and Public Relations describes folk songs and ballads within the Sumi Tuluni celebration. That documents a specific communal context. The contemporary vocal ensemble proposed here is not presented as a Tuluni performance or as a fixed traditional harmony system.\n\nLanguage or community context: [DIPR Nagaland — Sumi](https://ipr.nagaland.gov.in/sumi).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Lotha",
      "slug": "lotha",
      "title": "I Am Free to Dream — Lotha adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--lotha.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/lotha.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/lotha.md",
      "source_sha256": "519d224a94d1d40e52f5f90a706c2f4e141c98e79e2ee7a33a946036a592cdb3",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Lotha poetic song with a restrained work-song-informed rhythmic exchange. Warm male lead, natural Lotha diction, quiet alternating hand-percussion strokes and widely spaced acoustic chords. Whole vocal phrases float above the pulse. Separate the gathering phrases and pause fully after the potter declaration while a soft chord sustains. Begin sparsely, gradually warm the gathering and making verses, open the mountain-and-moon invitation, then let a second voice join supplied final dream-weaving words. Gentle motion and a tender ending. Let complete Lotha lines float over a quiet alternating pulse; a late answering voice can suggest shared making. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Gathering and making give the pulse a narrative purpose. Let short instrumental replies respond to each completed line, with a human voice answering only later. A gentle exchange can hold the poem together while preserving the private tenderness of its final image.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Let complete Lotha lines float over a quiet alternating pulse; a late answering voice can suggest shared making. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "DIPR Nagaland’s account of the third day of Hornbill Festival describes Tssoktsu Khen as a Lotha rice-pounding folk song performed when people work together. That specific reference suggests a shared rhythmic idea, not permission to reproduce its text, tune or work context.\n\nMusical reference: [DIPR Nagaland — Hornbill Festival Day 3 cultural performances](https://ipr.nagaland.gov.in/DAY3-OF-HORNBILL-FESTIVAL%3A-A-VIBRANT-TAPESTRY-OF-CULTURE%2C-DANCE-AND-MUSIC).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Konyak",
      "slug": "konyak",
      "title": "I Am Free to Dream — Konyak adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--konyak.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/konyak.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/konyak.md",
      "source_sha256": "6443798f53524f0c9839943453dc0b8a55cd6d87130c35701ac63f5d7235d6ac",
      "lyrics": null,
      "style_prompt": "Tender contemporary Konyak narrative ballad, warm clear male lead and natural diction in the selected Konyak variety. Compact returning vocal motif, sparse plucked strings, low acoustic sustain and very light percussion entering later. Spacious complete verse lines. Separate the gathering phrases and pause fully after the potter declaration with a tone sustaining beneath. Begin almost alone, warm the verses, widen the mountain-and-moon invitation, then return softly with one answering voice on supplied dream-weaving words. Intimate secular storytelling. Choose the Konyak variety first; develop a compact vocal motif from local phrase lengths and keep responses quiet. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Let a compact melody carry the freedom-to-dream statement each time it returns. The verses can remain closer to narration, giving the star and potter images clarity. A small final vocal response can make companionship audible without importing unrelated heroic or ceremonial material.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Choose the Konyak variety first; develop a compact vocal motif from local phrase lengths and keep responses quiet. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "DIPR Nagaland’s Hornbill Festival 2024 report records a Konyak troupe presenting Sang Pu Hem, a folk song celebrating the festival anniversary. This documents one public song performance. It does not establish a universal Konyak song form, instrument set or rhythmic pattern.\n\nLanguage or community context: [DIPR Nagaland — Cultural Extravaganza, Hornbill Festival 2024](https://ipr.nagaland.gov.in/index.php/node/15494).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Balti",
      "slug": "balti",
      "title": "I Am Free to Dream — Balti adaptation brief",
      "lyric_status": "Adaptation pending",
      "review_status": "needs-native-review",
      "has_target_lyrics": false,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--balti.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/balti.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/balti.md",
      "source_sha256": "c8f53062136afb9e90cc957a5c274676461d5e06aabb6d8dd99486fdae8fe799",
      "lyrics": null,
