holyspiritofindia

PING PONG ANYONE ?

AMERICAN SHERIFFS CAN DEFEND AMERICANS & THE AMERICAN CONSTITUTION AND GOOD MORALITY. {=} 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 !

Our world has gone mad - Those that govern us are now considering nuclear war and the destruction of the human race ... {=} 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 !

BRUCE LEE = MARTIAL ARTIST - PHILOSOPHER - DANCER - 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, 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 their enjoyment of the fine arts of cinematography, photography and music. 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 & Wisdom ! The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Heroism !

! WARNING ! VIOLENCE ! RAPE ! CHILD TRAFFICKING ! DEBAUCHERY ! MURDER ! PROSTITUTION ! TERRORISM ! WAR ! BLOODY MASSACRE ! = VIEWER DISCRETION ADVISED ! {=} 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 culture of India and of all sovereign cultures of 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 ! {=} 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 & Wisdom ! {=} The Holy Spirit of Singing ! The Holy Spirit of Humour !

EVIL GENOCIDE OF 100 MILLION NATIVE AMERICANS = HONORING THE GREAT SPIRIT OF OUR NATIVE AMERICAN BROTHERS & SISTERS ! One of my first loves in coming to America many years ago was the respect that grew in me for our fellow native tribes of people that are called 'Indians'. My heart bled for them, and still does. As modern day America heads into its full collapse and ultimate destruction, I still pray that as many children be spared as Life may see fit. Revenge for all the blood spilt, all the women raped, and the children and elders, and men killed, raped, tortured, tormented and massacred ... .What a tragedy for the inhabitants of Mother Earth and for all the good things we have been graced with. {=} 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 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 Justice ! Long Live Love ! Long Live Wisdom ! Long Live Peace ! Long Live all our Brothers and Sisters of the Native Americans and of the New World's Americans, and of all good people in this world. {=} Sincerely, Teri’irere Ito’arai (Henrik) Film composer & amateur orator and singer.

I composed this film to honor the memory, works and life, of Mother Teresa of Calcutta. One of the most highly respected and deeply pious women in the world, Saint Mother Teresa was internationally known for her charitable work among the victims of poverty and neglect - particularly in the slums of Calcutta (now Kolkata), India. She is also called Saint Teresa of Calcutta; and I like to call her ‹Mamasita› In 1979 she was awarded the Nobel Prize for Peace in recognition of her humanitarian efforts. She also received the Jewel of India, India’s highest civilian medal, as well as honorary degrees from academic institutions worldwide. The Roman Catholic Church declared her a saint in 2016. Mother Teresa’s original name was Agnes Gonxha Bojaxhiu. She was born in Skopje, Macedonia, and is of Albanian ancestry. She was baptized there on August 27, 1910. At the age of 18 she decided to become a nun, and she ventured to Dublin, Ireland, to join the Sisters of Loretto, a community of Irish nuns with a mission in the Archdiocese of Calcutta. After a year she left Ireland to join the Loretto convent in Darjeeling, India. Her work included a teaching post at St. Mary’s High School in Calcutta, where she witnessed the destitution that marked the city’s slums. In 1946, Mother Teresa later recalled, she received a “call within a call,” experiencing what she considered divine inspiration to begin a new chapter in her life, one devoted to helping the sick and impoverished. In that year she founded a new religious order, the Missionaries of Charity. This new order was officially recognized by the Roman Catholic Church in 1950. The order organized schools and opened centers to treat the blind, the aged, lepers, the disabled, and the dying. In 1952 Mother Teresa founded the Nirmal Hriday (“Place for the Pure of Heart”) in Calcutta - a home to which terminally ill people could go to die with dignity. Despite her own religious beliefs, Mother Teresa demanded that the volunteers and workers at the Nirmal Hriday respect the religious beliefs of those who came for sanctuary in their last days. Under her guidance a leper colony called Shanti Nagar (“Town of Peace”) was built near Asansol in West Bengal. In the years after its inception, the Missionaries of Charity established centers throughout the world. In 1968 Pope Paul VI called Mother Teresa to Rome, Italy, to found a home there. In 1971 he awarded her the first Pope John XXIII Peace Prize. Under Mother Teresa’s direction, the Missionaries of Charity established orphanages, nutrition centers, health care centers, and schools, bringing relief to diverse people, from impoverished blacks in South Africa to Christians and Muslims in war-torn Lebanon in the early 1980s to the poor in New York City’s Harlem section. After Mother Teresa suffered a heart attack in 1989, she was fitted with a pacemaker. Because of her health problems, she resigned as superior general of the order in April 1990. She was voted out of retirement by the members, however, and returned to her post in September. In early 1997 Mother Teresa began to suffer from increasingly severe health problems, including heart and kidney disorders. Only a few months after stepping down permanently from leadership of the Missionaries of Charity, she died of a heart attack in Calcutta on September 5, 1997, at the age of 87. At the time of her death, missions of Mother Teresa’s order existed in more than 90 countries and had grown to include some 4,000 nuns and hundreds of thousands of lay workers and volunteers. Sister Nirmala, a longtime member of the order, succeeded her as head of the organization. Within two years of Mother Teresa’s death, the process to declare her a saint was begun, with special authorization from Pope John Paul II. She was beatified on October 19, 2003, reaching the ranks of the blessed in what was then the shortest time in the history of the Roman Catholic Church. Mother Teresa was canonized on September 4, 2016. {=} 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 India ! {=} The Holy Spirit of Love ! {=} The Holy Spirit of Beauty & Wisdom ! {=} The Holy Spirit of Singing ! {=} The Holy Spirit of Humour ! {=} The Holy Spirit of Prayer !

This is the first prayer in the film composition, coming out early this Spring, under the banner ' Holy Spirit of India ! = Act 1 - Scene 20 = Mamasita Mother Teresa ! Long Live Prayer ! Long Live Love ! Long Live 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 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 India ! {=} The Holy Spirit of Love ! The Holy Spirit of Beauty & Wisdom ! {=} The Holy Spirit of Singing ! The Holy Spirit of Humour ! The Holy Spirit of Prayer !

