holyspiritofindia

Nature and its natural elements is filled with countless wonders. From its rivers and lakes, its oceans and clouds, its forests of trees and plants, of flowers and fruits, of nuts and seeks, Nature provides us with the sight of beauty, with the freshness of its air and water, with its many foods and medicines. The use of Ayahuasca can provide profound revelations to improve one’s life, but it must be taken with great care, and under experienced supervision. In this film composition, one can see some of the visions one might have, while undergoing strong physical sensations, mental portals and spiritual inspirations. Personally, from my own experience and the wisdom I have gained through trials and errors, I have come to the conclusion that the best compass for life is : No Drugs No Smoking No Alcohol No Prescriptives When I was younger, my favorite illicit plant was marijuana, since it has many good benefits, both physically and mentally. I used to smoke the plant with friends and either listen to music and dance, or play music on the drums, guitars and piano. But no more, since in my advanced age, I like to keep a clear mind on a constant basis. To each, his or her own decision about what to do with their lives. What is virtuous is good. But what is vicious is bad. Better go for the virtuous activities that this wonderful and precious life can offer us. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere’Ito’arai - ( Henrik ! ) Film composer & amateur singer & orator holyspiritofindia@protonmail.com The Holy Spirit of Nature ! The Holy Spirit of Wisdom ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humor ! The Holy Spirit of America !

This film composition displays thousands of scenes from hit movies by talented directors, cinematographers and actors. It is the first act of a new collection I am composing under the banner of the ' Cosmic Cinema Club ' May you enjoy the show and live a life filled with beauty, dynamism and courage. And with plenty of singing and dancing, music and romance. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & orator holyspiritofindia@protonmail.com The Holy Spirit of Life ! The Holy Spirit of Wisdom ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

