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"My art is my search for the moments beyond the ones of self knowledge. It is the rhythmic fantasy; a restless streak which looks for its own fulfillment! A stillness that moves within! An intense search for my origin and ultimate identity". - Meena

Meena Chopra - Poetry and Art

Showing posts with label Articles. Show all posts
Showing posts with label Articles. Show all posts

Saturday 24 August 2019

Uyare (To Rise): Malayalam anguage Film - Reviewed by Meena Chopra


Rising beyond the boundaries of language and artistry (“Indeed beauty is skin deep”)
 
This offbeat film is inspired from a spate of acid attacks against women, and gender-based violence. A powerful concept which gradually builds up a forceful storyline and characters, through remarkable performances. The entire film is an understated elegance. Each scene, frame, dialogue and gesture has been scripted strongly and is presented and expressed in a subtle and effective way. It is a rare combination of a powerful story, script, direction, editing and acting.
The music and poetic lyrics are again outstanding and arresting and well translated in English in subtitles. The depth of words and the sweetness of music compels you to dwell on them for a long time.
About 40% dialogues are in English and for rest subtitles are there. Apart from this, it has a very efficacious promo as I would not have seen this “Malayalam film”but for the promo that hooked me immensely. (I am from Hindi speaking belt of India)


Uyare, reminded me of Raj kapoor’s blockbuster SSS. (Satyam Shivam Sundaram). Though a blockbuster, SSS never impressed me even then in 1978, perhaps because the true meaning of “Satyam Shivam Sundaram” is very hard to be expressed with in the parameters of commercially viable creative pursuits. The commonality in both the films is about the disfiguration of the protagonist's face and her acceptability of this disfiguration to her ownself and within in the social system.
If compared to Raj Kapoor’s magnum opus, Uyare is a much closer depiction of the larger than life vedic concept of Satyam Shivam Sundaram (Truth, Love and Beauty, “Sat-Chit-Anand,” or “Truth-Consciousness-Bliss, from Svetasvatara Upanishad) and certainly is of much more relevance.
This unconventional film is DEFINITELY WORTH SPENDING TWO ENGAGING HOURS that deeply stimulate the senses and the mind, clearing many stereotyped cobwebs. It breaks many already set boundaries in multiple ways. Concept and theme goes much beyond the social relevance and the survival story.
 
The film is proof that true artistry goes beyond the boundaries of language and culture, etc.
The film is now showing on NETFLIX.
 
Uyare (transl. Rise) is a 2019 Indian Malayalam-language drama film directed by Manu Ashokan (in his directorial debut), written by Bobby & Sanjay and produced by the sister-trio Shenuga, Shegna, and Sherga. The film stars Parvathy Thiruvothu, Asif Ali, and Tovino Thomas. The music of the film was composed by Gopi Sundar while the lyrics were written by Rafeeq Ahammed. Cinematography Mukesh Muraleedharan. Edited by Mahesh Narayan
Release date: 26 April 2019. Running time: 125 minutes. CountryI: India
-Meena Chopra



For my poetry kindly Visit: English: http://ignitedlines.blogspot.com Hindi: http://ignitedlines.blogspot.com/ website: http://meenachopra17.wix.com/meena-chopra-artist

Friday 12 July 2019

THE NAKED ME: Nudity, Sensuality & Sexuality in Art - Connecting Skin to the Corium and the Corium to the Centre

 Connecting Skin to the Corium and the Corium to the Centre

(Art in dialogue)
     “We know that the nude form, more so female nude form is inherently sensual, specifically to the male eye, but an experienced artistic eye of any gender, caste or creed would surely perceive much more in it, which would complement the skin and the corium of the art with its inner core”
  THE NAKED ME as published in Generally About Books
and published on my blog Meena's Artworld

SHE! The Restless Streak

The materiality of the unclad, bare human body has been close to the imagination and interest of almost every artist down the ages, substantiating the core of multi-layered timeless cyclic continuity of life, depicting the energetic static naked reality at the base of the ever-flowing lifestream. 
The dauntless, gutsy and determined effort of un-layering and uncovering has more to do in coming to terms with the hidden reality of the self, claiming, confronting and accepting the starkness beneath and showcasing it to the world while searching the eventual reality as the intrinsic purpose of any art.  

Either consciously or subconsciously, at some stage of any artist’s career, this reality surfaces to the foreground. This is certainly true for any other art practices or forms such as, realistic, abstract, still life, nature study, or any other creative form such as creative writing, music, dance, and theatre, as all these rise intuitively from the same unchallenged and undeniable substratum of the mind. 