This short composition of mine ‹ 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 India ! {=} The Holy Spirit of Love ! The Holy Spirit of Beauty & Wisdom ! {=} The Holy Spirit of Singing ! The Holy Spirit of Humour !

This collection, under the banner of the holy spirit of love, and specifically under the banner of the beauty and wisdom of love, has as its purpose the expression of thoughts, feelings, images, music and songs, inspired by beauty and by love. Nothing like a few drops of sweetness inside a world of brutes, right ? Or a few moments of beauty inside a world of increasing ugliness. This is the second chapter of my film essays on the topic of love under the banner of the ' Beauty & Wisdom of Love.' This film composition opens upon the river ' Agua Azul ', located in Mexico, in the state of Chiapas, close to the pyramids of Palenque, where I often went, sometimes spending months at a time, to swim in the river, dive off its countless waterfalls, and camp out along its banks, with a hammock, a tent, a machete and a gourd. I would go to Agua Azul to be alone in the heart of nature, and to get away from civilized society, in an era when only a lone rancher and farmer lived there, along with a dark-skinned, naked man with a long dark flowing beard. There were no shops, no vendors, no other human beings, except for the rancher that sold the milk from his cows and a few adventurers like me, that came to this magical river in the middle of the jungle to get away from it all in an attempt to find peace and fulfillment, in harmony with Nature and its exceptional beauty. In one of the upcoming chapters of this collection of film compositions, I will tell about the times I spent there. This original composition is governed by the laws of fair use. {=} 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 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 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 Beauty & Wisdom ! {=} The Holy Spirit of India ! {=} The Holy Spirit of Singing ! The Holy Spirit of Humour !

This is the second chapter of my film essays on the topic of love under the banner of the ' Beauty & Wisdom of Love.' It opens upon the river ' Agua Azul ', located in Mexico, in the state of Chiapas, close to the pyramids of Palenque, where I often went, sometimes spending months at a time, to swim in the river, dive off its countless waterfalls, and camp out along its banks, with a hammock, a tent, a machete and a gourd. I would go to Agua Azul to be alone in the heart of nature, and to get away from civilized society, in an era when only a lone rancher and farmer lived there, along with a dark-skinned, naked man with a long dark flowing beard. There were no shops, no vendors, no other human beings, except for the rancher that sold the milk from his cows and a few adventurers like me, that came to this magical river in the middle of the jungle to get away from it all in an attempt to find peace and fulfillment, in harmony with Nature and its exceptional beauty. In one of the upcoming chapters of this collection of film compositions, I will tell about the times I spent there. This composition is governed by the laws of fair use. {=} 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. Long Live Nature ! Long Live Beauty Long Live Love ! 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 & Wisdom ! The Holy Spirit of Singing ! The Holy Spirit of Humour !

Kashmir is a region of the world where Jesus Christ loved to live; and where he was known by the name of ' Issa Ziarati Hazrati Youza Asouph.' More so than Egypt, India, Palestine or Persia. If this is indeed true, to such a possibility, I have composed a short hymn to honor both the country of Kashmir and the man of God, who believed in spreading the light of truth and of humility; and the sense of whole-hearted love and compassion. {=} 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 culture of India, 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 that I offer freely and happily to the public worldwide. {=} Long Live India ! {=} Long Live Love ! {=} Long Live Christ - the Light of Truth ! {=} 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 Singing ! The Holy Spirit of Humour ! The Holy Spirit of Beauty & Wisdom !

What inspired me to take the morning off from my upcoming film on holy Mother Teresa of Calcutta - and to rapidly compose this film instead, as part of a new collection on the beauty and wisdom of love -, is a person named ‹Geraldine› … and about how she use to milk the cows as a young girl … This woman’s erudition in far beyond my own, and she has a perfect mastery of the fine art of writing. It is her quest to find love that motivated me to start yet another collection of films, in parallel to those under the banners of ‹The Holy Spirit of India !›; ‹The Holy Spirit of Singing! ›; and ‹The Holy Spirit of Love !› This new collection of films - inspired by the theme of love - will be part of a new and upcoming banner, entitled : ‹The Beauty & Wisdom of Love !› But coming back to Geraldine, I would like to share just one page of her 471-page essay on ‹ Love,› because it struck such a good chord in my heart that I found myself giggling with delight at almost every one of her brilliant sentences. It was refreshing to me, early this morning, to find a few drops of sweetness and love in this world of increasing brutes and insensitivity. I quote from Geraldine’s own words and brilliant mind : …/… Perhaps this is why the dream figure in ‹Heart of the Inner Chamber› sits on a three-legged milking stool. The very sort of stool I sat on when milking cows as a young girl. At an early age, I learned that the Christian myth had much to say about love and so I become a faithful student of that myth and the Roman Catholic faith until my early 20s. In particular, I thrived on an imagination of the Blessed Virgin Mary’s (BVM) unconditional love for me and consulted with her daily through prayer and imaginal dialogs. I faithfully wore a Mother of Perpetual Help medal around my neck, which was gifted me on my First Holy Communion. Two days after my mother’s death, when I was 7 years old, the BVM came to me in a vision and assured me that I could ask of her anything and she would help, and so I trusted her as my mediatrix and with good success. In my teens, I explored Paganism, free love, meditation, yoga, mystical and magical practices, and alchemy to understand more about love. However, it was not until early adulthood that I discovered my having any fully nourishing experience and gnosis of love was crippled by the environmental influences that threaded through my personal history. Birthing as an initiatory event into the complexities of love. After my first child was born I felt love for him, and surprisingly the biggest love I had ever known. I felt my heart rent open—my ego’s stance and epistemology dissolved by love. Despite this profound gift of loving, it caused me to become awkward in my living and disoriented as to how to proceed in its presence. It was with the question, “how do I live love—love as a verb” that I entered depth analysis. In analysis, I pondered love: what is it, how it works, who gets it and who does not, how to give it and receive it, when is it tender, when is it tough, and such. Pondering the nature of love, as this work proves, is still an occupation of mine. During my first analytic hour the analyst asked me to read Love Is Letting Go of Fear (Jampolsky, 1979). I was puzzled to think that my analyst thought me fearful and unloving but compliantly took the copy offered me. To deepen my curiosity about love, I unwittingly embarked on a dark-night-of-the-soul-journey. I have learnt much and loved much since that time. Still, here decades later I am still passionately curious about the nature of love, and how best to love. Yet, love and loving slip easily into the voluptuous void from whence I seek to reclaim it or wait empty of empathy until it returns to me—waiting for it with a “heart the shape of a begging bowl” (Cohen, 2004b). I am joyfully bounded by harmony, when love graces me. Yet love at times also disrupts my will and turns everything upside down and inside out. I notice that when love leaves willfulness and destructiveness fill the void created by love departing. Love sometimes asks me to collude in the necessary death of things. Love is my loyal friend and love is my harsh adversary. Love is mercurial and baffling, yet I want only to dwell with love, want love be the presence that I bring and which imbues me. …/… The reason Geraldine made me laugh is that I found everything she had to say so authentically true. One day, I hope to read through all of her essay, and I chuckle at the thought of making oral comments on yet another film composition of mine in the future, as I travel along her inspirational, intellectual and emotional journeys, based on the theme of love’s geography in this mysterious world of ours. {=} 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 culture of India, 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 that I offer freely and happily to the public worldwide. {=} Long Live India ! {=} Long Live Love ! {=} 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 Singing ! The Holy Spirit of Humour ! The Holy Spirit of Beauty & Wisdom !