      "style_prompt": "Intimate contemporary Balti poetic chamber song, warm natural male voice and clear Balti diction. Sparse plucked strings, sustained bowed-string replies and a quiet hand-drum pulse entering late. Patient returning melody, spacious complete thoughts and restrained ornaments. Separate the gathering phrases and pause fully after the potter declaration, with a soft tone sustaining below. Begin sparsely, warm the verses, open the mountain-and-moon invitation through range, then remove the pulse for a tender woven-dreams ending. Secular acoustic intimacy. Use the intended Balti variety and patient phrase endings; let bowed replies connect complete thoughts in a modern setting. Warm youthful delivery; calm, soulful joy, affection and wonder. Keep the pace unhurried throughout; finish with peaceful hope. No mournful delivery, driving beat or dramatic crescendo.",
      "musical_reasoning": {
        "Why this musical direction": "Give the North Star and mountain invitation room to resonate. An instrumental answer after each completed thought can carry wonder and reassurance. Keep the poem intimate, with Balti phrasing determined by a collaborator from the intended audience.\n\nThe shared feeling is calm, soulful joy: affection, wonder and the freedom to dream. Local vocal phrasing and melody lead the arrangement. Rhythm and instrumentation can vary with the chosen setting while the pace remains unhurried.",
        "Arrangement decisions and review": "**Status — proposal awaiting adaptation.** These notes explain a possible setting, not a completed song or a verified traditional form. Final phrasing, melody and pulse must follow the reviewed words in the chosen local variety.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use the intended Balti variety and patient phrase endings; let bowed replies connect complete thoughts in a modern setting. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The Ladakh administration’s account of a Kargil cultural programme documents a Balti video-album release and performances by Balti groups alongside other communities. This supports a living contemporary song context. The quiet chamber arrangement proposed here is not a transcription of a traditional Balti form.\n\nLanguage or community context: [Ladakh Administration — Kargil cultural programme and Balti album release](https://ladakh.gov.in/azadi-ka-amrit-mahotsav-iconic-week-celebrations-conclude-in-kargil-cec-feroz-khan-e-launches-2nd-edition-of-kargil-nama-inaugurates-book-fair-cum-membership-registration-desk-at-district-librar/).\n\nThe reference supports the context described above. The new melody, tempo and ensemble still need musician review."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Swahili / Kiswahili",
      "slug": "swahili",
      "title": "Niko Huru Kuota Ndoto",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--swahili.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/swahili.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/swahili.md",
      "source_sha256": "883ce0b63f61302858495f35575fff74446afa3e4b408a720c5109ae4592dc67",
      "lyrics": "[Intro]\nNiko huru kuota ndoto,\nhuru kupotea njiani.\nNyota ya Kaskazini itanionyesha njia.\n\n[Verse 1]\nNaukusanya... naukusanya...\nnaukumbatia ulimwengu,\nnikitumaini kuuunganisha,\nnikitumaini kuupamba.\n\n[Verse 2]\nMimi ni mfinyanzi.\n\nNimejifunza kuufinyanga udongo,\nkuupamba kwa rangi,\nna kupanda tabasamu\nusoni pako.\n\n[Chorus]\nNiko huru kuota ndoto,\nhuru kupotea njiani.\nNyota ya Kaskazini itanionyesha njia.\n\n[Bridge]\nNjoo, tupande milima.\nNjoo, tuutazame mwezi.\nBega kwa bega na mawingu,\ntujifunze siri\nya kudondoka kama mvua.\n\n[Final Chorus]\nNiko huru kuota ndoto,\nhuru kuzisuka ndoto zako\nndani ya ndoto zangu.\n\n[Soft Outro]\nNdoto zako...\nndani ya ndoto zangu.",
      "style_prompt": "Zanzibar taarab-inspired intimate acoustic song in Kiswahili. Warm youthful male vocal, soulful expressive delivery, clear natural Swahili diction and complete phrases. Quiet joy, affection, wonder and freedom to dream. Small ensemble of soft oud, lyrical violin replies and delicate hand percussion. Calm, measured pulse with spacious poetry-led melody and restrained ornamentation. Begin with voice and oud; gently add violin and percussion without increasing pace. Keep the lead central and let short instrumental responses warm the refrain. Leave a breath between the repeated gathering phrases and a fuller pause after the potter declaration, with soft instruments sustaining underneath. End in peaceful, hopeful contentment. No driving dance beat, large choir, dramatic crescendo or mournful delivery.",
      "musical_reasoning": {
        "Why this musical direction": "A small taarab-inspired ensemble gives the Swahili lyric a distinctive coastal setting, with room for its images and long phrases. Gentle oud and violin responses can carry affection, wonder and an inviting sense of shared dreams.",
