Mother goddess worship pervades the cultures of Gujarati-speaking Western India and the global Gujarati diaspora, reflecting a deep-seated respect for power of fertility and the fundamental importance of the feminine creative force in the South Asian subconscious. No matter how technologically modern or foreign the context, Gujaratis celebrate goddesses with song and dance at weddings and other important lifecycle events, but these performances are particularly elaborate during the nine-night autumnal goddess festival Navaratri. The numerous and diverse communities of Gujarat have articulated unique amalgams of music, choreography, and costume, some of which Purnima Shah documents in this film. In the words of the narrator, the film provides "a survey of Navaratri performances in different regions of Gujarat."

Garbā and rās present the two most important choreomusical forms encountered during Gujarat's Navaratri celebrations. Garbā (a combination of dance and song) offers the most common form of public mother goddess worship, the word deriving from "garbhā" ("womb") and most often represented in performances by a perforated ceramic pot (garbo) with a lamp inside ("garbhā dīpā"), a symbol for the miracle of life. The song texts praise the mother goddesses prevalent in Gujarat, sometimes naming them specifically (or by epithets) and, at other times, broadly referring to them as though a single entity.

Follow Your Heart: China's New Youth Movement offers a fascinating look at an emerging trend among China's millennial generation. This trend, which borrows heavily from hip hop and other American youth culture movements, is not yet dominant among young Chinese, but Follow Your Heart offers hints that its day will come - and in the not-too-distant future.

The opening scenes of the film, those overlain with the credits, give a brief depiction of China's history, including portraits of the Empress Dowager, street scenes from the turn of the twentieth century, images from the Cultural Revolution of the 1960s and of President Nixon's historic 1972 visit. What these opening images imply is that China has come a long way in the last century or so, a message that serves to emphasize the dramatic departure from the past that the "new youth movement" represents.

In fact, this film will be most effective for those viewers who have had at least a brief introduction to some recent Chinese history. A student who understands the intensely collectivized world of China's 1960s, for example, will be much more impressed or even astonished than one who simply sees the new youth movement as another example of hip hop's global reach.