The question that recently came up, on the semi-abstract nude series of mine, from some authoritative entities in arts was, whether sexuality was on my mind when making this semi-nude series? While for some the first reaction to my series of paintings was that these were ‘hot’, for some others it was ‘sensual’ which was understandable.  Some even suggested categorizing this series as ‘Sexual Art’.  

It surprised and puzzled me. We know that the nude form, more so female nude form is sensual specifically to the male eye, but an experienced artistic eye of any gender, caste or creed would surely perceive much more in it, which would complement the skin and the corium of the art with its inner core. 

This led me to analyze how a North American art viewer is viewing, perceiving, discerning and reacting to ‘this nude figurative series of my recent work’ named SHE! The Restless Streak, and, for that matter, any art in general. 
Especially so in North American settings where the art and its exposure are developing and it is still in its nascent stage, even now in the first quarter of the 21st century, in comparison to the other European and Eastern civilizations, with a history of mature artistic sensibilities. 

It’d be pertinent to point out at this stage that a semi-abstract nude sculpture of mine was also denied entry into an art exhibit in 2005 at Novotel Hotel by Mississauga Arts Council. At a later date, the then Executive Director of Mississauga Arts Council – MAC, especially arranged to put a show of my smaller works of seminude series as part of Culture Days/Doors Open Celebrations at Sampradaya Art Creations in 2014. 
This was an individual and personal effort from her because she felt that this series needed a display and an audience even though they were semi nudes. At present, it is being showcased at MindSpace in Erin Mills Town Centre, again through MAC).  

Even in 2015, a curator refused to display these paintings even in a gallery setting in Heritage Mississauga, but later when I showed these works to the gallery in charge and the historian of Heritage Mississauga, he seemed to have no objections at an individual level. 
The entire series of SHE! The Restless Streak, when brought to the Mississauga library’s display gallery for the final showcasing in September 2018, the newly appointed art coordinator seemed shocked and the reaction was that these cannot be displayed because nudity is not accepted. 

She was new and unaware that one artwork out of these series received 1st prize from Visual Arts Mississauga in 2017 and was already displayed in the Mississauga Library Gallery previously.  Only when she confirmed it with senior management about this approved show, she permitted the display.  She commented that the government-funded organization in Canada, where she previously worked, had strict rules and such art could not be displayed. 
 
My question is: Is this mindset able to really reach to the art beyond the certain dermal levels?
This provoked my thoughts further about how a North American viewer is grasping and reacting to the art in general with its quintessence inherent spirit?

To the question of whether the sexuality was on my mind while making this art, leads to a few more questions that have little to do with art and more to do with preconceived notions. Does that mean to the viewer that, if I or anyone else, when painting a fully clad ‘Virgin Mary’ or a ‘religious figure’ should be having devout feelings and thoughts? 
The fundamental question then is: Does the artist always have to compromise with the pressures of the market, the forces of social prejudices and state generated institutionalized rules supporting these prejudices, instead of bringing education and true understanding of arts? 

I know of many artists who have their nude artworks lying or hidden in their studios and do not display them, merely to avoid the unnecessary controversies that may arise from such displays. But at the same time, some of them do take a chance of displaying such works wherever it is possible. 

I believe it is the responsibility of the ‘state’ and state-funded art institutions and organizations to play an active role in giving arts a mature direction for homogeneous development of arts in the present social structure. I’d even lay special emphasis on the state’s role in creating the right atmosphere for young to better understand and accept art and self beyond its surface.

Art rises from the restless and veiled inner creative impulse that desire to be unveiled, to be expressed at the conscious levels of life. It then adorns itself with the rich skin of the artistic language of forms, colors, gestures, sound, or voice using various mediums and outlets, while embodying the expressions rising from the extreme depths of profound experiences.

It is a condition, where the subject (the inspired mind) and the object (the creative outcome), come close to each other and experience is generated, where the artist gets synchronized with the art created in a totality and unity of the inspiring moments.  Creativity comes out of certain areas of madness where nothing else really matters but that the moment needs to be expanded in the time zone.

The impact of the art created draws the spectator towards the profundity of the artistic vision and takes that spectator beyond the ephemeral. (the spectator can be the experiencer of the ‘beyond' through the artistic object as much as the artist).
 
During the creative process, the artistic journey of the artist is upwards and outwards from the centre, seeking the light of the day with the heat of the internalized creative fire, thereby giving the art authenticity and credibility to the revealed reality from beneath or the centre core while down reaching within.