Themed on reincarnation, courage, bravery, and eternal love, this short spinoff film composition was inspired to me by the film Magadheera - ‹The Heroic Man› - a 2009 Indian Telugu-language fantasy action film, directed by S. S. Rajamouli and produced by Allu Aravind's Geetha Arts; on a story by V. Vijayendra Prasad. The film stars Ram Charan, Srihari, Kajal Aggarwal and Dev Gill. It is the story about a warrior - Kala Bhairava -, who gets reincarnated 400 years after the year 1609 AD, after trying to save his kingdom and its beautiful, sensual princess, named Mitravinda. Alas, having to fight solo against a whole army on a mountain top, both lovers perish together, and fall to their death many hundreds of meters below. Back in modern times, his reincarnation persona, as a motorcycle champion, then sets to fight evil forces once again, against all odds, and to win back his lovely maiden. This time, however, both lovers survive all the challenges thrown at them, and are able to live happily ever after ! Made on a budget of close to $ 10 million, Magadheera was the most expensive Telugu film at the time. The film's production began early in March 2008. The soundtrack was composed by M. M. Keeravani, while the cinematography was done by K. K. Senthil Kumar. The action sequences were choreographed by Peter Hein and the duo of Ram–Lakshman. It was the first Telugu film to list a "visual effects producer" in its credits. Magadheera was released on 31 July 2009 to critical acclaim and commercial success, becoming the highest-grossing Telugu film in history at the time. Its 1000-day theatrical run surpassed the 2005 film ‹Chandramukhi›, as the longest-running South Indian film. The film won the National Award for Best Choreography, and Best Special Effects at the 57th National Film Awards; as well as winning six Filmfare Awards, and nine state Nandi Awards. The film's success catapulted the lead actors to stardom. The Japanese-dubbed version of the film released in August 2018 and became one of the highest-grossing Indian films ever at the Japanese box office. In 2014, the film was remade in Bengali as ‹Yoddha: The Warrior.›