Dancing is a wonderful art that is good for the soul. Dancing is good for the heart. Dancing, especially romantic dancing, is an expression of love, harmony and beauty that brings couples closer together and expresses joy and warmth. Here is my film of today, on romantic and exciting dancing. It begins with a song I sing, that I may have entitled, amusingly so: I came into this world dancing straight out of my mother's sacred womb ...! /=/ Dance has traditionally been an important part of religion and culture in India. Everybody in India loves to dance. In fact, to many, India is the country of dancing! According to Indian legend, the gods invented dance. Dancing is one of the most revered Hindu arts because it incorporates melody, drama, form and line. Gestures, body positions and head movements are emphasized in Indian dance. The use of the hands, fingers and eyes are of primary importance. There are almost a thousand specific hand movements and signs (“mudras”.) Often bells are worn around the ankles. /=/ The four “abhinovas” are essential to understanding Indian dance. They are : the technique of movement, which includes facial expressions, head movements and body movements; 2) all types of vocal and instrumental sounds linked with dance; 3) involuntary actions such as perspiration, trembling and blushing; and 4) make-up, costumes and sets. Some dancers are capable of changing their skin color voluntarily by consciously pumping blood into the capillaries on the face. /=/ Gestures play an important role in India dance. Some dances feature more 600 gestures, each with a specific meanings. They often have a codified meaning that are known to the audiences that watch the dances. It haS been suggested that the codified developed as way convey a single message by dance troupes traveling through areas where different languages are spoken or they developed out mnemonic devises used by storytellers to convey and remember their stories. Colors are also rich in symbolism and meaning. Heavy eye make up is often worn to highlight the expressive of the eyes. /=/ Importance of Dance in India : Nataraja (a depiction of Shiva) is the divine, cosmic dancer and a classic image in Indian art. He is often depicted in old bronze statues with four arms and one legged raised and the other crushing Apasmara, a dwarf-demon associated with confusion and ignorance. One hand assumes the gesture of protection, one points to a raised foot, one hold the drum that keeps the beat of the rhythm of creation. The forth holds the fire of dissolution. /=/ The ancient treatise on sculpture, the “Silpashastra”, offers a telling story about dance and art. In the old days a devout king from Vajra asked a the sage Markandeya to teach him the art of sculpture. The sage handed the king a lump of metal and asked him, “Do you know how to paint? The king said he didn’t but he was ready to learn. The sage then said, “Do you know how to dance?” The king said he didn’t but he had a basic knowledge of instrumental music. The sage then told him to learn more about music and use that to understand dance better and with that knowledge advance up the scale to painting and the sculpture. It is no wonder also that dancers and gods associated with dancing are the subjects of some of India’s greatest works, the Chola sculptures. /=/ Dancers have traditionally been members of certain entertainer castes. They ranked low in the caste system and purity scale and supported themselves by working in traveling troupes or working for specific temples. It was not unusual for female temple dancers and troupe dancers to work as prostitutes. When the girls started leaving the temples to please local landlords a law was passed prohibiting the practice of dedicating girls to temples. To this day no mother in India wants her daughter to be dancer, because of its association with promiscuity. /=/ Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ The man who is regarded as being the first dancer to introduce the West to the “real” Indian dance tradition was Ram Gopal (1917–2003). In fact, his creations were only based on real Indian dance techniques, such as kathakali, bharatanatyam, and kathak, while the dance numbers themselves were mostly his own creations. Nonetheless, Ram Gopal was a remarkable dancer. He toured the world with his own company, for which he created short spectacular pieces. While they were based on Indian techniques he stripped them, at the same time, of their original costuming and make-up and gave them the fashionable “orientalistic” outlook, so popular in the West and by that time in India too. /=/ History of Indian Dance : Dances performed in India are said to have their origins in dances and rituals of the period of the Vedas, which date back to around 1000 B.C. The earliest Indian religious texts describe creation in terms of dance. In Hindu mythology, a dance by Shiva creates and destroys the universe. Caves in the Vindhya Hill region of Mardya Pradesh are filled with images made by hunter-gatherers of dancers in a rich array of positions, many of them sexual. /=/ Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “The earliest known permanent settlements in India appeared approximately 9 000 years ago. They gradually developed into one of the earliest pre-urban civilizations in the world, the so-called Indus Valley Civilization, which flourished in approx. 2700–1800 B.C. Its centers were Harappa and Mohenjodaro in the Indus River Valley, in present-day Pakistan. The Indus Culture had its own writing system, which has not yet been deciphered. Two small sculptures give some information about dance of the period. /=/ The oldest hard evidence of Indian dance are bas-relief depictions of dance found in Barhut, Sanhi and Amaravati, which date from the 2nd century B.C. to A.D. third century, and “Natyasastra” of Bharata, a treatise on drama and dance written between the A.D. 2nd and 4th century and sometimes referred to as the fifth Veda. Dance in India is guided by the elaborate codes in the Natya Shastra and by mythology, legend and classical literature. /=/ Sculptures from all over India and from many different historical periods, many before A.D. 1000, illustrates the importance of dance in Indian cultural history and the richness of its traditions. Many classical forms of dancers are based on ancient sculptures. Dance is believed to have evolved from religious rituals and shamanist practices. Even today religious rituals often have drama and dance as elements in them. They are often associated with a particular Hindu god or a story or episode from the Ramayana and Mahabharata and are done n conjunction with music and art. Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ The man who is regarded as being the first dancer to introduce the West to the “real” Indian dance tradition was Ram Gopal (1917–2003). In fact, his creations were only based on real Indian dance techniques, such as kathakali, bharatanatyam, and kathak, while the dance numbers themselves were mostly his own creations. Nonetheless, Ram Gopal was a remarkable dancer. He toured the world with his own company, for which he created short spectacular pieces. While they were based on Indian techniques he stripped them, at the same time, of their original costuming and make-up and gave them the fashionable “orientalistic” outlook, so popular in the West and by that time in India too. /=/ Dance, Sculpture and Art in India : Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ Besides the early literature, the visual arts, such as early sculptures, reliefs, and later paintings, also give extremely valuable information about theatre and dance. In India the whole phenomenon of the interrelation of dance and the visual arts, and indeed of other art forms as well, is a most crucial one. The question is not merely of borrowing and exchanging materials and ideas from one art form to another. In Indian thought, dance, and all art, is basically a religious sacrifice (yajna). Art is also regarded as a form of yoga and a discipline (sadhana). Through the creation of a work of art the artist/craftsman strives to evoke a state of pure joy or bliss (ananda). /=/ “The human body was seen as a vehicle of worship and thus performances become acts of invoking the divine. By 200 AD at the latest, as stated above, the complicated techniques of dance-like acting, as well as the rasa system, were codified in the Natyashastra. It is significant that in the Indian tradition it is dance, a temporal and corporal form of art, which is regarded as the ascendant art form. It set the measure for other forms of art, since they adopted the theory rasa from the tradition of the Natyashastra. /=/ “Dance has been so predominant in its position that some textual sources stress that sculptors and painters cannot succeed in their work without a basic knowledge of it. The Natyashastra sets the physical and dramatic tools for evoking the rasa or the emotional state appropriate to worship. On the other hand, the Silpashastras, manuals of iconography and sculpture, were intended to help in producing the corresponding figurative representations. /=/ “Consequently, the principles of movement, however complicated they may be, are the same for both a dancer and a sculptor. The final goal of this intricate science of movements, measurements, poses, gestures etc. is to create the rasa, the actual object of presentation and, finally, to reach even further in evoking the state in which transcendental bliss can be experienced. /=/ Shiva, Religion and Dancing Gods in India : Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “All the three Indian religions, Hinduism, Buddhism and Jainism, share the same theoretical basis for dance and the visual arts. And so most of the margi or “classical” dance techniques, in spite of their local stylistic variations, bear strong similarities in all of these three traditions. Consequently, their imagery shares common aesthetic norms and iconographic features. As early as from the Vedic period (1600–550 B.C.) onwards, Indian literature and mythological narrative created characters which were depicted in the visual arts as dancing or in easily recognizable dance-derived poses, reflecting the prevalent dance techniques. /=/ “During the classical Gupta age from the fourth to the sixth century AD the repertoire of the dance images expanded further, while the Puranas or mythological stories of the early centuries AD provided more dance-related imagery. Along with dancing human beings and semi-gods of older periods appeared dancing gods, the first of them being the dancing Shiva. /=/ “The sculpture-type called Shiva Nataraja can be regarded as one of the trademarks of Indian art. The iconography of the Shiva Nataraja, literally meaning the King of Dance, developed over the centuries and reached its crystallized form in Tamil Nadu during the Chola period in approximately the 10th–12th centuries AD. It was the very period when the art of bronze casting reached its apogee. The Chola sculptors were able to reproduce, in metal, the exact proportions laid down by the Silpashastras and even the tiniest details of the gestures and movements dictated by the Natyashastra. /=/ “The Shiva Nataraja represents Shiva as the destroyer/creator as described by devotional poetry dedicated to him. In the Hindu cyclical view of time Shiva’s role is to destroy one era in order to create the next one, and this is what Shiva Nataraja statues portray. When he executes his cosmic tandava dance of destruction and creation he is surrounded by an arch of glory fringed by flames. /=/ “The flame that he is holding in his upper left hand hints at the aspect of destruction, while the drum, symbol of the pulse of life, which Shiva holds in his upper right hand, refers to the aspect of creation. The lower left hand points to his lifted foot, while the lower right hand is shown in pataka mudra. Multi-handedness, a feature typical of many nrttamurtis, is a practical way to manifest the deity’s different aspects simultaneously. It also enables the sculptor to capture several frozen moments of a movement sequence in a static sculpture. /=/ “The main characteristic of Shiva’s dance in the Chola iconography is the uplifted leg. His right leg is firmly planted on a dwarfish creature, which personifies one of the six enemies of enlightenment. The sculpture is full of symbolism. Shiva’s braided hair is often decorated with his attributes: a laughing skull, a crescent moon and a cobra, and also often Ganga, the personification of the Ganges. The rasa, which Shiva’s dance always evokes, is raudra, the Furious. /=/ Dance Images in Indian Temples : Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ Many of the early Buddhist reliefs with their dance-related images and the early dance images of Hindu cave temples are still in their original architectural contexts. The earliest surviving free-standing stone temples were built in the Gupta period. Gradually their plain outer walls were decorated with narrative panels as well as dancing divinities. This was the beginning of a development that was to lead to the flourishing of dance images in Hindu temple architecture during the so-called “medieval” period, approximately from the 7th to the 16th century. /=/ “The most abundant representations of dance images can be seen in the Hindu temples of South India, in the Bhubaneshwar temples in East India, and in the temples of Khajuraho in Central India. The West Indian Jain temples of Mt. Abu are also famous for their dance imagery. The styles of sculpture differ and local schools can easily be recognized, but the fundamental portrayal of the movement is mostly rooted in the tradition of the Natyashastra. /=/ “Series of dance reliefs directly related to the Natyashastra can be found in some medieval temple complexes in South India. The most famous of them are those carved on the towering 9th century gateways of the Shiva temple in Chidambaram. They include ninety-three of the 108 karanas described in the Natyashastra. These small relief panels, together with other similar series and contemporaneous murals depicting dancers, constitute an important source material when one is trying to reconstruct the karana movement cadences of the Natyashastra. What makes these Chidambaram karana reliefs so particular is that they are accompanied by inscriptions of Sanskrit verses from the Natyashastra. Thus they form a kind of an illustrated dance manual carved in stone. /=/ “Since the karanas have practically disappeared from the present Indian dance styles it is understandable that the academic study focusing on these reliefs has already had a long tradition. By means of these reliefs and their inscriptions scholars and dancers have tried to reconstruct the ancient karanas since the early 20th century. Each panel shows one dancer in one frozen moment of a movement pattern. This led the early scholars to believe that karanas were actually static poses, an assumption which later research has renounced. The debate focusing on these panels has been very lively and has led to several attempts to reconstruct the karanas.” /=/ Balasarasawati and the Guru Institution : Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ Before the founding of dance and theatre institutions and schools in the early 20th century, the classical music, acting and dance traditions were taught by masters or gurus. The so-called guru-sishya system of education indicates a close personal contact between a master and his pupil. During daily contact the master guides and initiates his student into the secrets of the art according to his pupil’s abilities and spiritual development. /=/ “When revivalists around India, such as Rukmini Devi, Rabindranth Tagore and others, started the revival of the traditional performing arts it was the old guru families and lineages they turned to. The level of dance performances may have declined in some parts of India, but the skills and knowledge of these traditions were still preserved by the guru families. Thus the revivalists invited prominent gurus to teach new generations of artists at their modern institutes. This is, in fact, still often the case in modern art universities as well. Even today most of the serious actors and dancers working in the traditional fields of the performing arts privately continue their studies, throughout their careers, with their chosen gurus.” /=/ “Some dancers themselves were also bearers of age-old traditions. One of them was Balasaraswati (1918–84), a remarkable exponent of bharatanatyam in the seventh generation. She belonged to a family of dancers based in Tanjavur and made her debut in 1925. She was invited to work at Rukmini Devi’s Kalakshetra institution and she thus deeply influenced the revival of bharatanatyam. She was renowned particularly because of her deep and nuanced abhinaya mime acting and she has been regarded as “the greatest single repository of the performing arts of southern India”. /=/ Mujra Dancing and Ladies Clubs : Ladies bars are a unique Bombay institution, with women singing and dancing for wealthy men in what has been described as a “Bollywood fantasy in a South Asia palace.” Women dance, often after saying a prayer, and men often even throw cash from their seats. It is forbidden for men to solicit the women but it is regarded as acceptable for them to try to get a woman’s phone number and meet her outside the club. /=/ Somini Sengpata wrote in the New York Times: “ A dozen women in shimmering chiffon skirts swayed their hips, lip-synched and gazed a themselves in the mirrored walls...In one corner of the bar, a man kept his attention and his money focused on a languid young woman in yellow. She moved to the music, threw back her hair, admired herself in the mirror and responded to his invitations to move closer, each time fattening the stack of bills in her hand.” In 2005, conservative Bombay officials with connection the Hindu nationalist group Shin Shiva threatened to close the bars down on the grounds that they promoted prostitution, corrupted young people and threatened family life. /=/ Prostitution in South Asia has traditionally been associated with mujra dancers found at carefully hidden bars advertised by word of mouth. Mujra, or courtesan clubs, have traditionally been associated with men’s nights our during the Eid festival that marks the end of Ramadan. The custom is most alive in Lahore, which has a reputation of being more open and liberal than other places in Pakistan. /=/ Mujra is derived from Kathhak classical dancing. Kathhak dancers enjoyed high status in the Mughal era and often entertained members of the court. There were so many of them at that time they formed their owned caste. The remnants of this caste, many of them illegitimate children born to mujra, are linked with an alternative community of artists and poets that hang around the Diamond Market in Lahore. /=/ Mujra dancers do not perform a strip tease act or anything like; they simply dance, often shaking their bottoms and breasts and wearing bells around their ankles. Maureen Paton wrote in the Times of London: women “wearing leather ankle straps hung with bells below their traditional costumes of tunic and leggings, will simply mime to film music … As a signal to show his appreciation, a man will toss a £5 or £10 note in the direction of his chosen girl. And after the performance is over, sexual services are bought and sold in an adjoining room. Nothing needs to be spelled out: it is understood that sex, if the client wishes, is part of the equation.” /=/ Whittaker Khan, a British-Pakistani woman who wrote a play about mujra dancers, told the Times of London, “They never take off their clothes during the performance because the culture is so repressed. But dancing is so associated now in Pakistan with prostitution that it is difficult to practice it purely as an art form; and men from respectable families don’t marry such girls.” /=/ Types of Dance : Both classical and folk forms of dances are performed in India. Dances forms vary, especially between the north and south. Indian dances are divided into three types: 1) “nrtta” (rhythmic dancing without a story); 2) “nrtya” (dramatic dancing with a narrative or descriptive theme); 3) “natya” (acting). /=/ All forms have traditionally been structured around the nine “rasa” (emotions): “hasaya” (happiness); 2) “shoka” (sorrow); 3) “krodha” (anger); 4) “karuna” (compassion); 5) “bhibatsa” (disgust); 6) “adhbhuta” (wonder); 7) “bhaya” (fear); 8) “viram” (courage); and 9) “shanta” (serenity). /=/ The are four main schools of Indian dance : “Bharata natyam” (a southern dance form which features women dancers doing a wide variety of dance movements accompanied by the rhythm of her stamping feet); 2) “Kathakali” (a southern dance from Kerala area featuring men doing martial arts like movements to the rhythm of drums); 3) “Kathak” (a northern dance done by women and men to the rhythm of feet slapping on the ground); 4) “Manipuri” (a dance from the Assam area of the northeast India with graceful swaying movements). /=/ Classical dance forms have rigid rules for presentations. Classical dancers are known for angular posture, strange hand positions and strange facial expressions, tinkling ankle bells, feet smacking the floor, cocked heads, and hands bent upwards in awkward positions. /=/ Among the leading forms of classical dance are Bharata, Natyam, Kathakali, Kathak, Manipuri, Odissi, Kuchipudi and Mohini Attam. /=/ Dance is a great form of exercise because it is a low-impact activity. This means that it does not put excessive strain on your muscles and joints. /=/ It also makes you feel more limber and releases endorphins to make you feel happier. /=/ In addition, there are many different types of dance, so it’s easy to find something that suits your mood at the time. The best part about dance is that it’s never too late to start, anyone can learn how to dance. /=/ There are so many great online resources available for dancers looking for new moves or techniques. If you’re feeling overwhelmed by all the choices out there, just remember this one simple truth: You can’t go wrong with anything as long as you’re having fun and moving your body around. /=/ Dancing in India makes them happy Dance in India makes them healthier than those who don’t dance. Dance lessens their anxiety Dancers develop focus Dancers have better balance Dancing is a form of exercise that can help people with coordination. /=/ Dancing to music helps people move in time with the rhythm, which improves their sense of timing and increases their ability to keep a beat. It also strengthens muscles, improves balance, and helps burn calories. /=/ People who have issues speaking because they are autistic or have cerebral palsy may also find it easier to communicate through dance. /=/ In developing countries like India, young girls sometimes don’t go to school because they have no way to get there and so work instead as household servants. However, with a bit of money for lessons, these girls could be trained as professional dancers and use their skills to improve their own lives as well as contribute to the economy by teaching other children in school. /=/ Dancing in India makes them happy Dancing is a way for people to express themselves. It’s a way to release built-in tensions and can be a great way to strengthen relationships with other people. /=/ Dancing is important in many cultures, but it might mean something different from culture to culture. /=/ For example, some cultures may use dancing as a form of religious worship or prayer while others use dance as a form of storytelling. /=/ In India, for example, folk dances are often used for storytelling about the local gods and goddesses. /=/ There are two main types of Indian dance: classical and folk. /=/ Classical dancers train extensively in order to create beautiful choreography that depicts stories from ancient texts. /=/ Folk dancers train less intensively, and their movements mimic everyday tasks such as farming or weaving cloth, which represents their day-to-day lives. Dances vary by region within India, because each region has its own stories to tell about its gods and goddesses. /=/ Dance in India makes them healthier than those who don’t dance Dance not only makes you healthier and more energetic, but it also has a positive impact on your mental health. Dancers are less likely to experience depression or anxiety than those who don’t dance. /=/ Dance helps people manage stress better, sleep better, and be more flexible. It also lowers blood pressure and strengthens the immune system. /=/ Those who do dance have been found to have lower rates of heart disease, cancer, and diabetes than those who don’t dance! /=/ Not to mention that dancing is just plain fun you can never resist tapping me when you hear good music or watch an interesting new dance step performed by someone else, which makes the power of dance an undeniable pleasure you should give it a try /=/ Dancing has been shown to reduce anxiety, which is especially beneficial for people who suffer from panic attacks and other severe anxiety disorders. Dancers feel less anxiety because the physical movements help them distract themselves from the thoughts that are causing their fear. /=/ They also don’t have time to think about any issues they’re experiencing when they’re immersed in the music and moving their bodies to express themselves. /=/ When you’re feeling anxious, try getting up and moving your body for a few minutes. It doesn’t matter if it’s in your living room or at the grocery store, anything that gets your blood pumping and forces you to focus on what’s happening right then will be helpful. /=/ If possible, find an activity like dancing that really gets you going! It can be an effective form of therapy without having to talk with a therapist. /=/ Dancing develops a dancer’s focus and teaches the importance of self-expression. Dancers learn to look at their own bodies and think about what they want to do, where they want to go, and how they will get there. /=/ This self-awareness is useful as dancers grow into adults and have more control over their lives. The need for independence also increases with age. Dancing can teach this skill early on so that people don’t have to find out later on in life. /=/ Furthermore, it helps children develop decision-making skills when they must decide which moves they should use while dancing and when. For example, some dances require fast steps while others require slower ones. /=/ Lastly, dance in India is not only important because it teaches personal expression, but it has been an ancient way to worship gods like Shiva or Kali. Even today many people still perform Hindu temple dances called Nrittya Natya (Natya means drama) in order to express themselves through dance /=/ Dance is not just a form of expression and entertainment, it also has physical and mental benefits. /=/ Dancers have better balance, an enhanced sense of rhythm, better coordination, improved motor skills, and enhanced social skills. It has been seen that dance therapy can help patients with Parkinson’s disease or Alzheimer’s by increasing their muscle control. /=/ Dancing can also be used to help people overcome depression or addiction problems. For children, dance has been shown to improve their reading comprehension, math abilities, self-confidence, and concentration. /=/ A study from the University of Illinois at Urbana-Champaign showed that children who take part in weekly dancing lessons scored higher on standardized tests than those who didn’t take part. The power of dancing lies in its ability to help children develop as well as provide them with ways for expression. /=/ Dance is an important part of Indian culture. It is used for many different purposes, from celebrating the victory of a victorious warrior to showcasing the beauty and talents of women. /=/ Dancers are considered respected members of society and it is not uncommon for girls to dance at their weddings or for married women to practice dance with their mothers-in-law. /=/ While there are many types of dances in India, Bhangra (a type of dance that originated in Punjab) has become popular throughout the world. /=/ What is the importance of dance? Dance is an important part of many cultures and has been a form of expression for people since the beginning of time. /=/ Dancing is not just about movement; it’s also about storytelling, communication, and emotion. Dancing is used as a form of entertainment, celebration, and even worship. /=/ There are many forms to dance: ballet, jazz, hip-hop, Latin dance styles, and more. All around the world, different types of dance have developed from traditional dances that have been passed down from generation to generation. Some examples include Salsa, Belly dancing, and Jive. /=/ What is the value of dance? Dance is one of the most ancient forms of art and entertainment. It is an integral part of the culture, history, and society in India. It is believed that dance originated as a form of worship to the gods and goddesses. /=/ There are many types of dances such as classical dance, folk dance, tribal dance, bhangra, etc. While all types are equally popular, Bharatanatyam is one type that has a lot more relevance to Indians. /=/ In fact, it is estimated that there are 10 million dancers who learn Bharatanatyam each year. The word Bharatanatyam actually means beautiful-soul-entertainment. /=/ The name captures the spirit of this dance form which was once performed exclusively by women in temples and royal courts but has now become an integral part of everyday life for people from every walk of life. /=/ Dance is a powerful form of expression. In ancient times, dance was used to convey messages or tell stories. /=/ Today, many people use it as a form of self-expression and to build a sense of community with others who enjoy the same dance style. One such group is the Indian Diaspora Community in North America and Europe. A common form of dance among this group is Bharatanatyam, which originated in Tamil Nadu, India. Conclusion : DANCE ! DANCE ! DANCE ! /=/ /=/ /=/ FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Long Live Dancing ! Sincerely, Teri'irere Ito'arai Film Composer =} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & orator holyspiritofindia@protonmail.com The Holy Spirit of Dancing ! The Holy Spirit of Wisdom ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