This occurs through the creation, re-creation and resurfacing of images, motifs and symbols by the artist. Concepts and themes at the dermal-level can vary in one’s art and creative work but what gives it the innate quality and validity is its ability to draw the deepest unconscious hidden value behind the object of the art.

This process can be highly instinctive and can come through deep meditative gravity and at times through cryptomnesic fleeting moments. 

Here I would like to point out and stress upon the known fact, that historically, nudity in art is common to Eastern and European cultures. This includes Sistine Chapel in the Vatican, Italian and French pre and post-renaissance, impressionism also ancient Greece and many others.

Nudity in art is prevalent in ancient and modern art of Indian subcontinent and other Eastern countries. Even gods and deities in chapels and temples are artistically sculpted, carved, drawn and painted in nude much earlier in time, even before Christ and centuries back. Do we then call all that art sexual? 

In general, the origin of these questions and statements being genuine and spontaneous from the viewers, perhaps significantly show and corroborate the perceived notion of North American society’s firm belief in its ‘claimed and persistent linear progress in its evolutionary stride’ where the ‘product and its consumption’ is the prime reality of life and becomes a standard to be lived by and is being extended even to the fine arts to most cases.

To discerning minds, fine art remains to be a way of ‘search’ and therefore a way to ‘rich life’ beyond the essentiality of capitalism and consumerism and more so as subjective unity of the artistic vision, union, and its experience.  Whereas, the very foundation of North American society is based on the production and its consumption.   

This is highly contradictory and contrary to the artistic instincts and experiences and is paradoxical in general to the art world and to the value and worth of  ‘fine arts’ beyond the notion and scope of the convergence of popular culture and fine art. Fine art gives you a pragmatic rounded experience, which has no parallel to the consumerist materialistic values.  

Process of understanding, arts comes through delving within and then rising from the deepness, while creating a union and a bond with the artistic work. I feel this exercise happens spontaneously, both for the viewer and the artist, even though not acknowledged and felt instantly.

There is a little scope of ‘linearity’ in ‘fine arts’ as art is not a ‘product’ but a ‘consequence’ of the inmost and the unfathomable.   It is a complete rounded experience. I must admit that it has made me a little cautious and prudent now of the environment around even after my seventeen years in Canada. The only satisfaction has been that, at least, these artworks were evoking certain feelings and interest even though at a transient and preliminary level.  
I also felt that it becomes necessary to generate a feeling to develop an attitude which goes beyond treating art as not just a product but more as a way of life, right at the basic levels of education.

I feel it is important for us to observe life not only as of the linearity of the existence but also going beyond and observing it in a cyclic mode of time as well, which is already set by the law of nature.

This is imperative if we in North America are ambitious and have to come in near comparison with European, Asian and Eastern artistic cultures, also in becoming and claiming ourselves as an artistically developed society in the future.  If this could be achieved only then we can claim that we are in a position to truly advocate and to be true proponents of arts in North America. 

As an immigrant artist from developing world of the Indian subcontinent with its profound ancient artistic civilization where ‘nudity’ in art is of little consequence, ideally my expectation is to have a better acceptance and a broader attitude of any such artistic practices in Canada.

The truth remains, that the artistic vision, its expression and evolution through the ages has emerged and caused by the interplay and dynamics of two subtle formative energies of life (male and female). Art is the outcome of the tension between cause and effect, the negative and the positive energies.

These cosmogenic energies, which are the basis of artistic creation, rotating the world around us, are fugacious to the conscious mind. One must be sagacious and daring enough to delve into them and live with them to understand them. No art or creative effort is complete without sexuality in broad terms. Same is true for the religion also. As said earlier, nudity in art is not new and a lot has been said and written about it. 

As for me and for my personal journey as an artist, it is the dynamics of subtle female energy that continuously fascinates and captivates my mind for some unknown reason. There is an internal need and pressure to explore it. The mind at that point in time, when creating an artwork, gets totally engrossed and occupied with the mediums, form, strokes and colour, etc. It is a meditative mood, rounded with pensive moments.

The same is true, when the mind gets immersed while creating the abstraction and any other type and forms in art. The underlying thematic idea continues to be ‘genesis’ in all my styles, with a predominant undercurrent of subtle and evolving female energy. 

This truly gives a definite meaningful condition and determined direction to my art and life as a whole. I find all creation in fine arts to be related to instincts with the unquestionable and undeniable prevalence of sexuality in nature because of its roots in the interplay of positive and negative spiritedness,  but not necessarily only in its physical, corporeal and fleshy level but in its firm and solid roots in the genesis and in evolution and dissolution of the entire cosmic dance. 