This composition was inspired to me by Marilyn Monroe, who was a brilliant American actress, comedienne, singer, and model. /=/ Born on June 1, 1926 inLos Angeles, California, USA, she died on August 5, 1962 inLos Angeles, California, USA, from an alleged drug overdose, among suspicions of foul-play and murder. /=/ During her short life, Marilyn Monroe became one of the world's most enduring iconic figures, and she is remembered both for her attractive embodiment of the Hollywood sex-symbol, as well as for her tragic, personal and professional struggles, within the film industry. /=/ Her life and death at a young age are still the subjects of much controversy and speculation. /=/ Marilyn Monroe was born, officially, as ‘Norma Jeane Mortenson.’ /=/ Probably the most celebrated of all actresses in cinematographic history - this side of the Great Flood and the fall of Atlantis and Lemuria -, Marilyn Monroe was born Norma Jeane Mortenson in the charity ward of the Los Angeles General Hospital on June 1, 1926. /=/ Marilyn’s mother, ‘Gladys Pearl’, was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri. She worked in Hollywood, as a film-cutter, at ‘Consolidated Film Industries’ and R.K.O. Studios. /=/ Marilyn's biological father has been established in recent years, through DNA testing, as Charles Stanley Gifford - born in Newport, Rhode Island, to a family with deep roots in the state. /=/ Much to her chagrin, Marilyn grew up not knowing who her father really was, a fact that affected her dealings with most, if not all the men in her life. /=/ Her mother Gladys gave her daughter, Norma Jeane, the name of Baker. /=/ Poverty was a constant companion to Gladys and little Norma Jeane; alias ‘Marilyn Monroe’, during her future career as a Hollywood movie actress. /=/ But on top of poverty, Marilyn’s mother, alas, suffered from mental illness problems; and she spent much time going in and out of mental institutions for the rest of her life. /=/ Because of her mother’s unstable life, ‘Norma Jeane Baker’ - aka Marilyn Monroe - spent lots of time in foster homes. /=/ To begin with, when she was nine, Marilyn was placed in an orphanage where she was to stay for the next two years. /=/ Upon being released from the orphanage, Marilyn went to yet another foster home. /=/ Indeed, because Gladys was mentally and financially unable to care for young Marilyn, Gladys placed her little daughter in the care of a foster family, named: The Bolenders. /=/ Although the Bolender family wanted to adopt Marilyn, Gladys was eventually able to stabilize her lifestyle, and so she eagerly took Marilyn back into her care, when Marilyn was 7 years old. /=/ However, and very sadly so, shortly after regaining custody of Marilyn, Gladys had a complete mental breakdown. Marilyn’s mother was diagnosed as a paranoid schizophrenic, and was committed to a state mental hospital. /=/ Marilyn’s mother then spent the rest of her life going in and out of hospitals, and rarely had contact ever gain with young Marilyn. /=/ Once Marilyn became an adult and celebrated as a film star, she was able to pay a woman, by the name of Inez Melson, to look in on the institutionalized Gladys, and provide Marilyn with detailed reports of her progress. /=/ But as the often strange turn of events that compose the fates of all of us mere mortal human beings would have it, Gladys outlived her daughter, dying in 1984 - a full 22 years after her daughter’s premature and mysterious trespass in 1962. /=/
As for young Marilyn, back when she was 7 years old and ‘home again with her mother’, she was taken in by Gladys' best friend ‘Grace Goddard’ at first, followed by a series of foster homes, and then placed into the ‘Los Angeles Orphan's Home’ in 1935 at the age of 9. /=/ Marilyn was traumatized by her experience there, despite the Orphan's Home being an adequate living facility. /=/ Her mother’s friend, Grace Goddard, eventually took Marilyn back to live with her in 1937 - although this stay did not last long, because Grace's husband began molesting Marilyn and attempting to rape her. /=/ After this sinister incident, Marilyn went to live with Grace's ‘Aunt Ana.’ /=/ But due to Aunt Ana's advanced age, she could not care properly for Marilyn. /=/ Therefore, Marilyn, once again for the third time, had to return to live with the Goddards. /=/ After a while, the Goddards had to relocate their residence out-of-state; and according to the law, they could not take Marilyn with them. /=/ Marilyn only had two choices: to return to the orphanage, or to get married. /=/ Marilyn was then only 16 years old, but rather than facing her dreaded orphanage once again, she went ahead and got married to a 21 year-old aircraft plant worker, named James Dougherty. /=/ Their marriage lasted only four years, and they divorced in 1946, in Las Vegas, Nevada. /=/ Insofar as why she divorced James Dougherty, Marilyn simply said: ‘My marriage didn't make me sad, but it didn't make me happy either. My husband and I hardly spoke to each other. This wasn't because we were angry. We just had nothing to say to one another. Frankly, I was dying of boredom. Grace McKee had arranged the marriage for me, I never had a choice. There's not much to say about it. They couldn't support me, and they had to work out something. And so I got married …! /=/ By the time of her divorce to her first regular-joe husband, Marilyn had begun to model swimsuits, and decided to bleach her hair blonde, trying upwards of 12 different hues of blonde. /=/ Various photographs made their way into the public eye off and on, where some were eventually seen by R.K.O Pictures chief executive, the famous Howard Hughes - the dashing multi-millionaire, daring aviator and pioneer - and eclectic film producer. /=/ Howard Hughes offered Marilyn a screen test. But an agent suggested to Marilyn that 20th Century-Fox would be the better choice for her, since it was a much bigger, more conventional and more prestigious Hollywood studio. /=/ Marilyn was signed to a contract with 20th Century-Fox, at $125 per week for a six-month period - that was then increased by $25 per week at the end of that time, when her contract was lengthened by the studio. /=/
Marilyn Monroe’s first film was a bit part in 1947 film ‘The Shocking Miss Pilgrim.’ /=/ Her next production was not much better, with a bit part in the 1948 forgettable film ‘Scudda Hoo! Scudda Hay!’ /=/ Two of the three brief scenes, in which she appeared, wound up on the cutting room floor … /=/ Later that same year, she was given a somewhat better role as ‘Evie’ in the 1947 film ‘Dangerous Years.’ /=/ However, not meeting their parameters, 20th Century-Fox declined to renew Marilyn’s contract. So licking her wounds and her bruised ego, she bravely went back to modeling, as well as to acting and singing school. /=/
Columbia Pictures then picked her up to play ‘Peggy Martin’ in the 1948 film ‘Ladies of the Chorus’; where Marilyn sang three numbers. /=/ Notices from the critics were favorable to her, if not the film itself; but nevertheless Columbia Pictures still dropped her. /=/ Once again Marilyn returned to modeling, and to acting school. /=/ In 1949, she appeared in United Artists' 1949 film ‘Love Happy.’ /=/ It was also that same year she posed nude for the now famous calendar shot, which was later to appear in ‘Playboy magazine’ in 1953; and further boost her career. /=/ Marilyn Monroe would be the first Playboy centerfold in that magazine's long and illustrious history. /=/ The next year 1950 proved to be a good year for Marilyn ! /=/ Marilyn appeared in five films. But the best of all news was that she received very good critics reviews for her roles in two of them: the 1950 Metro-Goldwyn-Mayer Studios film - ‘Asphalt Jungle’; and the 20th Century-Fox 1950 film - ‘All About Eve.’ /=/ Even though both of Marilyn’s roles were basically not much more than bit-parts, many movie fans remembered her dizzy, but very sexy blonde performance. /=/
