View allAll Photos Tagged classical
I got a new portrait lens and tested it out on brother Bill - he needed a photo to submit to the Denver Classical Guitar Society web page. Bill is currently serving as secretary for the society.
Photo taken by Carsten / topfloor - please enjoy ! (c) 2011
Streetscene in Mannheim
Used Gear: 135 SLR, 50 mm f/1.4 Lens, Lucky SHD100@400 ISO Film
Filename: 20110719_Film511_18
This middle aged couple pose in front of an elaborate painted backdrop depicting a scene that includes a columned portico of classical architecture. The man is holding a tooled leather CDV photo album.
Photo taken by D. W. Grout, Pulaski, N.Y.
Classical ballet tutu in rose pink silk with white net. Decorated with white lace and pink crystals. The white net base is decorated with hundreds of clear crystals.
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
Classical ballet tutu in teal silk dupion, ivory lace and ivory net. It has a lace plate also in ivory.
Was lucky enough to have beautiful natural light during yesterdays visit to the little known Museum of Classical Archaelogy in Cambridge
彩云之南－西双版纳－景洪－曼听公园－澜沧江-湄公河之夜篝火晚会－泰国长甲舞
The "Fawn Leb" or fingernail dance, a form of classical Thai dance, performed during the bonfire evening party @ Manting Park, Jinghong, Xishuangbanna Dai Autonomous Prefecture in Yunnan province of China.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Salmon pink silk bodice with ivory net, ivory lace appliques and decorated with AB and light peach crystals
You want to buy a great instrument: should you go to a quality Bay Area piano store or buy from a private owner? Read the whole article: Should You Buy From A Piano Store or a Private Owner?
Salmon pink silk bodice with ivory net, ivory lace appliques and decorated with AB and light peach crystals
Project involving the 5 classical elements, Earth, Wind Fire, Water and Aether as well as a 6th added by and portrayed by myself, Light.
Best viewed at a larger size: www.flickr.com/photos/jermainewill/8396362829/sizes/h/in/....
Definitions from virtualsynapses.com & Wikipedia.org
Earth: It is the earth-principle creating habitations of physical form for the soul; the material energy in the state of cohesion called earth or the solid state; and the physical consciousness.
Wind/Air: Wind/Air is twofold in nature - tangible atmosphere and an intangible, volatile substratum which may be termed spiritual air.
Fire: Fire is the igneous, radiant and electric energy which is visible and invisible, discernible and indiscernible - a spiritual, ethereal flame manifesting through a material, substantial flame.
Aether: In ancient thought, it is the ever-present spiritual energy inherent in all parts of the universe and is the medium through which the powers of higher worlds act on the material plane. According to ancient and medieval science aether, also spelled æther or ether, is the material that fills the region of the universe above the terrestrial sphere. Plato described aether as "that which God used in the delineation of the universe."
Water: It is the liquid condition of material being. Water consists of a dense fluid and a potential essence of a fluidic nature.
Close up of gold lace plate on gold & ivory classical ballet tutu. I've added crystals for more decoration
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
Classical Greek architecture the inspiration of many public buildings in the West .
Brisbane City Hall 1920 - 1930
King George Square
Brisbane
www.youtube.com/watch?v=mREi_Bb85Sk
Musician and comedy writer Mason William's 1967 life-size silkscreen of a Greyhound bus is a standout for its size alone.
I recall seeing Mason Williams play Classical gas in front of the silkscreen Greyhound on TV. This made me think of it.
Cerise (shot with purple) silk tutu with cerise & purple layers of net. Silver decoration applique & cerise/purple crystals.
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3