As  Kahlil Gibran says:
"Your clothes conceal much of your beauty, yet they hide not the unbeautiful. And though you seek in garments the freedom of privacy you may find in them a harness and a chain. Would that you could meet the sun and the wind with more of your skin and less of your raiment, For the breath of life is in the sunlight and the hand of life is in the wind. Some of you say, "It is the north wind who has woven the clothes we wear. "And I say, Ay, it was the north wind, But shame was his loom, and the softening of the sinews was his thread. And when his work was done he laughed in the forest. Forget not that modesty is for a shield against the eye of the unclean. And when the unclean shall be no more, what were modesty but a fetter and a fouling of the mind? And forget not that the earth delights to feel your bare feet and the winds long to play with your hair".  


Meena Chopra is   a Toronto based author, artist.  She writes poetry both in English and Hindi. Born and raised in North India, she now lives in Mississauga

website: https://www.meenachopra.art/

Monday 9 April 2018

ART



For my poetry kindly Visit: English: http://ignitedlines.blogspot.com Hindi: http://ignitedlines.blogspot.com/ website: http://meenachopra17.wix.com/meena-chopra-artist

Friday 22 July 2016

Bollywood Cinema and its impact and influence on diaspora of nonresident South Asian Population - paper presented at the literary segment of the Festival of South Asia in Toronto

(Paper presented at panel discussion on cultural impact of popular Hindi cinema and media on South Asian diaspora world wide specifically nonresident South Asians. The discussion was part of the Literary Arts segment of the Festival of South Asia in Toronto) 


“Mera juta hai japani, Ye patloon inglistani, Sar pe lal topi rusi, Phir bhi dil hai Hindustani”
The loose translation is: My shoes are Japanese, I am wearing trousers from England and on my head I have a red Russian hat, nonetheless, at heart I am still an Indian (Full song with English subtitles)          (Russia and India day celebration by the song)

And I am a 1st generation South Asian, living in Canada. Still am influenced, adore this spirited song of 1955 when I was not even born, still am a diehard fan of Raj Kapoor, his grand films and the exotic music that he produced with his brilliant team of Shankar Jai Kishan, Shailendra, Hasarat Jaipuri and Mukesh. My,  27 years old daughter, Tia, the next generation, totally merged in Canadian system, still hums this 1955 song along with many others. She enjoys the Bollywood music from yester years till date as much as she enjoys the present Bollywood music.

Such is the overall impact of Indian Cinema from ages which passes generations. It certainly includes the Indian diaspora or the nonresidents population from South Asian subcontinent having their heritage and roots in it.

The song is an anthem to many. It is a historical reference point of “unity in diversity and nationalism” which also sums up and epitomizes the effect of Bollywood on an entire Indian diaspora which of course includes the South Asian living abroad like me. It also shows that the impact of popular Bollywood cinema in spite being uncompromising, hardcore commercial in nature, goes beyond time, generations and transcends the national boundaries to the global civilization is because it is able to sustain the artistic element in it.  

Incidentally some of you might know that this Iconic song was introduced in recently released block buster Hollywood film “Deadpool” starring Hollywood super hero Ryan Reynolds. It is said that the director Tim Miller simply fell in love with the song when he heard it in a pub, just imagine where? Of all the places in New Zealand and wanted it in the film. Film started and got concluded with this song where the taxi driver, ‘a South Asian nonresident’ in the film is playing it in his car.

We also observe that the impact of Indian cinema or Bollywood cinema is not new on Indian diaspora, specifically on global South Asians. It goes back to 1950s and 60s. Now it is seen or felt more and have become matter of discussion on many academic platforms because the numbers and the South Asian diaspora has increased vastly in many countries around the world, so is the making of Bollywood films and their influence, also the thematic films that specifically revolve around and cater to, are of interest of this section of global community.

The media voice has become more vibrant, vocal and powerful, now, than before because of tech advancements and has a far reaching impact. Serials and Soap operas are a part of day to day living of a South Asian because of the easy access to the South Asian Channels. Pakistani plays are extremely popular with any South Asian for its tremendous engaging value.
Media speaks generously about the industry than before to expose it to the world. Also.  Entertainment now is a part of everyday life. It is as important as having food.