Although I play the guitar and hum along to the first section of this new film - the one I composed on the war of Troy, with Achilles and Hector as its heroes -, all the other compositions that I have created for all of its other parts are based on music melodies and publicly released films that were made by other directors, artists and producers. Nevertheless, this new, close to 5 hour-long film, is unique and original in its compositions - and in which I have performed millions of operations, altering its colors, effects, speeds, transitions, framings and musical scores - can be shown to the public freely for educational and individually inspiring creative purposes, because it is legally governed, internationally and worldwide on all platforms and other mediums, by the Fair Use Act. May you enjoy the show ! May you, too, be inspired to become a peacemaker and not a warmonger ... though always ready to defend yourself and your loved ones, and the innocent, too, in legitimate self-defense. But as the conclusion of the film states : Better be a dancer, than a killer ! And always be at heart, a courageous spirit and soul, and not a cowardly ghost and specter. May this type of special new and original compositions - in which I attempt to integrate state-of-the-art improvements to classic movie & music hits -, inspire your own creative energies, lyricism, love and passion for what is beautiful, real, virtuous, noble, courageous, and truly worthwhile and moving. And always try to remember to be faithful to yourself and to your noble values, moral principles and strong integrity. Always be honest, be good, be just, be truthful, be courageous, be honorable, be truthful, be respectful, be fair, be happy, be joyful, be grateful, be humble, be chevaleresque, be brilliant, be healthy, be funny, be sincere, be earnest, be heroic, be kind, be helpful, be human, be wonderful, be creative, be constructive, be inspirational, be witty, be cheerful, be beautiful, be curious, be adventurous, be lively, be spontaneous, be real, be natural, be practical, be romantic, be rocambolesque, be pure, be clear, be passionate, be reliable, be friendly, be optimistic, be hopeful, be loving, and especially ~ be human and at peace with your heart & conscience, and live in harmony with our sacred mother the Earth, with our heavenly father from the source of Creation - and with all of their blessed children ! Teri'irere'ito'arai ( Henrik ! ) holyspiritofindia@protonmail.com {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & orator holyspiritofindia@protonmail.com The Holy Spirit of Wisdom ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

After conquering most of the Achaemenid Empire Alexander the Great turned his attention to India. Here on the Indian subcontinent, he would fight some of the hardest battles of his career. The Indian subcontinent was a fabulously wealthy land that few Greeks or Macedonians had ever seen. Yet, the various rulers of India were also powerful warlords who commanded enormous armies and would not easily be defeated by Alexander the Great. As a result, there, the Macedonians would face their most arduous of campaigns. Perhaps what made the greatest impression, though, were the Indian medical sciences which in several areas were more advanced than those of the Greeks. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & author & orator holyspiritofindia@protonmail.com The Holy Spirit of India ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of Life ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

I composed this film to honor the song by Serge Gainsbourg, whose inspirational muses were Brigitte Bardot and Jane Birkin, that is entitled : Je t'aime, moi non plus ( I love you, I love you, too) I will add more comments within this coming week. FAIR USE governance