In 1951, Marilyn got a fairly sizable role in the film 1951 20th Century-Fox American comedy-drama film - ‘Love Nest.’ /=/ The public was now getting to know her; and people liked what they saw in her ! /=/ Marilyn had an intoxicating quality of volcanic sexuality, wrapped in an aura of almost childlike innocence. /=/ In 1952, Marilyn appeared in 1952 film - ‘Don’t Bother to Knock’ -, in which she played a somewhat mentally-unbalanced babysitter. /=/ Critics didn't particularly care for her work in this picture. But she made a much more favorable impression later in the year in the 1952 film - ‘Monkey Business’ -, where Marilyn was seen, for the first time, as a platinum blonde: a special look that became her Marilyn Monroe trademark. /=/ Her platinum blonde look was reminiscent of Marilyn’s own favorite actress - Jean Harlow. As an American actress, known for her portrayal of ‘bad girl’ characters, Jean Harlow was the leading sex symbol of the early 1930s, and one of the defining figures of the pre-Code era of American cinema. Often nicknamed the ‘Blonde Bombshell’ or also the ‘Platinum Blonde’, Jean Harlow was popular for her ‘Laughing Vamp’ screen persona. Femme fatale types were often called vamps – short for female vampires, aka ‘vampiresses.’ The lasting image of Jean Harlow is head thrown back, roaring with bawdy, evil laughter, with all the men hanging on her every word. Sexy, scary, with every male in the room wrapped around her little finger, she set the standard for the likes of Marilyn Monroe, who as another blonde bombshell, would have a tragically short life - Marilyn Monroe dying at age 36; and Jean Harlow dying at age 26. /=/ The next year, she appeared in the 1953 film - ‘Gentlemen Prefer Blondes,’ - as Lorelei Lee. /=/ It was also the same year that Marilyn began dating the baseball champion, Joe DiMaggio. /=/
Marilyn was now a genuine box-office drawing card. /=/ Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in the 1953 film - ‘How to Marry a Millionaire.’ /=/ Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience; especially the male members. /=/ In late June 1953, Marilyn flew to Calgary in Canada, and from there she traveled by special train with the rest of the crew to the Banff Springs Hotel, which would serve as their base during the Canadian filming of Otto Preminger’s spectacular film ‘River of No Return,’ whose filming was completed at the end of September 1953, and released by 20th Century Fox in Spring 1954. /=/ ‘River of No Return’ was shot in Technicolor and CinemaScope, on location in the Canadian Rockies - in Banff, Jasper National Parks, in Lake Louise in Alberta, and at the Salmon River in Idaho, where the story actually takes place - and where Marilyn Monroe almost drowned to death and severely wounded one of her ankles. /=/ In this wonderful, action-packed, romantic film, Marilyn appears alongside Robert Mitchum - who saved her from drowning in the river in real life -, within breathtaking wilderness, and with much dramatic action. /=/ In ‘River of No Return,’ Marilyn also displays her wonderful singing and guitar playing talents. /=/ A couple of months later, on Thursday, January 14th 1954, Marilyn got married to the American baseball champion, Joe DiMaggio. /=/ Marilyn then promptly proceeded to film her 1954 film hit - ‘There’s No Business Like Show Business.’ /=/ ‘There’s No Business Like Show Business’ was quickly followed by the 1955 film - ‘The Seven Year Itch.’ /=/ ‘The Seven Year Itch’ showcased Marilyn’s considerable comedic talent, and contained what is arguably one of the most memorable moments in cinema history: Marilyn, standing above a subway grating, while the wind from a passing subway is blowing her delicate white dress up and up, again and again. /=/
Her husband, Joe DiMaggio, having appeared on the set during its prior filming was not amused at all; and as a result, the couple had their first major falling out. /=/
By October 1954, the marriage had all but crumbled, so Marilyn Monroe announced her divorce from Joe DiMaggio - although the divorce was not finalized until a year later, on October 31, 1955. /=/ In 1955, she was suspended by 20th Century-Fox, for not reporting for work on their 1955 film - ‘How to Be Very, Very Popular.’ /=/ It was Marilyn’s second suspension - her first suspension having been for not reporting for the production of the 1955 film - ‘The Girl in the Red Velvet Swing.’ Both roles went to other eager actresses. /=/ By that time, Marilyn’s work was slowing down, due to her habit of being continually late to the set, due to her illnesses - whether real or hypochondriacally imagined -, and generally due to being unwilling to sensibly cooperate with her producers, directors, and fellow actors and actresses. /=/
However in the 1956 film - ‘Bus Stop’ -, Marilyn finally showed her critics that she could play a straight dramatic role; and play it extremely well. /=/ 1956 was also the same year that Marilyn Monroe married the successful playwright author - Arthur Miller. Among his most popular plays are ‘All My Sons,’ ‘Death of a Salesman,’ ‘The Crucible,’ and ‘A View from the Bridge.’ /=/ They divorced less than 5 years later, on January 20, 1961. Besides his successful plays for the theater, Arthur Miller also wrote several movie screenplays - most notably to honor his wife Marilyn in the famous 1961 black & white film - ‘The Misfits’ -, in which she co-stars with Clark Gable, one of her childhood’s father figures. ‘The Misfits’ is from among all her movies, one of my top favorites. /=/ While Marilyn Monroe was married to Arthur Miller, in 1957, she flew to Britain to act in the 1957 film - ‘The Prince and the Showgirl.’ ‘The Prince and the Showgirl’ - originally titled ‘The Sleeping Prince’ - is a British romantic comedy film, in which Marilyn Monroe stars alongside Laurence Olivier, who also served as director and producer of the film. /=/ ‘The Prince and the Showgirl’ is romantic comedy, sort of goofy and contrived at times, mainly due to Laurence Olivier’s attitude against Marilyn’s own successful acting style. As a result of this friction between them, this film proved itself less than impressive than her recent work, both critically and financially. ‘The Prince and the Showgirl’ made money, for sure, but critics panned it for being slow-moving, too limiting and somewhat dull. /=/ After taking a year off during 1958, during which she posed for Life magazine with stunning pictures from the photographer Richard Avedon - alongside an article by Marilyn’s playwright husband, Arthur Miller, entitled “My Wife, Marilyn,” - Marilyn Monroe went back to her acting work and returned to the screen the next year for the delightful comedy - ‘Some Like It Hot’ -, in which she starred alongside Tony Curtis and Jack Lemmon. /=/ ‘Some Like It Hot’ was an absolute smash hit, wherein Tony Curtis and Jack Lemmon, following their witnessing of the Chicago mafia’s saint valentine’s day massacre, must pretend to be females in order to join an all-girl band, so they can flee the mobsters, while getting work alongside another musician in the band, who plays the ukulele . . . and is none other than Marilyn Monroe ! /=/ ‘Some Like It Hot’ was to be Marilyn's only film for the year. Just like Marilyn had learned to play the guitar for her role in alongside Robert Mitchum in the 1954 film - ‘River of No Return’ -, she learned to play the ukulele for her enthusiastic role in ‘Some Like It Hot.’ I remember seeing it when I was 9 years old in Hamburg, preceded by an animation feature of the Pink Panther, and coming away from the movie theater, totally smitten by Marilyn Monroe’s performance. It was the first time I had ever seen or heard of Marilyn Monroe. For sure, I was charmed …! /=/
In 1960, Marilyn appeared in George Cukor's 1960 film - ‘Let’s Make Love,’ with Tony Randall and the french lover-boy-extraodinaire par excellence, Yves Montand. /=/ Again, while ‘Let’s Make Love’ made money, it was critically panned as stodgy and slow-moving. /=/ The following year, in 1961, Marilyn made what was to be her final film - ‘The Misfits.’ /=/ ‘The Misfits’ also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. /=/ ‘The Misfits’ became a popular film, with critics and the public alike. /=/ In 1962, Marilyn was chosen to star in Fox's ‘Something's Got to Give.’ /=/ But once again, Marilyn’s chronic absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. /=/ Consequently, it looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. /=/ She was only 36 years old, and she either committed suicide, or most likely was murdered soon after. During her short-lived but spectacular life, Marilyn had acted in only thirty films, but her legendary status and mysticism will remain with film history for ever. /=/ In her memoir about the sexual predators in her industry, Marilyn said: I met them all. Phoniness and failure were all over them. Some were vicious and crooked. But they were as near to the movies as you could get. So you sat with them, listening to their lies and schemes. And you saw Hollywood with their eyes, an overcrowded brothel, a merry-go-round with beds for horses…! /=/ /=/ /=/ 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 Beauty & Art & Love ! /=/ Sincerely, /=/ Teri'irere Ito'arai ( Henrik ) Film Composer /=/ The Holy Spirit of Love !