        "Arrangement decisions and review": "**Status — proposed setting for the lyric draft.** The reasoning on this page is a creative direction to test with a fluent singer and musician, not a verified description of a recording.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male lead with clear Kiswahili and natural word stress. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The reference is Zanzibar taarab. Hilda Kiel’s fieldwork describes its poetic song tradition and smaller ensembles using oud, violin and percussion. This adaptation takes that small-ensemble inspiration and a calm, hopeful mood; a Swahili musician can refine the melodic and rhythmic language.\n\n[Hilda Kiel — Travel on a Song: The Roots of Zanzibar Taarab](https://journal.ru.ac.za/index.php/africanmusic/article/download/1805/898)"
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": []
    },
    {
      "language": "Filipino / Tagalog",
      "slug": "filipino",
      "title": "Malaya Akong Mangarap",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--filipino.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/filipino.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/filipino.md",
      "source_sha256": "96d48264191bd436af769bdf7ac599b015d5444c525ba7118ddde03aabc68c96",
      "lyrics": "[Intro]\nMalaya akong mangarap\nMalaya akong mangarap\n\n[Verse 1]\nMaaari ring maligaw\nSa gitna ng paglalakbay\nAng Tala sa Hilaga\nAng magtuturo ng daan\n\n[Verse 2]\nTinitipon…\nTinitipon…\nYakap kong mahigpit ang mundo\nSa pag-asang pagdugtungin\nSa pag-asang pagandahin\n\n[Chorus]\nMalaya akong mangarap\nKahit maligaw sa daan\nMay talang aakay sa akin\nMalaya akong mangarap\n\n[Verse 3]\nAko'y magpapalayok.\n\nNatutuhan kong humubog\nAt magbigay ng kulay\nNatutuhan kong magpunla\nNg ngiti sa iyong mukha\n\n[Bridge]\nHalika, akyatin natin ang bundok\nHalika, pagmasdan natin ang buwan\nMakisabay sa mga ulap\nMatuto tayong bumuhos\nGaya ng ulan\n\n[Final Chorus]\nMalaya akong mangarap\nMalaya kong maihahabi\nAng pangarap mo sa pangarap ko\nMalaya akong mangarap\n\n[Outro]\nAng pangarap mo…\nSa pangarap ko…\nDahan-dahan kong ihahabi",
      "style_prompt": "",
      "musical_reasoning": {
        "Why this musical direction": "The first-person promise and the invitation to weave dreams together suit an intimate delivery, with room for natural Tagalog phrase endings. Quiet joy is the intended feeling. The shared recording is the author's chosen starting point; its specific genre, instruments and vocal arrangement have not yet been documented through listening review. We are leaving those details open rather than assigning a tradition after the fact.\n\nA Filipino / Tagalog singer can help identify the recording's actual phrasing and musical references, then explain which local approach best supports this lyric. The language name alone is not enough to choose one style for the Philippines.",
        "Arrangement decisions and review": "**Vocal choice — solo baseline for new arrangements.** Keep the existing author-selected recording as the reference. Its actual vocal format needs listening review; no duet has been selected here as the default.\n\n**What remains open.** Document what is heard before attributing a style or tradition. A fluent singer should check word stress, complete phrases, the potter pause and the calm emotional flow, then identify any local musical influence with a reference. A second voice can be proposed with its own reason and reviewed separately."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "filipino-audio-01",
          "title": "Malaya Akong Mangarap",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/filipino/malaya-akong-mangarap-filipino.mp3",
          "duration_seconds": 202.82,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--filipino-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "filipino-video-01",
          "title": "Malaya Akong Mangarap",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/cbfc959923147c87672eca5789964e97412838e4/media/filipino/malaya-akong-mangarap-filipino.mp4",
          "duration_seconds": null,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--filipino-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    },
    {
      "language": "Italian",
      "slug": "italian",
      "title": "Sono libero di sognare",
      "lyric_status": "Lyric draft",
      "review_status": "needs-native-review",
      "has_target_lyrics": true,
      "page": "https://poemwithoutborders.org/poems--i-am-free-to-dream--languages--italian.html",
      "markdown": "https://poemwithoutborders.org/kb/poems/i-am-free-to-dream/languages/italian.md",
      "source_url": "https://github.com/ahimanikya/free-to-dream/blob/7322cd9d3e5c308512606844f660abbf84f6d871/kb/poems/i-am-free-to-dream/languages/italian.md",
      "source_sha256": "1a6c506476a9a2e498d52a902f44ab512054f75a6f7e1e3d76d8f2de57a61c78",
      "lyrics": "[Intro]\nSono libero di sognare,\ndi perdermi a metà del cammino.\nLa Stella Polare mi guiderà.\n\n[Verse 1]\nRaccolgo… raccolgo…\nil mondo, e lo stringo a me,\ncon la speranza di unirlo,\ndi renderlo più bello.\n\n[Verse 2]\nSono un vasaio.\n\nHo imparato a dare forma,\na dare colore,\na seminare un sorriso\nsul tuo viso.\n\n[Chorus]\nSono libero di sognare,\ndi perdermi a metà del cammino.\nLa Stella Polare mi guiderà.\nSono libero di sognare.\n\n[Bridge]\nVieni, saliamo sulle montagne.\nVieni, guardiamo la luna.\nFianco a fianco con le nuvole,\nimpariamo il segreto\ndi cadere come pioggia.\n\n[Final Chorus]\nSono libero di sognare,\nlibero di intrecciare\ni tuoi sogni ai miei.\nSono libero di sognare.\n\n[Soft Outro]\nI tuoi sogni…\nintrecciati ai miei.",