Patricia Janečková died recently. She was 25. I will miss her dearly, as will many others. She had the most beautiful voice I have ever heard in my entire life on Earth. Her singing is divine. It reveals that the human being is divinely inspired, and therefore composed of the divine element. This melody was composed by Ennio Morricone for the film 'Once Upon a Time in the West' - and is beautifully sung by Patricia Janečková. Patricia Burda Janečková - who was born on 18 June 1998 and died early on 1 October 2023 - was a talented Slovak soprano. She was the winner of the Czech–Slovak television show Talentmania in November 2010, and she gained international recognition through the broadcasting of CNN television shortly after winning. Patricia Janečková was born in Münchberg to Slovak parents. Shortly after, her family moved to Ostrava in the Czech Republic. She started singing at four years old. After graduating from primary school, she began studying voice at the Janáček Conservatory in Ostrava. Patricia Janečková first performed publicly at the Antonín Dvořák Theatre, accompanied by the Janáček Philharmonic Orchestra. Subsequent to this, she went on to win the Talentmania competition in 2010, at age 12, having received over 1 million votes. In 2014, she won the international singing competition at the Concorso Internazionale di Musica Sacra in Rome. Patricia Janečková was noted for her passionate and emotive performances, and is known for receiving a standing ovation while performing Ennio Morricone's theme song from Once Upon a Time in the West at the Rudolfinum in Prague. She continued to perform in public while studying privately with Czech soprano Eva Dřízgová-Jirušová. In 2017, she performed the role of Galatea in Handel's Acis and Galatea with Collegium Marianum as part of the Janáček Music Festival. Patricia Janečková released her eponymous début album in 2011, at age 13.[5] She went on to collaborate with Czech oboist Vilém Veverka on a Christmas album in 2022. Patricia Janečková married Vlastimil Burda in June 2023. On 10 February 2022, Patricia Janečková announced on her Instagram page that she had been diagnosed with breast cancer and would take a career hiatus for an undetermined length of time. Patricia Janečková returned to stage, 15 December 2022, performing the role of Esmerelda in the comic opera The Bartered Bride. A fundraising concert was hosted in January 2023 by Radio Čas [cs] to support her treatment, featuring the well-known artists Čechomor, Martina and Lukáš Vlček [cs], Hana Fialová [cs] and Tomáš Krpec. Despite early signs of a successful treatment, Patricia Janečková died from the illness on 1 October 2023. She was 25. How sad and unjust to pass away from her earthly life so young, because she deserved to live forever. Her voice will forever live in my heart and soul, as it will for millions of other human beings, who heard the perfect beauty of her own soul and felt the profound humility and kindness of her way of being. Patricia Janečková’s legacy continues to live on through her music, enchanting audiences with her incredible talent and leaving an indelible mark on the world of classical music. Patricia Janečková captivated the world with her angelic voice and extraordinary vocal prowess, and we will all miss her, knowing she went straight to Heaven to keep singing in God's choirs. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik Barkley de Pearson ! ) Film composer & amateur singer & author & orator holyspiritofindia@protonmail.com The Holy Spirit of Singing ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour !

I composed this short film as part of a video with multiple parts that will compose a collection of 500 videos that I will release in 2025. These original, beautiful, moving and proprietary videos will revolutionize the world of singing. Their purpose is to generate a new market, whereby many millions of new singing individuals will likely arise. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice - as in this specific composition, in the third part of this video's music score - or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & author & orator holyspiritofindia@protonmail.com The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour !

Children are being exploited all over the world. Children are from God, and our duty is to protect them and to love them. I hope you will enjoy this long essay I composed on children working in coal mines - not only in the past centuries, but also nowadays. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & author & orator The Holy Spirit of Life ! The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

This short composition ‹ Waltzing Romance ! › is inspired by the 1998 Indian Hindi-language musical romance film - Kuch Kuch Hota Hai - written and directed by Karan Johar, and produced under Dharma Productions. This charming and romantic film stars the popular on-screen pair of Shah Rukh Khan and Kajol in lead roles, along with Rani Mukerji and Salman Khan. The film also features Sana Saeed in a supporting role. The plot combines two love triangles set years apart. The first half covers friends on a college campus, while the second tells the story of a widower's young daughter, who tries to reunite her dad with his old best friend. Filmed in India, Mauritius and Scotland, this was Johar's directorial debut. One of his goals for the film was to set a new level for style in Hindi cinema. The story begins with two best friends in college - Rahul Khanna and Anjali Sharma -, who frequently spend time together and play basketball. Anjali Sharma, a tomboy, is much better at the game than Rahul who wins occasionally by cheating. Their friendship is tested by the arrival of Tina Malhotra, the attractive daughter of college principal Ravikant Malhotra, who has come from London. Rahul is immediately smitten and starts hazing her as a means to grab attention. The two grow attracted to each other, leading Anjali Sharma to feel jealous and lonely. She realizes she is in love with Rahul and cannot stand seeing him get closer to Tina. Matters get worse, when Rahul admits to Anjali that he loves Tina, on the day Anjali decides to confess her love for Rahul, leaving her heartbroken. She changes colleges, leaves town, and breaks off all ties with Rahul. After college, Rahul marries Tina and they are blessed with a daughter who is also named Anjali. Unfortunately, Tina dies due to the delivery complications, but not before writing eight letters for Anjali Khanna to read on her subsequent birthdays. Eight years later, widower Rahul is shown as a single parent to his 8-year-old daughter Anjali Khanna. On her birthday, Tina's eighth letter introduces Anjali Khanna to Rahul's college friend by the same name. In the letter, Tina asks Anjali Khanna to reunite Rahul with Anjali Sharma, having always been aware of her feelings for Rahul. At a camp for children in Shimla, Anjali Sharma is a facilitator, who teaches music and dance. Against Rahul, Anjali Khanna enrolls in the camp and goes to Shimla, along with Rahul's mother Savita Khanna. At this camp, Anjali meets her namesake for the first time and tricks Rahul into visiting the camp, reuniting him with Anjali Sharma after many years. Using her mother's descriptions of their college days in the letter, Anjali Khanna recreates familiar situations that enable Rahul and Anjali Sharma to rekindle their friendship. They eventually find love again with each other, but this time, are interrupted by the arrival of Anjali Sharma's fiancé, Aman Mehra. Finally snapping back to reality, Anjali Sharma leaves the camp midway to return home and marry Aman. On the day of the wedding, Anjali Khanna lets Aman know of her mother's letter and her quest to unite Rahul with Anjali Sharma. Meanwhile, Rahul stumbles into Anjali Sharma at an upstairs balcony, and finally expresses his love for her. At the wedding hall downstairs, Aman and the guests are awaiting Anjali Sharma to make her way to the wedding alter for the final ritual. She walks down the stairs, but stops after seeing Rahul. Aman, realizing that Anjali Sharma will always be in love with Rahul, calls off their engagement. He asks Rahul to marry her in his stead, joining in the celebration. Rahul and Anjali Sharma are finally united, and Anjali Khanna is beset with emotion at having fulfilled Tina's last wish expressed in her letter. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people and cultures of India and the world, to the public worldwide. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer freely and happily to the public worldwide for its enjoyment of the fine arts of cinematography, photography and music. {=} Long Live India ! Long Live Love ! Long Live Wisdom ! {=} Sincerely, Teri’irere Ito’arai (Henrik) Film composer & amateur orator and singer. {=} The Holy Spirit of Love ! {=} The Holy Spirit of India ! The Holy Spirit of Beauty & Wisdom ! {=} The Holy Spirit of Singing ! The Holy Spirit of Humour !

This composition was inspired to me by Marjaavaan - a 2019 Hindi language, romantic action film, written and directed by Milap Milan Zaveri, and produced by T-Series and Emmay Entertainment. It was distributed by Pen Entertainment in India, and Eros International overseas. Marjaavaan stars Riteish Deshmukh, Sidharth Malhotra, Rakul Preet Singh and Tara Sutaria. It was described by co-producer Bhushan Kumar as a masala and dramatic love story between the strong and handsome Raghu - a loyal goon to the local thug Narayan Anna who controls the water mafia in Mumbai - and the lovely and graceful Zoya - a mute, musically inclined Kashmiri girl who teaches children music. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai ( Henrik Barkley de Pearson ) Film composer & amateur singer : The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of America ! The Holy Spirit of Life ! The Holy Spirit of Wisdom ! The Holy Spirit of India !

This short composition on love is part of a larger composition I created, under the banner of ' The Holy Spirit of India ' that is entitled : HOLY SPIRIT OF INDIA ! = ACT 1 - SCENE 6 = RAM-LEELA ! HINDU ROMEO & JULIETTE ! FIERY & LETHAL & ETERNAL LOVE ! https://rumble.com/v26du6i-holy-spirit-of-india-act-1-scene-6-ram-leela-romeo-and-juliette-.html This other larger film composition, which I recently composed for fun in my quest for beauty, romance, love, courage, brave action and true depth, is based on « Ram-Leela », a 2013 Indian Hindi-language, tragic romantic action film, whose love story is is akin to William Shakespeare’s Romeo and Juliette. This complex love story centers around a certain Gujarati village, infamously known for its uninhibited manufacture and sale of arms and ammunition, and two of its most powerful clans - the Rajadi, and the Sanera - that have been at odds with each other for the past ... 500 years, no less ! A violent altercation between the two clans occurs after Bhavani, a Sanera, fires at the young son of Meghji Bhai, a Rajadi chieftain. In return, Bhavani is almost killed by Meghji Bhai. But Ram, Meghji Bhai's younger brother, intervenes and saves Bhavani. On top of this, all the Rajadi elders are irked by Ram being a vagabond, who deals in stolen cars, and especially with his mindset of making a truce with the other clan. During the festival of Holi, Ram boldly enters the house of the Sanera heads, and flirts with Leela. Meanwhile, Leela's mother, Dhankor Baa, the chieftain of the Saneras, is busy arranging a match for her daughter to marry a simple-minded man, but from an important family. Leela's elder brother, Kanji Bhai, is angered by Ram's entry into the sanctity of their house, and bribes the local police to raid Ram's house. Ram, however, manages to convince the policemen to leave in exchange for a set of his special blue films. Ram and Leela soon develop a romance, and plan to elope. But a grim turn of events follows when Kanji accidentally kills Meghji, Ram's brother, and is, in turn, killed by Ram. To escape the suffering, Ram and Leela elope and marry. But just as they are about to consummate their marriage, Ram's friends trace them and betray him by inebriating him, and informing Leela's family of their location. The next morning, Leela is forcibly taken back home by Bhavani, her cousin; while Ram is hailed as a hero by the Rajadis for soiling Leela's reputation. He is rewarded by being made the new chieftain of the Rajadis. Meanwhile, Dhankor Baa arranges the engagement of Leela and the man from the important family, much to the chagrin of the pair. Leela refuses, citing that her finger is already occupied by the ring from her marriage to Ram. In her anger, Dhankor Baa chops off her daughter Leela's finger ! Upon learning of this, Ram does the same to his own finger, and visits Leela while she is asleep. Leela still retains faith in Ram and sends Rasila, the widow of Kanji, to give Ram an ultimatum to take her away and save their honor and their love. Rasila is assaulted by Ram's friends, and when Dhankor Baa learns of this, she sends Bhavani and other men to assault Kesar, Meghji's widow, who manages to evade them. In response to the attempt on Kesar, Ram storms into Leela's house and incapacitates the guards single-handedly. He then requests Dhankor Baa to consider negotiation for peace, and so she invites him to celebrate Navratri with the Saneras, but with the malicious intention of having him killed. However, at the event, Bhavani secretly shoots and seriously injures Dhankor Baa to place the blame on the Rajadi. Consequently, Leela is made the new chieftain of the Saneras, while tending to her mother's recovery. She bitterly carries out a negotiation with Ram, equally dividing the travel routes and trades, with the condition that the Saneras and Rajadis will not interact with each other ever again. Bhavani, who does not tolerate this development, deceives Leela into blindly signing a document that orders the unrestrained killings of all the Rajadis. During the holy festivities of Dusshera, as the Ramlila parade is ending, many of the Rajadis are killed, and the village is on the brink of war, which Ram senses. Much to everyone's chagrin after the deed, Ram and Leela decide that they are each other's soulmates, and they end up by shooting one another dead; all the while oblivious to the fact that Dhankor Baa has undergone a change of heart, and has killed Bhavani, and promptly ordered that peace be made with the other clan. In the end, the two warring clans come together to cremate the bodies of the the two passionate lovers. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public worldwide. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to all other members of the public worldwide. Sincerely, Teri irere ito arai (Henrik Barkley de Pearson The Holy Spirit of love ! The Holy Spirit of India ! The Holy Spirit of Truth ! The Holy Spirit of Wisdom ! The Holy Spirit of Beauty !