HOLY SPIRIT OF SINGING ! THE HOLY SPIRIT OF DOGS ! {=} {=} In 1899, Rudyard Kipling - a prolific poet, an adventure story novelist who wrote ‹The Man who would be King›, and a writer of short fiction for both adults and children -, extolled the dog’s most famous virtue – its undying loyalty and devotion to its owner. {=} Kipling was a dog-lover, who enjoyed a close bond with the animals throughout his life. As Andrew Lycett observes in his superb biography on Rudyard Kipling, Kipling’s dogs often took on the role of the woman in his life. {=} So it should come as little surprise that Kipling wrote a poem in praise of the bond between men and dogs. ‘The Power of the Dog’ suggests that dogs have such a hold over men that they can, indeed, break a man’s heart as a woman can: ‘So why in - Heaven (before we are there) - should we give our hearts to a dog to tear?’ {=} Dogs are heart-breaking because their lifespans are significantly shorter than our own, so we have to suffer the heartbreak of burying several loyal companions in one lifetime (as Kipling himself did). {=} Whilst the tone and rhythm of his poem -The Power of the Dog - come across as song-like (especially with its refrain closing each stanza) and almost playful and light, there’s no doubt that Kipling was being serious about the close bond humans can have with their canine companions. {=} {=} There is sorrow enough in the natural way From men and women to fill our day; And when we are certain of sorrow in store, Why do we always arrange for more? Brothers and sisters, I bid you beware Of giving your heart to a dog to tear. {=} Buy a pup and your money will buy Love unflinching that cannot lie Perfect passion and worship fed By a kick in the ribs or a pat on the head. Nevertheless it is hardly fair To risk your heart for a dog to tear. {=} When the fourteen years which Nature permits Are closing in asthma, or tumour, or fits, And the vet’s unspoken prescription runs To lethal chambers or loaded guns, Then you will find – it’s your own affair, – But … you’ve given your heart to a dog to tear. {=} When the body that lived at your single will, With its whimper of welcome, is stilled (how still!), When the spirit that answered your every mood Is gone – wherever it goes – for good, You will discover how much you care, And will give your heart to a dog to tear! {=} We’ve sorrow enough in the natural way, When it comes to burying Christian clay. Our loves are not given, but only lent, At compound interest of cent per cent, Though it is not always the case, I believe, That the longer we’ve kept ’em, the more do we grieve; For, when debts are payable, right or wrong, A short-time loan is as bad as a long – So why in – Heaven (before we are there) Should we give our hearts to a dog to tear? {=} 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, with my respect and love for the people and culture of India, 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 of my own singing voice, and that I offer freely and happily to the public worldwide. Long Live the healing and inspiring Art of Singing ! {=} Sincerely, Teri’irere Ito’arai (Henrik) Film composer & amateur singer {=} The Holy Spirit of Singing ! The Holy Spirit of Beauty ! The Holy Spirit of India !

