The meaning, the sound, as well as the re-animation of the performances involved in an item number as part of the popular cultures in the South Asian community, are very common in Indian cinema. This is with regard to the role that these kind of self-fashioning and reanimation play in addressing sexualized performance by the female members on the community. The recent involvement of scholars in the analysis and examination of the film song sequences as emerged as one of the most important aspects in the Indian film industry. An examination of song sequences in these films as well as the application of self-fashioning is crucial in obtaining a clear understanding with regard to conception and performance nature of an item number. It is in the examination and analysis of the performances of these item numbers that the female members of the Asian community clearly explain their voices (Maxey, 2012).

South Asian popular culture

The item numbers have been cited as emanating or relate to the narrative of the film in the context of sounds as well as images in the films. It is a channel through which actors and actress as well as those who consumers of their products are emotionally connected. Despite of the important roles played by these songs in the Indian film industry, it is surprising that the manner of their performance has not yet been accorded the attention that they actually deserve. It is important to realize the significance of film songs especially in terms of the multiple performance nature of the songs since it is through such considerations that the enhancement and developed circulation of such songs can be realized (Gokulsing & Dissanayake, 2004).

The circulation of film songs, especially as important cultural element, happens mostly via the channel of embodied performance other that through the internet, broadcasting as well as mass production. This nature of circulation bring out the remediation concept that is demonstrated through the manner in which mediated sounds and images are put into re-use by people for various self-making projects. In relation to the aspect of remediation with regard to cinema and youth culture in Tamil Nadu, discussions an arguments from analysts points out that lack of proper and adequate reading of Tamil films as well as the inadequacy of reception studied are perspectives that have not been successful when it comes to the important utility of the films that are common in the film industry in Tamil Southern part of India (Rajan, 2006). The performance of these film songs has been in such a way as to voice and demonstrate the female concerns. This has been seen to take place in an environment of changing norms and fashions.

However, despite of this happening, film songs, which form of disrespected female presentation, follows a consistent group visual aspects that suggest sexual presentation through the representation of female dancing body in an active desiring manner. This happens as opposed to the expectation of many which is that the performance of song numbers would serve passively as objects used for male desire. It is also through this article that the exploration of ways in which links are made between various sounds and their collective recognized interpretations are actually made. It is father suggested through this article that since there are certain levels of cultural practices that are associated with the relationship between the sounds in the item numbers and their interpretation, the relationship may be destroyed or made to focus in a different direction as the films song goes outside its initial film context in the performances that are related to film (Shakur & D’souza, 2003).


A variety of views that take into consideration the dissemination of common culture through the song ‘En Peru Meenakumari’ indicates that there are potential forms of change in the importance and meaning of the performances other than there consumption which is passive. The involvement of the voices of female performers in the Tamil films brings out distinct places, classes as well as a reconfiguration of the narratives in a more understandable manner. Taking the interpretation of the voices into consideration and their relationship with increased stigma of the female in public and the taste of the lower class people, Song such as ‘En Peru Meenakumari’ are perceived as potential liabilities for the female performance involved in singing whether they are amateur or professional.


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