This composition on love is part of a larger composition I created, under the banner of ' The Holy Spirit of India ' that is entitled : HOLY SPIRIT OF INDIA ! = ACT 1 - SCENE 6 = RAM-LEELA ! HINDU ROMEO & JULIETTE ! FIERY & LETHAL & ETERNAL LOVE ! https://rumble.com/v26du6i-holy-spirit-of-india-act-1-scene-6-ram-leela-romeo-and-juliette-.html This other larger film composition, whose link is above, which I recently composed for fun in my quest for beauty, romance, love, courage, brave action and true depth, is based on « Ram-Leela », a 2013 Indian Hindi-language, tragic romantic action film, whose love story is is akin to William Shakespeare’s Romeo and Juliette. This complex love story centers around a certain Gujarati village, infamously known for its uninhibited manufacture and sale of arms and ammunition, and two of its most powerful clans - the Rajadi, and the Sanera - that have been at odds with each other for the past ... 500 years, no less ! A violent altercation between the two clans occurs after Bhavani, a Sanera, fires at the young son of Meghji Bhai, a Rajadi chieftain. In return, Bhavani is almost killed by Meghji Bhai. But Ram, Meghji Bhai's younger brother, intervenes and saves Bhavani. On top of this, all the Rajadi elders are irked by Ram being a vagabond, who deals in stolen cars, and especially with his mindset of making a truce with the other clan. During the festival of Holi, Ram boldly enters the house of the Sanera heads, and flirts with Leela. Meanwhile, Leela's mother, Dhankor Baa, the chieftain of the Saneras, is busy arranging a match for her daughter to marry a simple-minded man, but from an important family. Leela's elder brother, Kanji Bhai, is angered by Ram's entry into the sanctity of their house, and bribes the local police to raid Ram's house. Ram, however, manages to convince the policemen to leave in exchange for a set of his special blue films. Ram and Leela soon develop a romance, and plan to elope. But a grim turn of events follows when Kanji accidentally kills Meghji, Ram's brother, and is, in turn, killed by Ram. To escape the suffering, Ram and Leela elope and marry. But just as they are about to consummate their marriage, Ram's friends trace them and betray him by inebriating him, and informing Leela's family of their location. The next morning, Leela is forcibly taken back home by Bhavani, her cousin; while Ram is hailed as a hero by the Rajadis for soiling Leela's reputation. He is rewarded by being made the new chieftain of the Rajadis. Meanwhile, Dhankor Baa arranges the engagement of Leela and the man from the important family, much to the chagrin of the pair. Leela refuses, citing that her finger is already occupied by the ring from her marriage to Ram. In her anger, Dhankor Baa chops off her daughter Leela's finger ! Upon learning of this, Ram does the same to his own finger, and visits Leela while she is asleep. Leela still retains faith in Ram and sends Rasila, the widow of Kanji, to give Ram an ultimatum to take her away and save their honor and their love. Rasila is assaulted by Ram's friends, and when Dhankor Baa learns of this, she sends Bhavani and other men to assault Kesar, Meghji's widow, who manages to evade them. In response to the attempt on Kesar, Ram storms into Leela's house and incapacitates the guards single-handedly. He then requests Dhankor Baa to consider negotiation for peace, and so she invites him to celebrate Navratri with the Saneras, but with the malicious intention of having him killed. However, at the event, Bhavani secretly shoots and seriously injures Dhankor Baa to place the blame on the Rajadi. Consequently, Leela is made the new chieftain of the Saneras, while tending to her mother's recovery. She bitterly carries out a negotiation with Ram, equally dividing the travel routes and trades, with the condition that the Saneras and Rajadis will not interact with each other ever again. Bhavani, who does not tolerate this development, deceives Leela into blindly signing a document that orders the unrestrained killings of all the Rajadis. During the holy festivities of Dusshera, as the Ramlila parade is ending, many of the Rajadis are killed, and the village is on the brink of war, which Ram senses. Much to everyone's chagrin after the deed, Ram and Leela decide that they are each other's soulmates, and they end up by shooting one another dead; all the while oblivious to the fact that Dhankor Baa has undergone a change of heart, and has killed Bhavani, and promptly ordered that peace be made with the other clan. In the end, the two warring clans come together to cremate the bodies of the the two passionate lovers. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public worldwide. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to all other members of the public worldwide. Sincerely, Teri irere ito arai (Henrik Barkley de Pearson The Holy Spirit of love ! The Holy Spirit of India ! The Holy Spirit of Truth ! The Holy Spirit of Wisdom ! The Holy Spirit of Beauty !

THE HOLY SPIRIT OF WISDOM ! LOVE OF WISDOM ! ! KANT PHILOSOPHY ! - PSYCHADELIC - KALEIDOSCOPIC - - TECHNO - MELODY - PHILOSOPHY - I composed this audio-visual art, using : - for its color palette the kaleidoscope and its dynamic, geometric visuals. - for its musical score, techno-trance. - for it textual oration, the philosophy of Kant. Personally, I do not use psychedelics, or any other mind-altering drugs. But I like to create aesthetically pleasing, mind-inspiring, heart-moving, aura-warming, uplifting audio-visual works of art. While watching this video : - One can dance to the music, while listening to philosophy - the science and love of wisdom. - One can also watch the hypnotizing and core-centering visuals, while meditating or/and dancing to the music. This composition is my first essay. It features the philosophy of Emmanuel Kant. I will share all such philosophical works of art, under the banner : THE HOLY SPIRIT OF WISDOM ! LOVE OF WISDOM ! ! PHILOSOPHY ! Enjoy the show ! Henrik

This short composition is on love - a mortal love in a time of war for love and the love of war - along with an immortal and eternal love beyond the resurrection of the soul. You can see the significantly longer version on rumble at : https://rumble.com/v3oqwyq-holy-spirit-of-india-act-1-scene-22-gadia-lohar-and-immortal-royal-divine-l.html HOLY SPIRIT OF INDIA ! = ACT 1 - SCENE 22 = GADIA LOHAR & IMMORTAL ROYAL DIVINE LOVE ! {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & author & orator The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

In these times of adversity, I will lovingly compose these types of short films on love, under the banner : THE HOLY SPIRIT OF LOVE ! This first film is entitled ' The Beauty of Love & The Sacrifice of Love ! ' I trust you will enjoy these films that will hopefully inspire your heart to love this miraculous and mysterious life of ours, with ever more love, respect and compassion. Sincerely, Teri'irere ito'arai ( Henrik ) {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & author & orator The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

This short composition is on love - a mortal love in a time of war for love and the love of war - along with an immortal and eternal love beyond resurrection of the soul. You can see the significantly longer version on rumble at : https://rumble.com/v3oqwyq-holy-spirit-of-india-act-1-scene-22-gadia-lohar-and-immortal-royal-divine-l.html HOLY SPIRIT OF INDIA ! = ACT 1 - SCENE 22 = GADIA LOHAR & IMMORTAL ROYAL DIVINE LOVE ! {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur singer & author & orator The Holy Spirit of Love ! The Holy Spirit of Truth ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom ! The Holy Spirit of Life ! The Holy Spirit of India ! The Holy Spirit of Singing ! The Holy Spirit of Heroism ! The Holy Spirit of Martial Arts ! The Holy Spirit of Sports ! The Holy Spirit of Humour ! The Holy Spirit of America !

