India’s croon jewel: Lata Mangeshkar on turning 91 and acing the Twitter game

Indian playback singer Lata Mangeshkar. (AFP/File)
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Updated 27 September 2020
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India’s croon jewel: Lata Mangeshkar on turning 91 and acing the Twitter game

  • Legendary singer speaks to Arab News about her career spanning 75 years and a life that has ‘given her much to be grateful for’

PATNA, India: On Monday, as Lata Mangeshkar turns 91, India’s most accomplished and acclaimed playback singer says she will “continue to sing until her last breath.”

“Even today, I feel like a student of music. I have so much to learn when I compare myself to the great musicians of our country. I will sing until my last breath. There is no retirement for an artist,” Mangeshkar said during an exclusive interview with Arab News.

Born in 1929 in Indore, Madhya Pradesh, Mangeshkar moved to Mumbai, Maharashtra with her family and four siblings — Meena Mangeshkar, Asha Bhosle, Usha Mangeshkar and Hridaynath Mangeshkar — in 1945.

After recording her first Hindi song for a film titled Aap Ki Seva Mein in 1947, she gained prominence when, at the age of 20, she regaled audiences with Aayega Aanewala in the film Mahal two years later.

“Then there was Pyar Kiya Toh Darna Kya from Mughal-e-Azam. Audiences would throw coins on the screen when that song came on,” she said.

To date, in a career spanning 75 years, she has recorded more than 30,000 songs in 35 Indian and foreign languages — including Malaysian, English and Nepalese — and earned a Bharat Ratna, India’s highest civilian award, in the process.

But remind her about her achievements, and she shrugs it off with habitual modesty. 

“There have been many talented singers before and after me (such as) Noor Jehanji, Shamshad Begumji, Geeta Duttji before me, and my sister Asha who were all extremely talented. Among the contemporary voices, I like Alka Yagnik, Shreya Ghosal and Sunidhi Chauhan,” she said.

Nearly 60 biographies have been written about the legendary singer, but she has not authored any herself. The platform where she does unleash her creative writing skills is Twitter.

With more than 14.6 million followers since her social media debut in 2010, the nonagenarian says she turns to Twitter to “stay in touch with friends” and has rarely forgotten to commemorate a colleague’s death or birth anniversary with a tweet on occasion.

“It’s the least we can do. We owe it to the entertainment industry. Earlier, we could pick up the phone and talk to one another. The only option I have is to meet them on social media,” she said.

And while there are no “fixed hours” for her time spent on the social media platform, she tweets when she has “something to say.”

“Otherwise, I stay away. Social media is addictive, and I advise more personal contact than virtual,” she added.

While the coronavirus outbreak and ensuing lockdown across India since March this year meant restriction on movement, Mangeshkar said that it did not derail her offline schedule.

After a “severe” lung infection last year, and based on doctor’s orders, she now leads a quiet, secluded life at her home in South Mumbai.

“The doctors have severely curtailed all my activities, including movie-watching,” she said, adding that she enjoys listening to music, as long as they are not her songs.

“I don’t listen to my songs. If I did, I’d find a hundred mistakes in my singing. Even in the past, once I finished recording a song, I was done with it,” she said.

This, however, was not the case for several Indian actresses, from Madhubala in the 1950s to Sridevi in the 1980s, who insisted on Mangeshkar singing for their onscreen personas. 

The supreme songstress has sung for five generations of Bollywood heroines, but ask her which actress did most justice to her voice on-screen and she replies after a pause: “That’s a tough one because each heroine brought something special to my songs. But I’d have to go with Nutan. She was a singer herself, and when she emoted my songs, she sang along. The way she performed on Mann Mohana Bade Jhothe (Seema) is exemplary. Jaya Bachchan is also one of my favorites. I think the way she emoted to Bahon Mein Chale Aao (Anamika) added a lot to the song’s enduring popularity.”

And her career-defining song?

“It would have to be Ae Mere Watan Ke Logon (a patriotic song). No matter where I go, people ask about it, and some even ask me to sing it for them,” she said, before considering the question of her “lasting legacy” to the world.

“I honestly don’t know, but if I’ve received so much love for so long, I must’ve done something right.”

Borrowing a few lines from one of her popular songs, she seals off her birthday advice with a message for her fans: “Light one lamp to another and let the love flow. We are going through the worst possible phase in the history of civilization due to the coronavirus. Be kind and generous to those who are less privileged than you. Now is the time to stop being tight-fisted.”


Art Cairo spotlights pioneering artist Inji Efflatoun

Updated 23 January 2026
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Art Cairo spotlights pioneering artist Inji Efflatoun

CAIRO: Art Cairo 2026 returned to Egypt’s bustling capital from Jan. 23-26, with visitors treated to gallery offerings from across the Middle East as well as a solo museum exhibition dedicated to pioneering Egyptian artist Inji Efflatoun.

While gallery booths hailed from across the Arab world, guests also had the chance to explore the oeuvre of the politically charged artist, who died in 1989.

Many of the pieces in the 14-work exhibition were drawn from the collection of the Egyptian Museum of Modern Art and cover four main periods of the artist’s work, including her Harvest, Motherhood, Prison and Knoll series.

While gallery booths hailed from across the Arab world, guests also had the chance to explore the oeuvre of the politically charged artist, who died in 1989. (Supplied)

Efflatoun was a pivotal figure in modern Egyptian art and is as well known for her work as her Marxist and feminist activism.

“This is the third year there is this collaboration between Art Cairo and the Ministry of Culture,” Noor Al-Askar, director of Art Cairo, told Arab News.

“This year we said Inji because (she) has a lot of work.”

Born in 1924 to an affluent, Ottoman-descended family in Cairo, Efflatoun rebelled against her background and took part heavily in communist organizations, with her artwork reflecting her abhorrence of social inequalities and her anti-colonial sentiments.

Many of the pieces in the 14-work exhibition were drawn from the collection of the Egyptian Museum of Modern Art and cover four main periods of the artist’s work, including her Harvest, Motherhood, Prison and Knoll series. (Supplied)

One untitled work on show is a barbed statement on social inequalities and motherhood, featuring a shrouded mother crouched low on the ground, working as she hugs and seemingly protects two infants between her legs.

The artist was a member of the influential Art et Liberte movement, a group of staunchly anti-imperialist artists and thinkers.

In 1959, Efflatoun was imprisoned under Gamal Abdel Nasser, the second president of Egypt. The artist served her sentence for four years across a number of women’s prisons in the deserts near Cairo — it was a period that heavily impacted her art, leading to her post-release “White Light” period, marked dynamic compositions and vibrant tones.

Grouped together, four of the exhibited works take inspiration from her time in prison, with powerful images of women stacked above each other in cell bunkbeds, with feminine bare legs at sharp odds with their surroundings.

Art Cairo 2026 returned to Egypt’s bustling capital from Jan. 23-26. (Supplied)

The bars of the prison cells obstruct the onlooker’s view, with harsh vertical bars juxtaposed against the monochrome stripes of the prison garb in some of her works on show.

“Modern art, Egyptian modern art, most people, they really don’t know it very well,” Al-Askar said, adding that there has been a recent uptick in interest across the Middle East, in the wake of a book on the artist by UAE art patron Sultan Sooud Al-Qassemi.

“So, without any reason, all the lights are now on Inji,” Al-Askar added.

Although it was not all-encompassing, Art Cairo’s spotlight on Efflatoun served as a powerful starting point for guests wishing to explore her artistic journey.