      "style_prompt": "Intimate Italian acoustic cantautore ballad, warm youthful male storytelling vocal, clear Italian diction and natural word stress. Calm, soulful quiet joy, affection, wonder and freedom to dream. Gentle unhurried 6/8 sway, softly fingerpicked acoustic guitar, sparse lyrical piano, rounded acoustic bass, delicate brushes and restrained sustained strings. Spacious conversational verses and a graceful, memorable refrain with subtle close harmonies. Begin with voice and guitar; gradually add warmth without increasing pace. Leave a breath between “Raccolgo… raccolgo…” and a fuller pause after “Sono un vasaio.” Let soft instruments sustain beneath these breaths. End in peaceful, hopeful contentment. No driving beat, mournful delivery, operatic projection, dramatic crescendo or excessive vocal ornamentation.",
      "musical_reasoning": {
        "Why this musical direction": "Let the Italian lyric sound like a personal conversation that finds a melody. The long vowels and flowing sentences can carry a gentle, lyrical refrain while the potter declaration remains plain and intimate. Quiet joy, affection and wonder guide the arrangement.",
        "Arrangement decisions and review": "**Status — musical intention with a listening reference.** A recording is available above. These notes describe the intended choices; a prompt does not establish what was actually sung or played. Keep the author-selected take as the reference and identify any proposed change separately.\n\n**Vocal choice — solo by default.** One lead keeps the poem’s first-person voice and long thoughts connected. Any second voice, shared refrain or harmony suggested in the arrangement notes is an optional variation to discuss with the author before generation; it is not required by the language.\n\n**What to validate.** Use a warm youthful male voice in clear Italian, with conversational phrasing and natural word stress. Check whether the cited context supports the chosen influence and whether the musical choices serve the poem. Distinguish a documented practice from our new arrangement. Suggest corrections with the local variety, a source or performance example, and a timestamp when reviewing audio.",
        "Cultural grounding": "The chosen reference is Italian canzone d’autore. Treccani describes the cantautore as a singer who also authors the songs they perform. For this adaptation, that connection between writing and singing inspires an intimate storytelling approach. It describes the musical reference; the proposed AI-generated performer is not the poem’s author.\n\n[Treccani — Cantautore](https://www.treccani.it/vocabolario/cantautore/)\n\nThe guitar, piano and restrained ensemble below are creative choices for this poem. They do not claim to represent every Italian region or musical tradition."
      },
      "intended_settings": {
        "model": "v6",
        "mode": "Advanced",
        "weirdness": 30,
        "style_influence": 65,
        "max_mode": true,
        "personalize": false,
        "variety": "Normal",
        "duration": "Auto",
        "vocal_gender": "Unselected; voice directed in the language prompt",
        "audio_influence": null,
        "exclude_styles": "EDM, heavy dance beats, aggressive percussion, theatrical belting, excessive vocal runs, vocoder, chopped vocals"
      },
      "applied_overrides": [],
      "proposed_language_override": null,
      "arrangement_overrides": {},
      "license_scope": "https://poemwithoutborders.org/guides--rights.html",
      "recordings": [
        {
          "id": "italian-audio-01",
          "title": "Sono libero di sognare",
          "kind": "audio",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/02087b0129efa3cbd43971476d18c280a09a9fee/media/italian/i-am-free-to-dream-italian.mp3",
          "duration_seconds": 152.76,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--italian-audio-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        },
        {
          "id": "italian-video-01",
          "title": "Sono libero di sognare",
          "kind": "video",
          "public_url": "https://media.githubusercontent.com/media/ahimanikya/free-to-dream/02087b0129efa3cbd43971476d18c280a09a9fee/media/italian/i-am-free-to-dream-italian.mp4",
          "duration_seconds": 152.74,
          "variation": null,
          "credits": {
            "poem": "Ahimanikya Satapathy",
            "music_and_vocals": "Generated using Suno AI",
            "visuals": "Shared visual source created using Melodicpal"
          },
          "review_status": "needs-review",
          "rights_status": "release-details-to-confirm",
          "page": "https://poemwithoutborders.org/recording--italian-video-01.html",
          "reuse_terms": "https://poemwithoutborders.org/guides--rights.html",
          "content_license_applies": false
        }
      ]
    }
  ]
}