SCOTT ATKINS = MARTIAL ARTIST - ACTOR - FILM PRODUCER Scott Edward Adkins was born on June 17, 1976 in Sutton Coldfield, England, into a family that for generations were butchers. Along with his elder brother Craig, he was raised by their parents, John and Janet (Sanders) Adkins, in a loving middle-class family. Scott attended Bishop Vesey's Grammar School in Sutton Coldfield. Probably not the best of students, he used to sneak downstairs after his parents had gone to bed and watch films all night then fall asleep during lessons. A natural athlete, Scott enjoyed a variety of sports as he grew up, but when he was 10 years old, he accompanied his father and brother to the local Judo club. The attraction was instantaneous. Idolising stars such as Bruce Lee and Jean-Claude Van Damme, Scott began to train everyday. He took over his Dad's garage and turned it into his own Dojo. He even had a shrine to Bruce Lee in there that he would bow to. He remembers being mugged on a bus when he was around 13 and that really kicked his training into overdrive. He wasn't ever going to let that happen again. At the age of 14, Scott went on to train in Tae Kwon Do under the instruction of Ron Sergiew with the T.A.G.B. After a few years, he moved on to Kickboxing under Anthony Jones. He is now a fully trained Kickboxing Instructor for the P. K. A. A self confessed "film junkie" Scott's attention was drawn to acting through the Hollywood Greats. He enrolled in a drama class at Sutton Coldfield College. Being a shy lad he initially found it difficult to be put on stage in front of an audience. Finally, at the age of 21, Scott was offered a place at the prestigious Webber Douglas Academy of Dramatic Art. However, as an impoverished student, he found it hard to make ends meet without a grant and was forced to leave without completing the course. Very dejected he thought that was the end. His first break came when he was offered a role in a Hong Kong martial arts film called Extreme Challenge (2001) (aka Extreme Challenge). Spotted by Head of The Hong Kong Stuntmen Association and director Wei Tung and English-born Hong Kong movie expert Bey Logan, Adkins found himself in the East for the first time. Scott got the chance to work with some of Hong Kong cinema's leading action directors including Woo-Ping Yuen, Corey Yuen, Sammo Kam-Bo Hung and the legendary Jackie Chan. Acting roles started to come in and he was offered a guest role in BBC's Doctors (2000) filmed at Birmingham's Pebble Mill. A few episodes in BBC's EastEnders (1985) and City Central (1998), and a lead role in Sky One comedy drama Mile High (2003) followed by a regular role in BBC's Holby City (1999) as Bradley Hume, the assistant General Manager of Holby General. Starring roles in feature films soon followed with his portrayal of Talbot in Special Forces (2003) and Yuri Boyka" in Undisputed 2: Last Man Standing (2006). It was this film that broke him into the mainstream with his villainous portrayal of a Russian MMA underground fighter Boyka in what has been hailed as one of the best American made Martial Arts films of recent times. Along with lead actor Michael Jai White, fight coordinator J.J. Perry and the slick direction of Isaac Florentine this movie has some unbelievably heart stopping fight scenes. After this Scott has had guest starring roles in bigger budget films like The Bourne Ultimatum (2007) and The Tournament (2009), and played Jean-Claude Van Damme's main adversary in Sony Pictures The Shepherd (2008). BRUCE LEE = MARTIAL ARTIST - PHILOSOPHER - DANCER - ACTOR - COMIC - FAMILY MAN Bruce Lee - Chinese name Li Jun Fan - was born on November 27, 1940, in San Francisco, California, U.S., and he died young, on July 20, 1973, in Hong Kong. Bruce Lee was an American-born film actor, who was renowned for his great martial arts skills and abilities. As he became a talented actor, Bruce Lee helped popularize martial arts movies worldwide in the 1970s. Although Bruce Lee was born in San Francisco during a trip to America by his parents, he grew up in Hong Kong. Bruce Lee was introduced to the entertainment industry at an early age, because his father was an opera singer and part-time actor. The younger Bruce Lee began appearing in films as a child, and was frequently cast as a juvenile delinquent or street urchin ! As a teenager, Bruce Lee took up with local gangs and began learning kung fu to better defend himself. At that time, he also started dance lessons, which further refined his footwork and balance. In 1958, Bruce Lee won the Hong Kong cha-cha-(cha) championship ! Bruce Lee’s parents were increasingly disturbed by his street fighting and run-ins with the police, and so they sent him to live in the United States shortly after he turned 18. Bruce Lee at first lived with family friends in Seattle, where he finished high school and studied philosophy and drama at the University of Washington. While in Seattle, Bruce Lee opened his first martial arts school, and in 1964 he relocated to Oakland, California, to found a second school. It was about that time that he developed his own technique - jeet kune do, a blend of ancient kung fu, fencing, boxing, and philosophy, - and which he began teaching instead of traditional martial arts. Bruce Lee drew the attention of a television producer after giving a kung fu demonstration at a Los Angeles-area karate tournament, and he was cast as the sidekick Kato in the television series The Green Hornet (1966–67). Bruce Lee had difficulty finding acting jobs after the cancellation of The Green Hornet, and he began supplementing his income by giving private jeet kune do lessons to Hollywood stars, including to Steve McQueen. In the 1969 film Marlowe, Bruce Lee received notice for a scene in which he destroyed an entire office through kickboxing and karate moves. Troubled by his inability to find other suitable roles, however, Bruce Lee moved back to Hong Kong in 1971. There Bruce Lee starred in two films that broke box-office records throughout Asia, and he later found success in the United States with Tang shan da xiong (1971; Fists of Fury [U.S.], or The Big Boss [Hong Kong English title]) and Jing wu men (1972; The Chinese Connection [U.S.], or Fist of Fury [Hong Kong English title]). Bruce Lee used his sudden box-office clout to form his own production company, and he coproduced, directed, wrote, and starred in his next film, Meng long guo jiang (1972; Return of the Dragon [U.S.], or The Way of the Dragon [Hong Kong English title] Bruce Lee’s following film, Enter the Dragon (1973), was the first joint venture between Hong Kong- and U.S.-based production companies, and it became a worldwide hit, thrusting Bruce Lee into international movie stardom. Tragically, he died six days before the film’s Hong Kong release. The mysterious circumstances of his death were a source of speculation for fans and historians, but the cause of death was officially listed as swelling of the brain caused by an allergic reaction to a headache medication. At the time, Bruce Lee had been working on a film called Game of Death, which was pieced together with stand-ins and cardboard cutouts of Bruce Lee’s face and was released in 1978. After Bruce Lee’s death, his films gained a large cult following. Bruce Lee himself became one of the biggest pop culture icons of the 20th century, and he is often credited with changing the way Asians were presented in American films. A slightly fictionalized biopic, Dragon: The Bruce Lee Story, appeared in 1993. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of India ! The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of America ! The Holy Spirit of Life ! The Holy Spirit of Wisdom !

This film composition was inspired to me by -The Avengers - a British espionage television series, created in 1961, that ran for 161 episodes until 1969 . . . as well as by hundreds of other significant films. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of India ! The Holy Spirit of Life ! The Holy Spirit of Wisdom ! The Holy Spirit of America ! The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts !

This film composition combines a divine, royal, romantic, love affair between the beautiful princess of Sinhala and the brave king of Mewar, along with the Gadia Lohar, India’s misunderstood gypsies. Part of this original composition is inspired by the magnificent film - Padmaavat - a 2018 Indian Hindi-language historical drama film, directed by Sanjay Leela Bhansali. Based on the epic poem of the same name by Malik Muhammad Jayasi, it stars the lovely Deepika Padukone as Rani Padmavati, a Rajput queen known for her beauty, wife of Maharawal Ratan Singh, played by Shahid Kapoor. In this epic poem, Sultan Alauddin Khalji, played by Ranveer Singh, hears of her divine beauty, and attacks her kingdom in a destructive attempt to enslave her. At the 64th Filmfare Awards in India, Padmaavat received a leading 18 nominations, including Best Film, Best Director (both for Bhansali), Best Actress (Padukone) and Best Actor (Singh). This beautiful and deeply moving film won 4 awards, including Best Actor (Critics) (Singh) and Best Music Director (Bhansali). Padmaavat also won 3 National Film Awards, including Best Music Direction (Bhansali). The story’s plot describes how in 13th-century Afghanistan, an envious and cruel Khalji ruler - Jalal-ud-din Khalji - plans to take over the throne of Delhi. His nephew - Alauddin Khalji - asks for Jalaluddin's daughter Mehrunisa's hand in marriage. Their wedding is organised, but on the night of the event, Alauddin engages in adultery with another woman. A senior courtier witnesses the act, Shareef Pasha, and is promptly killed by Alauddin. Mehrunisa is informed of this during the wedding, leaving her horrified. The wedding occurs, and Alauddin is appointed as a lead general in Jalalauddin's army. In Singhal, princess Padmavati accidentally wounds the Rajputi ruler of Mewar, Maharawal Ratan Singh, while hunting in a forest. As she treats him, he reveals that he has traveled to Sinhala to acquire rare pearls for his only wife Nagmati. Eventually, the two bond and fall in love. Ratan Singh asks for Padmavati's hand in marriage. She agrees, and with permission from her father, they are married. Jalaluddin takes over the throne of Delhi and sends Alauddin to repel a Mongol invasion. Alauddin is successful in doing so, but undertakes an unsanctioned raid on Devagiri. He captures the princess there, and makes her his concubine. Jalaluddin's wife and nephew, Itaat Khan, warn him against Alauddin's ambition to take over the throne. However, he journeys to Kara to meet Alauddin and gifts him the slave Malik Kafur. Alauddin has Jalalauddin's ministers assassinated by Malik Kafur, and Jalalauddin is killed by one of Alauddin's generals. Alauddin then returned to Delhi and declared himself the new Sultan. Over time, Alauddin and Kafur become very close, and Kafur rises to become a general in Alauddin's army. Padmavati journeys to Mewar with Ratan Singh and is blessed by his royal priest, Raghav Chetan. Chetan later intrudes into the palace secretly and spies upon an intimate moment between Ratan and Padmavati, and is subsequently banished. He then travels to Delhi and informs Alauddin of Padmavati's beauty. Alauddin, who is fixated with having anything that is exceptional, invites the Rajputs to Delhi, but his invitation is rejected. Enraged, he lays siege to Ratan Singh's capital Chittor. After six months of an unsuccessful siege, Alauddin feigns peace on account of Holi and is allowed to enter Chittor, where he meets Ratan Singh. He asks to see Padmavati; Ratan Singh grants this request, but only momentarily, while preventing Alauddin from seeing her face. Ratan Singh is then tricked by Khilji, and is taken to Delhi as a prisoner. Upon Queen Nagmati's insistence, Padmavati agrees to see Alauddin under some conditions: She will meet Ratan first, there would be no male guardians during their meet and Chetan will be executed for his earlier treachery. Alauddin agrees; Padmavati then travels to Delhi to meet him. Meanwhile, Alauddin survives an assassination plot by his nephew, though he is wounded. When his nephew visits him recovering in bed to gloat of his victory, Alauddin awakens and kills him. The Rajputs, disguised in women's dress, plan to ambush the Khilji soldiers in the morning, at the time for morning namāz. Padmavati, along with Chittor's generals, Gora and Badal, frees Ratan Singh, and escapes with Mehrunisa's help. Ratan confronts Alauddin, who urges Ratan to take this opportunity to kill him in his weakened state. However, Ratan refuses as this is against the Rajput creed of not attacking the wounded. The Rajput ambush goes ahead as planned, but the Khilji soldiers are alerted to it and repulse the attack, killing the Rajputs, whose brave sacrifice allows the King and Queen to escape. Alauddin imprisons Mehrunisa for helping the Rajputs and marches to Chittor. He and Ratan Singh engage in a single duel. Alauddin is wounded and drops his sword, Ratan is about to kill him when Kafur takes the opportunity to mortally wound Ratan, while his back is turned with arrows. While dying, the Mewar king berates Alauddin and his forces for fighting dishonorably. The much larger Khilji army defeats the scattered Rajputs and captures Chittor, but are unable to capture the Rajput women who perform jauhar - mass suicide by immolation into a huge pyre of fire - along with Padmavati, rendering Alauddin's quest a failure and leaving him furious. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of India ! The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of America ! The Holy Spirit of Life ! The Holy Spirit of Wisdom !