HOLY SPIRIT OF SINGING ! LOVELY WINDY LULLABY GONE WITH THE WIND ! As I progressively learn to sing without professional training, but as an additional therapy to recover and keep my good health and bright outlook on life, this composition blends scenes from the movie classic David Selznick's 'Gone with the Wind' with my singing of Brad Paisley's 'A Whiskey Lullaby'. 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, with my respect and love for the people and culture of India, 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 of my own singing voice, and that I offer freely and happily to the public worldwide. Long Live the healing and inspiring Art of Singing ! Sincerely, Teri’irere Ito’arai (Henrik) Film composer & amateur singer The Holy Spirit of Singing ! The Holy Spirit of Beauty ! The Holy Spirit of India !

BRITISH EMPIRE MASSACRES OF INDIAN PEOPLE & THE RISE OF MAHATMA GANDHI AND NON-VIOLENT NON-COMPLIANCE TO BRITISH CRUEL AND UNJUST RULE. /=/ On April 13, 1919, British troops opened fire on a peaceful protest in Amritsar, India, killing many hundreds of unarmed native Indian civilians. /=/ This event is known as the Amritsar Massacre, and it was a turning point in Indian history. /=/ The massacre galvanized the Indian independence movement, and helped to create a united front against oppressive and repressive British colonialism. /=/ The British had been in control of India for nearly two centuries, when the Amritsar Massacre occurred. /=/ During that time, the British had managed to amass a large amount of wealth and control over the country, severely impoverishing the country, sending hundreds of millions of its people into poverty and famine; and killing upwards of two hundred million victims … ! /=/ The British rulers were not content with simply ruling India; they also sought to remake it in their own image. /=/ They did this by imposing Western values and ideas on the Indian people, in an attempt to destroy their beautiful culture and rich history. /=/ This was particularly evident in the education system, which was designed to produce so-called ‹good citizens of the British Empire.› /=/ The Indians suffered greatly under their heavy-handed rule. /=/ There were many uprisings against British rule, but alas none were successful in overthrowing their ruthless colonial power and exploitation. /=/ The most serious challenge to British rule came from the Sepoy Mutiny of 1857. /=/ This revolt was started by Hindu and Muslim soldiers in the British army, who were upset about being forced to use cartridges that were greased with pork and beef fat. The mutiny was quickly put down, but it showed the potential for resistance to British rule. /=/ After the completion of World War One in 1918, the British Empire was in a weak position. The war had drained the resources of the Empire, and there was widespread discontent among the colonized peoples. /=/ The key events leading up to the massacre began in 1918, when the British implemented a series of repressive measures in India, in response to rising nationalist sentiment. /=/ These measures included banning public meetings, censoring the press, and jailing political leaders without trial. /=/ In India, widespread discontent manifested itself in the form of protests against the Rowlatt Acts. These were a set of laws that allowed the government to arrest and imprison people without trial. The government curtailed freedom of speech and assembly to prevent violence or other disruptions. /=/ The Rowlatt Acts outraged the Indian National Congress, which was the leading nationalist party at the time - and included such leaders as : Muhammad Ali Jinnah, Motilal Nehru, and Mahatma Gandhi. /=/ The Congress called for a nationwide protest against the Acts on April 13, 1919. /=/ The British authorities in India were concerned about the possibility of violence, and sought to prevent the protest from taking place. They did this by declaring a curfew and banning public meetings. When these measures failed to stop the protests, they dispatched troops to disperse the crowds. /=/ The British were facing increasing unrest from their colonies around the world. This made them nervous about potential uprisings in India. The Lieutenant-Governor of Punjab, Michael O'Dwyer, felt that the British were the true rulers of India. He was also extremely concerned about the increasing cooperation between Hindus, Muslims, and Sikhs in Punjab at the time. /=/ In an attempt to minimize civil unrest in the Punjab region, the British authorities banned nationalist leaders from traveling there, including Gandhi himself. /=/ On April 13, 1919, a large crowd of unarmed civilians gathered in Jallianwala Bagh to protest against the Rowlatt Acts. The protest was peaceful and there was no violence. However, the British authorities saw it as a potential threat to their control over India. /=/ Colonel Reginald Dyer, who was born and raised in India, led a contingent of soldiers toward the plaza. When their armored car, which was armed with a machine gun, could not fit into the little passageway leading to the plaza, the soldiers had to leave it behind. /=/ The decision was made to break up the crowd by lethal force. On orders from Colonel Reginald Dyer, troops opened fire on the crowd. /=/ The protesters were unarmed and posed no threat to the British troops. However, General Reginald Dyer ordered the troops to continue firing for ten minutes. /=/ People began to leap into a water well, and push through the limited gates that provided exits, to save themselves, and they were crushed by others who followed. Many of them suffocated or perished when they were overcome with people running over them. /=/ The exact number of people wounded or killed is unknown. Early estimates ranged from 291 dead (as alleged by British officials) to well over 1,500 (as stated by the Indian National Congress report.) /=/ Following the bloodshed, Dyer, became known as the ‹Butcher of Amritsar› /=/ The consequences of the massacre were far-reaching. The incident caused widespread outrage among Indians and increased support for the independence movement. /=/ Soon after this bloody massacre, Mahatma Gandhi rose to power, and through non-violent non-compliance enabled India to defeat British rule and regain its independence as its own sovereign country once again. /=/ /=/ /=/ 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 India ! 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 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 culture of India, 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. Long Live India ! Sincerely, Teri’irere Ito’arai Film composer The Holy Spirit of India !

HOLY SPIRIT OF INDIA ! = ACT 1 - SCENE 11 = KESARI ! /=/ This spinoff composition is inspired by the 2019 film ‹Kesari›, directed by Anurag Singh, with Akshay Kumar, Parineeti Chopra, Suvinder Vicky. It is the story about a valiant warrior - Havaldar Ishwar Singh - who is posted at a fort on the Afghan border. While returning from is patrol duty one day, Havaldar Ishwar Singh saves an Afghan women from being stoned to death, after trying to escape her cruel and unjust marriage. Consequently 10,000 Afghan soldiers attack the fort, where Ishwar Singh and his 21 vastly outnumbered soldiers fight against the Afghans until their last breath - reminiscent of the 300 Spartans, who fought to defend the Thermopiles gorge from 50,000 Persians centuries before. /=/ 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 India ! Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

DANCE IN INDIA = INDIA IS THE DANCING COUNTRY OF EARTH PAR EXCELLENCE ! /=/ 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 : 1) 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 Indian dance. Some dances feature more than 600 gestures, each with a specific meaning. They often have a codified meaning that is known to the audiences that watch the dances. It has been suggested that the codified was developed as a way to convey a single message by dance troupes traveling through areas where different languages are spoken or they developed mnemonic devices 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 expressiveness 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 leg 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 holds the drum that keeps the beat of the rhythm of creation. The fourth 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 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 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 a 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 Madhya 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, illustrate 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 shamanism 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 in 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 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 of 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 Thanjavur 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 own 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 India ! Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

Mahatma Gandhi once said: «Live as if you were to die tomorrow. Learn as if you were to live forever.» The best education is a moral and virtuous one. - - - - - Having a good teacher is a blessing, as is the case for the students and their teacher in this short film ‹Taare›, which is a spinoff on the 2007 Indian Hindi-language drama film, ‹Taare Zameen Par›, produced and directed by Aamir Khan. The film explores the life and imagination of Ishaan, an 8-year-old boy who, despite excelling in art, has poor academic performance. This leads his parents to send him to a boarding school, where a new art teacher, Nikumbh ( played by Khan ) - who often loves to dance with all his pupils in class - suspects that the boy is dyslexic, and so he helps him to overcome his reading disorder and to improve his attitude and social relationships. - - - - - 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 India ! Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