The marketing structure of the Bollywood popular cinema has always been territory or region based, the newer 7th territory of nonresident South Asians represents a sizeable market for films whose protagonists some times are reaffirmation of the Indian identity transformed by globalization. Specifically for Karan Johar, Subhash Ghai, Yash Raj Chopra this is very true. Films like Kabhi alvida na Kahna, Kal ho na ho, Kabhi Khusi kabhi gam, Pardes, Dilwale dulhania and many more revolve around a nonresident protagonist.

The two major Indian flourishing communities are the constant focus of most of the Bollywood popular cinema and those are Punjabis and Gujratis. These films of course have a generic value and an appeal for all.

Quoting from Times of India, “Bollywood popular films are very wisely adapted to meet the emotional expectations of NRIs, as well as to provide Indians with guidelines to liberal modernity, are also part of the larger ambitions of India as a visible country”.  
Phenomenal success of recently released SULTAN going house full in countries like Canada, England, United States, Australia and many more is a living proof that an Indian is always looking for his or her MITTI or SOIL, DHARATI MA or MOTHER LAND within him or herself. Through which he or she emotionally aspires to be connected to his or her original self. This is the ultimate human cry, the need, the longing that gives the South Asian the emotional substance and the meaning.
About Sultan I would like to quote from the experience of a fellow writer and friend Mayank Bhatt who with his wife Mahrukh saw it in Cineplex at Yonge and Dundas. He comments on facebook, “The loudest cheers flooded the hall when Sultan and Arafa greet the man on the street in Hungary, carrying a placard of an Indian restaurant. It was a moment that touched every non-resident Indian’s heart in the movie hall, without saying a word.”
Here Salman Khan departs from the well known and loved screen name PREM and becomes SULTAN a Muslim wrestler in a typical liberated Haryanvi setup. One also wonders, is his becoming “Sultan Ali Khan” a Muslim wrestler is a conscious and subtle statement by this “rebel” actor and the film makers through cinema in the present political milieu and tussle between tolerance and intolerance?
Quoting Wikipedia “Cinema actually has been the most vibrant medium for telling India its own story, the story of its struggle for independence, its constant struggle to achieve national integration and to emerge as a global presence”.

Primarily Popular Bollywood cinema is about the revenue generation model. It focuses on the emotional need of the expatriate who constantly pines for the Indian-ness in a foreign land to be connected with the Self. Research says that the cinema theatre in west London is the highest earning screen in the world for Bollywood films so is the Canadian market specifically for Punjabi films.

Whatever is the reason, this dream world of entertainment is a reality of life for nonresidents. It does provide a concrete emotional substance to the nonresidents to be linked, connected and is a constant reminder of their country of origin. Now this heritage of the biggest entertainment industry of the world is being passed on to the 2nd and 3rd generations of NRIs.

The next generation also enjoys seeing these films which connect them with the language, music, lyrics, dance and through them they get linked with fashion, trends, styles and much more that is typically South Asian to modern Indian subcontinent and part of Indian heritage and culture.

The Bollywood industry seems to have thrived because of its balanced combination of music, songs with power full lyrics and visuals of choreographed dance sequences. These are amalgamated within the storyline. Choreographed song sequences have been the back bone of this industry which Hollywood started in 1910s and shunned in 1930s. This is what makes Bollywood industry unique and makes it everlasting in the minds, giving the viewer an exceptional, sensually fulfilling experience. These songs though independently appreciated are also like cues and clues to the narrative structure of the story.

Again historically the influence and impact of this Bollywood music is manifold and far more reaching than any other medium. And NRI factor is not untouched by its lasting appeal. They say the language of music goes beyond the limitations of words.

Popular music, Bollywood singing, dancing and trendy Bollywood fashions overpower and have made a place in the everyday life of the expatriate almost next to the religion. This unique Bollywood brand works and surprisingly without any insignia or a logo with a huge mindshare of nonresident community.  

Even today when NRIs watch or listen to the song Chtthi aayee hai chitthi aai hai, Watan se chitthi ayee hai from the movie Naam sung by Pankaj Udhas most of them have tears in their eyes. Such is the impact. Mera Juta hai japani still gives one goose bumps giving a feeling of nationalism, duty and unity. Songs picturized on Shammi Kapoor still invoke foot tapping and raw sensual emotions in these far off lands. The pop music of then has become classic now.

The Bollywood pop music of today is making a history for coming years. “Jai ho”, a salute to the Oscar winning directors like AR Rahman and Bollywood music who are playing an important role in the making of the global South Asian, the intrinsic role model of global civilization.”  