This composition was inspired to me by Marjaavaan - a 2019 Hindi language, romantic action film, written and directed by Milap Milan Zaveri, and produced by T-Series and Emmay Entertainment. It was distributed by Pen Entertainment in India, and Eros International overseas. Marjaavaan stars Riteish Deshmukh, Sidharth Malhotra, Rakul Preet Singh and Tara Sutaria. It was described by co-producer Bhushan Kumar as a masala and dramatic love story between the strong and handsome Raghu - a loyal goon to the local thug Narayan Anna who controls the water mafia in Mumbai - and the lovely and graceful Zoya - a mute, musically inclined Kashmiri girl who teaches children music. {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music, beauty, love and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of India ! The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of America ! The Holy Spirit of Life ! The Holy Spirit of Wisdom !

BRAVE & ADVENTUROUS MAN FROM INDIA RETURNS PAKISTANI GIRL TO HER MOTHER ! This original composition ‹ Bajrangi › is inspired by the wonderful 2015 film ‹ Bajrangi Bhaijaan › - directed by Kabir Khan, featuring Salman Khan, Harshaali Malhotra, Nawazuddin Siddiqui, Nawazuddin Siddiqui, … It is the story about an Indian man, with a magnanimous heart, who takes a young mute Pakistani girl - whose mother lost her while falling asleep during a train ride in India, back to her homeland, to reunite her with her mother and family. In trying to discover the girl's parents, this good man, named Bajrangi, develops an unshakable bond with her. Through a series of adventures and misadventures, this charming story captures the hearts of all good people, ready to take on the noble mission of protecting children, and reuniting them with their parents. Beautifully shot, capturing the breathtaking mountains and valleys of Kashmir, and the lush plains and arid deserts of norther India and Pakistan, ‹ Bajrangi Bhaijaan ›’s action begins, once upon a time, in the hills of Sultanpur, Jhelum, Pakistan, where there lives an adorable little six-year-old mute girl, named Shahida. One afternoon, Shahida is playing on a hill, when she accidentally falls off it into a ravine. When she doesn’t return home by the end of the day, the villagers organize a search party. After hours of searching, they find the little girl on a branch protruding from the hill. She had been stuck on it for the entire day but couldn’t call for help because of her vocal disability. The following morning, her parents and neighbors discuss what must be done to help her. An elder man suggests they take her to the shrine of a holy Sufi, Nizamuddin Auliya, in Delhi, India. The religious family believes that a visit to the holy shrine will bring peace and happiness; and most importantly, they pray that such a journey to a holy site may restore Shahida’s speech. Shahida’s father used to be in the military, where he had fought for Pakistan against the Indian army. Therefore, he is sure that he will not be granted a visa to India. For this reason, her mother Razia takes it upon herself to travel far from the village, for the first time, without any other family member, but her mute daughter, Shahida. The trip goes well as planned for the most part. The two reach the shrine, pray and make offerings to the holy Sufi’s spirit, and then get back on a train for the return trip to their home country of Pakistan. On the return journey, however, the train unexpectedly stops for repairs at night. While everyone is asleep, Shahida notices a sheep stuck in a pit right outside the train. She doesn’t think twice about going outside to help and save the little lamb for its ordeal. But while Sahida is tending to the little lamb, suddenly, the train restarts before she can return to her mother. The little girl runs towards the train desperately trying to board it, but she is eventually left behind, all alone in the night. In a desperate attempt to go after her mother, Shahida boards another freight train, going in the same direction. But to her dismay, the rain soon reverses directions, in the opposite direction her mother had taken, and eventually stops in the town of Kurukshetra, in the Indian state of Haryana. When her mother, Raiza, much to her dismay and bewilderment, notices that her daughter is missing, she stops the train. Policemen are appointed to look for the girl around the railroad tracks, where she was lost. However, they cannot find her since Shahida had taken another train in a different direction, and had thereby already reached a totally different place. Raiza meets her husband and tells him about the disappearance of their daughter, he gets worried to death about finding her again. Alas, they cannot get an immediate visa back to India, much to their chagrin. The parents have no other way left to them, but to pray that their daughter is somehow still alive and safe. Meanwhile, Shahida is now lost in a different country, in a foreign town, with no way to communicate with others, since she is mute. During a religious celebration in town, she sees a stranger eating at a street-side restaurant. The stranger is a kind, good-hearted, principled man, named Pawan Kumar Chaturvedi, and he generously invites the little lost girl to have a good meal with him. After a few minutes of trying to get her to talk, Pawan realizes that the little girl is mute, and starts calling her Munni. A starving ‹ Munni › finishes the food, and takes to following Pawan around. Assuming that she was separated from her parents during the festival, Pawan asks her to stay in front of a temple. Pawan is a devout Hindu Brahmin, and an ardent devotee of Lord Hanuman. He believes that Lord Hanuman will take Munni home, if she stays in front of his temple. But when Munni still doesn’t stop following him, he brings her to the police station. Nevertheless, since she cannot tell them any details about her parents, the police can only wait for someone to file a missing child complaint. But until her parents are found, Munni obviously needs a place to stay. Hence, Pawan takes her in. On his way to his home in Delhi, he tells Munni to call him Mama, if she ever talks in the future. He also starts naming different Indian cities, asking her to nod if she knows what city her parents are in. All the passengers on the bus help him, but none of them name cities outside of India. As they all talk to one another on the bus ride, Pawan tells everyone how he came to Delhi for work. A flashback shows us the time he was in high school, when he was but an average student, who could never pass the final examination. All his friends cheated and went on with their lives, but Pawan refused to cheat or lie, being a true devotee of Lord Hanuman. According to the legendary Hindu mythologies, Lord Hanuman, believed to be an avatar of Lord Shiva, manifested into this world as the mighty ape, who aided Lord Rama in his expedition against evil forces. Lord Hanuman is one of the most popular idols in the Hindu pantheon. He is worshiped as a symbol of physical strength, perseverance, and devotion to help us face ordeals and conquer all obstacles. Hanuman is therefore also a symbol of success and fulfillment. One needs courage, strength, intelligence, commitment and purity to be successful. Hanuman gets courage and strength from his father, Kesari (Kesari means Lion), and intelligence and purity from his mother, Anjana. Insofar as Pawan is concerned, after his bus ride reaches its terminus in Dehli, he goes to his home with Munni, where his fiancee, Rasika, happily receives them. Rasika is glad that Pawan is helping a little girl in need, but her father, Pandey, doesn’t feel the same way. He is worried about the possibility that Munni belongs to a different religion. Pawan rationalizes that she is Hindu because of her fair skin color, and persuades Pandey to let her stay for a month. Munni cries every day, as she thinks about her parents back home, even though Pawan and Rasika treat her like their own daughter. Since Rasika’s entire family is vegetarian, but Munni on the other hand is accustomed to eating meat with every meal, Munni hardly ever finishes her food. One day, Pawan and Rasika find Munni no longer in their home, but in a Muslim neighbor’s home, devouring home-cooked chicken! Pawan brings her to a restaurant that evening, and lets her eat whatever she likes, even though eating meat is against his religion. Munni is very fond of the glittery bangles they sell on the street side. One day while walking down a market, she innocently picks up a pack of bangles before being stopped by the vendor. Pawan makes her return it, and takes her to the temple to apologize to God for stealing. As he teaches her to join her hands, Munni sneaks into a Mosque nearby. Pawan is hesitant to follow her inside but he does it anyway. To his utter surprise, he sees her reading the Quran in front of a shrine. For a few minutes, he feels like she betrayed him, because he would have never, alas until then, befriended a Muslim. But Rasika makes him realize that she is a human before being Muslim. She dislikes the fact that her father discriminates against people because of their religion, and she wants Pawan to be different. Pawan understands, and runs into the Mosque to get Munni. But by then, Munni has already left. As he nervously looks around for her, Munni runs to him, and hugs him tightly. At that moment, he accepts her as his responsibility entirely, overcoming his irrational fear of going against his religion. That night there is a cricket match opposing Pakistan and India, which the entire family watches television, cheering for India; except Munni who cheers when Pakistan scores. When the Pakistani team wins the game, Munni dances and kisses their flag through the television scree. Pawan approaches her, and asks Munni if she is from Pakistan. After weeks of shaking her head to every Indian city, Munni finally nods yes. Rasika’s father, Pandey, is furious. Being a Muslim was bad enough, but since the girl is from Pakistan, he can no longer allow her to stay at their home. Pawan promises to hand her over to the Pakistani embassy the next day. However, the embassy worker cannot grant her a visa without a passport. In Munni’s case, they don’t even know her real name, so a visa allotment is all the more impossible. To make matters worse, a riot takes place in front of the embassy, which then decides to close all visa processing for at least a month. As a last resort, Pawan takes Munni to a travel agency at Pandey’s suggestion. The travel agent promises to take the little girl to the other side of the border, and asks for a significant amount of rupees. Pawan and Rasika give up the almost all the money they had saved to purchase their own house, once married, in order to help Munni get back home to her parents. The next day, Pawan reluctantly brings Munni to the travel agent’s office, and leaves her there with the agent, after a tearful farewell. On his way home, Pawan notices a street vendor selling glittery bangles. He remembers that Munni liked them, and so he buys one for her. However, on returning to the travel agent’s office, he finds out that he has been tricked and cheated. In fact, the malicious agent has taken the little girl to a brothel, and is about to sell the little girl into prostitution! When he gets to the brothel, the otherwise composed Pawan loses his temper at the sight of the agent, counting the bills of money that he has just received from the brothel’s madam, in exchange for Munni. Seeing red, Pawan throws the man out of the window, beats up all the madam’s henchmen, gets out with Munni on his back, and brings the little girl, whom he just saved from the clutches of very evil people, back home with him again. Pawan then decides to bring Munni home himself. Although he has no connections in Pakistan, nor any knowledge about Pakistani villages, and to the great sadness of Rasika, Pawan packs his bags and makes his way to the border with Munni at his side. A few miles away from the border, in the desert, they meet a secret agent, named Ali, who illegally transports people to the other side of the border between India and Pakistan, through a tunnel hidden beneath the sand. After listening to Munni’s story, Ali is moved, and agrees to take them over the border, or rather under, for free. When Pawan and Munni reach Pakistan’s side of the border, Ali runs away for dear life, not wanting to be caught by the ferocious military border patrols. But being a Lord Hanuman’s devotee, Pawan refuses to run away with Ali, without asking the guards for permission. When the military patrol officers find Pawan, they beat him up, while Munni watches on, and silently cries. Pawan pretends to laugh a little even while being beaten, so the little girl would not be afraid. After finding out the reason for his travel, the head soldier asks him to feel free to do whatever he wants to in the following ten minutes, before they return for the next patrol round. Sometime thereafter, Pawan and Munni leave the desert and rejoin civilization. While eating at a restaurant in town, Munni sees a cop’s handcuffs, and takes them, assuming they are some sort of bracelet. But the cop soon finds out, and throws Pawan in jail, labeling him as an Indian spy, because of the lack of a passport. A struggling journalist, named Chand Nawab, finds out about the alleged spy, and goes to the police station in order to interview him. Nawab gets few and very vague answers from Pawan, and so he informs his media company that doesn’t take Pawan seriously. Inside the police station, a cop interrogates Pawan, but refuses to believe anything he has to say. Suddenly, Munni sees a picture on a table calendar, and she recognizes it as her village. Pawan is overjoyed, until the policeman forcefully squeezes Munni’s cheeks, to make her open her mouth and speak up. That’s too much for Pawan, who loses his temper and attacks the policeman, inviting more trouble for himself. Pawan manages to defeat the chief of police and his other officers, and then runs away from the police, along with Munni. Nawab sees them escaping, and follows them discreetly behind. They board a bus, where Pawan shows the conductor their destination, and also tells him Munni’s story. After finding out he is actually a good person, Nawab and the rest of the travelers decide to help him. They hide him and Munni on the top of the bus when the police come looking for them. At night, Nawab, Pawan, and Munni stay at a Mosque. A religious scholar, named Azad, also helps them, and he hides them from the policemen searching the entire city for the alleged spy. One of Azad’s students sees « Switzerland », written on the picture that Munni thought was her village. The group is back to square one … After that, Azad dresses up Pawan and Nawab in a burqa and manages to send them outside the city without the police noticing. Pawan, who was oblivious to Islam a few weeks ago, feels strange in such foreign, traditional clothing. He apologizes to Lord Hanuman, but is ready to do anything for the sake of saving Munni and bringing her back to her parents. For the next days, Pawan and Nawab take Munni to several different places, asking people if they know her. Nawab documents their journey and everything about Munni and Pawan’s relationship. One evening, as the trio is reviewing the footage from their time at the mosque, Munni recognizes her mother in one of the clips ! They see her getting into a specific bus, and so they go to see the bus driver the very next day. The driver names all the villages that are along his daily route. One of them is Sultanpur, which Munni confirms is her home ! Nawab and Pawan hug, having finally found their destination. Nawab also uploads the video documentary onto the Internet, but because of that the police get a hint of their location, and start chasing after them again. On their way to Sultanpur, the bus is stopped at a checkpoint in the mountains. With no way out, Pawan decides to distract the policemen by running away in one direction, while Nawab and Munni can get away in another. Indeed, while the policemen are busy trying to catch Pawan running down the mountain slope, Nawab takes charge of Munni, and succeeds in bringing her back to her village - where Munni run to her mother, who couldn’t be happier to see her. But while Munni is reuniting with her family, Pawan is apprehended and gets beaten up badly by the furious police. Meanwhile, the documentary on the internet goes viral, and bigger news channels start covering the story. Eventually, people find out that Pawan is not a spy, and that he is cruelly being held unjustly in prison for the supposed crime of helping a little girl reunite with her mother and family. Both the Pakistani people and the Indian people give him all their support. But the Pakistani authorities refuse to let him go free. In their book, he broke the law, and resisted arrest. So they go on torturing him in prison, beating him up for hours, drowning him until his last breath, and starving him. Nawab then gets onto a bigger televised platform, asking people to gather at the border, and ensure that Pawan is set free and is able to reach his home in India safely. The plan works, and a multitude of people from both sides come to the border, in crowds of thousands. Rasika and her family are also among the crowd, waiting for him on the Indian side of the border to come home to them. Eventually, the authorities have to back down. The crowd erupts chanting Pawan’s name, as he crosses over the border again, but this time from Pakistan to India. Munni is among the crowd on the Pakistan side of the border. She waves her arms and hands, desperately trying to catch Pawan’s attention. But because she is mute, she is unable to call out to him. Then all of a sudden, a miracle occurs: Munni manages to shout out « Mama! » - the name Pawan wanted her to call him, when they first met. The crowd goes silent, as Munni keeps shouting. Pawan hears her, and turns around and sees her. They run into each other’s arms for a big hug, in the center of the river between both fences of the border between India and Pakistan. This is one of the most heart-endearing movies of all times; and I believe you will also find the spinoff it inspired me quite beautiful and heart-touching. Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India ! - - - - - - - - - - FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Sincerely, Teri'irere Ito'arai ( Henrik ) Film Composer The Holy Spirit of India ! The Holy Spirit of Love ! The Holy Spirit of Life ! The Holy Spirit of Beauty ! The Holy Spirit of Wisdom !