This fun and romantic composition ‹Pyaar To Hona› is a spinoff on the 1998 Indian romantic comedy film - ‹Pyaar To Hona Hi Tha› ( translation = Love was bound to happen ), directed by written and directed by Anees Bazmee, starring Ajay Devgn and Kajol ; and which itself is a takeoff on the 1995 American film ‹French Kiss›, starring Meg Ryan and Kevin Kline. The story evolves around a beautiful young lady, Sanjana, played by Kajol, who, for all her wonderful charms and pretty sex-appeal, is on the other hand, at times, quite an exceptionally clumsy young woman. Sanjana lives in Paris with her uncle (Harish Patel), and is planning to marry her love, Rahul (Bijay Anand). Rahul is about to go to India on a business trip, and Sanjana insists on going with him, even though she has an intense fear of flying. When the plane is ready to take off, Sanjana's fear gets the best of her, and she creates havoc on the plane, managing to get herself escorted off the aircraft safely. A few days later, during Rahul's daily phone call to Sanjana, Rahul blurts out that he has fallen in love with another young woman, named Nisha ( played by Kashmera Shah ), and that he no longer intends to come back to Paris to marry Sanjana. Sanjana is thoroughly shocked, but she decides to fly to India anyway, and get Rahul back whatever the cost, including overcoming her fear of flying. As the plane is about to take off, a passenger named Shekhar ( played by Ajay Devgn ) sits next to her. Shekhar quickly realizes that Sanjana is scared of flying ; so he diverts her attention by teasing her and provoking her to drink alcohol like there was no tomorrow ! During the flight, Sanjana - quite the merry and tipsy young woman she had been drinking herself into - accidentally spills a drink on Shekhar, and realizes that he is hiding something. Shekhar goes off to the toilet, and while inside he pulls a plant wrapped in cloth out of his pocket. He unwraps the cloth covering the plant, revealing a diamond necklace that he had stolen while in Paris. After returning to his seat, Shekhar puts the necklace into one of Sanjana's bags in order to sneak it by customs upon arrival in India. After a chaotic journey, whereby the plane must traverse a severe lighting and thunderstorm, the plane lands safely in India. As fate would have it, Sanjana’s bags, however, are eventually stolen, and so Shekhar decides to stay with her as a way of staying close to the diamond necklace. Meanwhile, Police Inspector Khan ( played by Om Puri) is hunting after Shekhar for stealing the necklace. Shekhar and Sanjana end up in Shekhar's native village, where they participate in the festivities surrounding the wedding of Shekhar's sister, Chutki ( played by Purnima Talwalkar ). Shekhar falls in love with Sanjana, but does not tell her. Meanwhile, Sanjana finds out that Shekhar wanted to earn money for the surgery of his nephew, who needs a heart transplant. So Sanjana tells Shekhar that she was aware of the diamond necklace, and that she has kept all along, and she asks Shekhar to help her find her fiancé Rahul, though he had confessed to her that he had gone rogue with another woman. They find out that Rahul has gone to Palam Beach with his new flame, the hot and sexy Nisha. Sanjana, who still in love with Rahul - or her idea of the ideal Rahul -, is determined to separate them. So she and Shekhar go to Palam Beach, to go and find Rahul and Nisha, with Shekhar pretending to be Sanjana's boyfriend, in order to make Rahul jealous, while being careful not to reveal his true feelings to Sanjana. Sanjana, unfortunately, opts for another plot – acting as a rich heiress – and makes Rahul rethink his relationship with her. Shekhar and Sanjana get invited to Nisha's birthday party, where Nisha proudly announces that she and Rahul are engaged to be married. Sanjana is shocked, and in a moment of pure epiphany, she realizes that she has fallen for the brooding, but intense and charming Shekhar. However, she does not tell him; not knowing that he is in love with her as well. One day, Inspector Khan finally catches up with Sanjana, and he tells her that Shekhar has stolen the necklace and that he wants it back without having to arrest him for theft. Sanjana, knowing how important the necklace is for Shekhar, gives it back to Inspector Khan. She then tells her boss in Paris to get all her money, which is french francs currency, and to convert it all to rupees, to give to Shekhar. She then tells Shekhar that she sold the necklace, and that she has decided to return to France. After Sanjana leaves, Inspector Khan tells Shekhar what Sanjana did for him, and so he rushes off to the airport to tell Sanjana of his deep love for her. Shekhar manages to stop her flight from taking off. He boards the plane, and tells Sanjana that he loves her. Sanjana tearfully confesses that she loves him, too. The two embrace on the plane in front of all the cheering passengers. This film is a very heart-warming, charming story, with beautiful cinematography, great acting performances, cheerful music, and fund and colorful dances. At the 44th Filmfare Awards, ‹Pyaar To Hona Hi Tha› ( translation = Love was bound to happen ) received 5 nominations, including Best Film and Best Supporting Actor (Puri), and won Best Female Playback Singer (Jaspinder Narula for "Pyaar To Hona Hi Tha"). Moreover, Kajol also received a Best Actress nomination at the ceremony for her performance in the film. But instead of winning the Best Actress Award, she won that award instead for her brilliant performance in «Kuch Kuch Hota Hai.» - a 1998 Indian Hindi-language, musical romance film, written and directed by Karan Johar and produced under Dharma Productions. It stars the popular on-screen pair of Shah Rukh Khan and Kajol in lead roles, along with Rani Mukerji and Salman Khan. - - - - - - - - - - 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 India ! Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

This film is dedicated to the deep spiritual beliefs of the wonderful people of India, to their rich history, and to their lovely culture. The action of this film is composed with a family of sacred tigers, music-loving sacred elephants, and gentle sacred cows; along with thousands of individual views of some of India's blessed children, blessed adults and blessed elders , appearing at the sides of a graceful apparition of Holy Mother India. The film also includes images of mythological divinities, such as Krishna, Rama, Shiva, Parvati, Hanuman, ... , and takes us on a special journey among religious festivities along the Ganges river, alive with enlightened gurus, inspired musicians, skilled yogis, and many deeply religious devotees from all over India. The film ends with a symbolic version of Holy Mother India, skipping along the shores of the Indian ocean at sunset, with apparitions in the sky of some of India's most beautiful women, myriads of perfect flowers, and an array of wise sayings, to deepen our beliefs in virtuous principles, and thus to improve the moral quality of our lives. The film's musical score is supported by some very lovely inspirational melodies. I hope you enjoy it. Long Live India ! Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India ! FAIR USE : 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 India ! Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

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 Film Composer The Holy Spirit of India !