Hollywood actors like Kevin Spacey going beyond the popularity of “House of Cards” are dancing on the tracks of much popular LUNGI DANCE with Indian actors during IIFA Awards 2014 in US is a sure shot example of the important role of nonresident South Asian population in the making the 

Bollywood story a further success with a healthy crossover. (LINK) On the same stage the legendary Hollywood actor John Travolta which he shared with Bollywood Superstar Hrithik Roshan, complemented the uniting role of Bollywood and said, “I believe that as human beings we are more alike than we are different also as evidenced by the global embrace of Bollywood films, there is no more powerful a medium to celebrate our similarities than films.” (LINK)

The entertainer superstar actor Shah Rukh Khan’s popular "Chammak Challo Dance" performance at  Yale, United States on April 12, 2012 as a prestigious Chubb Fellow in his first visit to an American university, with Yale sophomore Natalia Khosla after his serious, somber, thoughtful and down to earth speech again substantiates the powerful role of nonresident South Asian and the popular Bollywood cinema are playing on the world scene.(LINK) So was his popular Lungi Dance performance and its overwhelming acceptance by the students and the university fraternity as Dr. Shah Rukh to celebrated his honorary doctorate at The University of Edinburgh. The degree was given to him in recognition of his success as an actor with a global reach and his outstanding record of philanthropy, altruism and humanitarianism. (LINK)

Famous Bollywood singers like Sonu Nigam, Shreya Ghoshal Sunidhi Chauhan and the list goes on always draw full house crowds when performing worldwide. So are the actors for their Bollywood dancing.

Going beyond the NRI factor these days even celebrities from Hollywood like Lady Gaga and Uma Thurman are donning South Asian garments. All of us know, Oprah Winfrey made a much-publicized visit to India where she socialized with Bollywood's royal family, the Bachchans. Arnold Schwarzenegger says he wants a career in the Hindi film industry. Julia Roberts has already acted in Bollywood and the list is growing. And it is vice versa with Hollywood films. Now this crossover is definitely creating a mosaic and of which South Asian nonresident is a sure part in the making of a “global culture”. The entire world is on the threshold of this newness. 

Noticeability and recognition of Bollywood cinema by the western world is opening a dialogue between the cultures of east and west. It is a dialogue of appreciating and understanding each other, a dialogue of “unity in diversity”. In turn this is impacting the entire up and coming generations and giving an emergence to a new way of thinking and co-existence.

A film like Gaddar which did very well commercially in India and did not become popular with nonresident South Asian because of its anti-Pakistani and divisive content.  

This cultural crossover can be observed now in the making of hybrid cinema which is a mix of Bollywood and Hollywood. There are many examples. On a serious note I quote films like Leela, American Desi, Deepa Mehta’s films, Gurinder Chaddha’s films etc. And then hilarious and light entertainment films like “Loins of Punjab” Meet the Patels and so forth.

Not to mention hugely successful films like “Bombay dreams” the Andrew Lloyd Weber production which revolves around Bollywood film industry, was very successful with western main stream audience as well.

American Author and scholar Jigna Desai of University of Minnesota, United States and author of Beyond Bollywood, in one of her articles on the subject states, “productions like American Desi and Bombay Dreams attest to the ways in which these texts suggest that Bollywood plays a feature role in not only constructing South Asian and diasporic identities, but also significantly participate in structuring the pleasures and desires of these subjects as well.”

With this note I would like to thank you all for listening to me.
And again as a nonresident Indian, I would like to quote poet Shailendra in the voice of Mukesh, visualizing Raj Kapoor with the lilting music of Shankar Jaikishan
Mera juta hai Japani, Ye patloon inglistani,  Sar pe lal topi rusi, Phir bhi dil hai Hindustani.
-Artist and Author Meena Chopra

#Bollywood #Literature #Toronto

For my poetry kindly Visit: English: http://ignitedlines.blogspot.com
Hindi: http://ignitedlines.blogspot.com/
website: http://meenachopra17.wix.com/meena-chopra-artist

Wednesday 15 January 2014

The evolution of literature, the languages of ethnic descent and the changing environment.

Language Day
Language Day (Photo credit: Presidio of Monterey: DLIFLC & USAG)
English: the first vowel of Hindi language wit...











Hindi Script (Devnagari) letter equalent to "A"



By Meena Chopra
The essence of a language lies in its literary merits which influence and impact its literature and literary capabilities. One wonders that what are these literary merits and from where and how do they surface.  Any literary work, poetry or prose, which represents the high quality of artistic merit will create a standard and an immovable and everlasting place for itself in that particular language.
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