As America awakens, this not so gentle giant - similar to ' Gulliver ' - finds itself tied down and imprisoned by thousands of wicked Lilliputians ... The flock of gullible sheep are being led once more by Judas goats ... alas to their ultimate, ignorant and dreadful demise ... I am curious as to what destiny, both the forces of evil and the forces of good, will eventually lead us all into ... ? {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of America ! The Holy Spirit of Love ! The Holy Spirit of India ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of Life ! The Holy Spirit of Wisdom !

This short film I composed while singing a couple of my favorite American songs - ' My Hometown ' - ' The Ballad of Marilyn Monroe ' - ' Dance me to the end of Love ' - was inspired to me by a iconic film of the late sixties ( 1970 ), whose title is : " Love Story " This story tells about how a Harvard Law student Oliver Barrett and a music student Jennifer Cavilleri, share a chemistry they cannot deny - and a love they cannot ignore. Despite their opposite backgrounds - a rich young man and a relatively poor young woman -, the young couple put their hearts on the line for each other. When they marry, Oliver’s wealthy father threatens to disown him. Jenny tries to reconcile the Barrett men, but to no avail. Oliver and Jenny continue to build their life together. Relying only on each other, they believe love can fix anything. But fate has other plans. Soon, what began as a brutally honest friendship, became the love story of their lives. Upon graduation from college, soon after the two love birds decide to marry against the wishes of Oliver's father, this stuck-up man thereupon severs ties with his son. Without his father's financial support, the couple struggles to pay Oliver's way through Harvard Law School with Jenny working as a private school teacher. They rent the top floor of a house near the Law School at 119 Oxford Street, in the Agassiz neighborhood of Cambridge, adjacent to a local laundromat. Graduating third in his class at Harvard Law, Oliver takes a position at a respectable New York law firm. With Oliver's new income, the pair of 24-year-olds decide to have a child. After failing, they consult a medical specialist, who after repeated tests, informs Oliver that Jenny is ill and will soon die. Oliver then tries again. While this is not stated explicitly, she appears to have leukemia. As instructed by his doctor, Oliver attempts to live a "normal life" without telling Jenny of her condition. Jenny nevertheless discovers her ailment after confronting her doctor about her recent illness. With their days together numbered, Jenny begins costly cancer therapy, and Oliver soon becomes unable to afford the multiplying hospital expenses. Desperate, he seeks financial relief from his father. When the senior Barrett asks if he needs the money because he got some girl "in trouble", Oliver says yes instead of telling his father the truth about Jenny's condition. From her hospital bed, Jenny speaks with her father about funeral arrangements, then asks for Oliver. She tells him to avoid blaming himself, and asks him to embrace her tightly before she dies. They lie together on the hospital bed. This story also includes the double meaning of a loving relationship between Oliver and his father, highlighted by the scene between Oliver and his father at the end of the book. When Mr. Barrett realizes that Jenny is ill and that his son borrowed the money for her, he immediately sets out for New York. By the time he reaches the hospital, Jenny has died. Mr. Barrett apologizes to his son, who replies with something Jenny once told him: "Love means never having to say you're sorry." {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of America ! The Holy Spirit of India ! The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of Life ! The Holy Spirit of Wisdom !

Beneath its collapse ... Truth is spinning in its tomb ... longing for its resurrection into the light of truth ... and into the minds of truthful men and in the hearts of loving women ... {=} FAIR USE - Section 107 of the Copyright Act 1976 {=} This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression in the manifestation of beauty and wisdom, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people of all sovereign cultures of the world. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, the resulting audio-visual composition is unique and original in its full assembly, and is for educational, inspirational and non-profit purposes only. The original film production images and original music melodies in this film composition, remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the cinematographic or musical state-of-the-art, or of my own speaking or singing voice, or of my own textual dialogues and photographies - and that I offer happily to the public worldwide, for their enjoyment of the fine arts of cinematography, photography, music and philosophy. Sincerely, Teri’irere Ito’arai - ( Henrik ! ) Film composer & amateur orator and singer : The Holy Spirit of India ! The Holy Spirit of America ! The Holy Spirit of Love ! The Holy Spirit of Beauty ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism ! The Holy Spirit of Sports ! The Holy Spirit of Martial Arts ! The Holy Spirit of Life ! The Holy Spirit of Wisdom !