Video Classical Dance Download Free

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You can read or listen to books on most mobile devices, tablets or your computer. All are free to borrow, and expire automatically, so there are no late fees. Cardholders must live in Des Moines, Windsor Heights, or rural Polk County to access streaming and downloadable content.

Looking for something to watch on family movie night - or date night The library offers an alternative to expensive monthly streaming services - for free! Discover movies, TV shows and more - with the ability to watch on your phone, tablet, computer or smart TV - with these options. Cardholders must live in Des Moines, Windsor Heights, or rural Polk County to access streaming and downloadable content.

The leading video streaming service for classical music, opera and dance. Click \"View\" below, Login, then select our library from the list and enter your library card number in the appropriate box. Available to all DMPL cardholders.

THE SERPENT'S TAIL: A BRIEF HISTORY OF KHMER CLASSICAL DANCE. By Prumsodun Ok. Self-published, 2018. 294 pages including appendices, footnotes and glossary. Available as a free download from academia.com and as a regularly updated website: www.serpentstail.info.

For teachers and students of Asian performance traditions, The Serpent's Tale is an extremely useful and informative website focused entirely upon the often-neglected history and development of Khmer classical dance. It is extremely detailed and has wonderful illustrations ranging from reliefs from the temples of Angkor to contemporary performance videos. The author, Prumsodun Ok, is a Cambodian-American dancer and choreographer specializing in Khmer classical dance; the website demonstrates the depth of his understanding as a practitioner and student of Khmer art, performance, and history. The preface explains that the website

Prumsodun ok also discusses the history and development of Khmer classical dance and its relationship to Thai dance traditions, which has long been a source of contention. This is a continuous theme throughout, and ok presents cogent responses to established scholars of southeast Asian performance like James Brandon and Jukka Meittinin whose publications have supported the Thai view that contemporary Khmer dance copies Thai traditions, whereas, as ok successfully argues, the case is rather the opposite. In an appendix he deals specifically with the erasure of Khmer voices in mainstream scholarship on Cambodian dance and its relationship to Thai traditions. This partisan history provides an important counter to available materials on the history of Khmer performance. Many elements of this \"history\" will be disputed by scholars, nonetheless, it is a very useful addition to the limited materials available in English on Khmer dance traditions.

The website is easy to navigate, with a clear table of contents and list of illustrations at the start. Chapters are arranged in chronological fashion beginning with the \"Sacred Roots\" of Khmer dance, moving through the post-Angkor periods of Thai domination, the re-assertion of Khmer culture in the nineteenth century, the difficult period of French colonialism and Japanese occupation, the re-assertion of Khmer independence under King Sihanouk, followed by the terrors of the Khmer Rouge period to the re-emergence of Khmer traditional dance in the late twentieth century. The final chapters look at the state of Khmer classical dance today, the rituals associated with it, and Ok's own, sometimes controversial, work that brings together traditional Khmer techniques with contemporary dance in pieces that reflect the choreographer's social and political concerns.

Total Masala Slammer/Heartbreak no. 5, conceived and directed by Belgian director Michel Laub and visual artist Marina Abramovic, has been described as a European American Indian multimedia theater project combining dance, theater, video projection, art installation, and music. Laub and Abramovic draw on vastly mixed references to deal with themes of race and multiculturalism. A recurrent theme is women and their abuse in different cultural perspectives. Laub and Abramovic are fascinated by two extremes of Indian culture: on the one side the purity of classical Indian dance and art, kathak; on the other, the triviality of soap operas and kitschy TV serials produced by Bollywood (Archa Theatre 2001). Laub's theater is said to play with the conventions of theatrical representation, constantly bringing the rehearsal process onto the stage. Less interested in trained actors than in forceful personalities, Laub looks for a fusion of the autobiographical details of his performers with fictional situations. So, what happens when Michel Laub, a postmodernist with a tendency to parody order, system, and signification, collaborates with Kumudini Lakhia, a traditional reformist for whom art is about poetry, wonder, simplicity, and dignity

It's become hackneyed for indie artists to do semi-straightfaced covers of pop songs, but some are worth noting: at an album launch gig in London a few months back, Steve Mason, formerly of The Beta Band, performed a lovely, melancholy take on Madonna's 1984 hit \"Borderline\" backed with a single acoustic guitar. The song and several others from the gig were filmed and the results have been put online. \"Boys Outside\", the title track from Mason's latest LP, is another standout from the show. Watch it all at ind.pn/9MyNIL, where two of the tracks are free downloads.

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