Bay Brilliant 'Culture Date' No. 3: Wine Tasting with Lisa Marie Rollins
Bay Brilliant 'Culture Date' No. 2: At the Symphony with Jessica Bejarano
Bay Brilliant 'Culture Date' No. 1: Whale Watching with India Sky Davis
Bay Brilliant Live!: Meet the Makers Shaping Bay Area Culture
Introducing Bay Brilliant: 10 Bay Area Artists You Need to Know
Bay Brilliant: Peacock Rebellion
Bay Brilliant: Amara Tabor-Smith
Bay Brilliant: Lisa Marie Rollins
Bay Brilliant: Nia Levy King
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From 2015 to 2018, she was an announcer and local host of NPR's\u003cem> All Things Considered\u003c/em> at KALW. When she's not making podcasts, she's DJing vinyl at dance parties around the Bay Area.","avatar":"https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g","twitter":"wambamash","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Ashleyanne Krigbaum | KQED","description":"Producer, 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Estate Vineyards—\u003c/a>for wine imbibing and conversation.\u003c/p>\n\u003cp>Run by siblings David, Deneen and Coral Brown, Brown Estate is one of very few black-owned wineries in our region’s wine country.\u003c/p>\n\u003cp>Click the play button above to listen to a discussion between Lisa Marie and Coral about the surprising connections between their work, their interest in ghost stories, and, of course, their love of a good glass of wine.\u003c/p>\n\u003cp>The segment is part of a special series in which Chloe and Ashleyanne take part in cultural adventures around the Bay Area with select KQED’s Bay Brilliant honorees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A conversation between the Bay Area theater artist and Brown Estate Vineyards co-owner Coral Brown, inspiring connection around work, wine and ghosts. ","status":"publish","parent":0,"modified":1705026723,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":149},"headData":{"title":"Bay Brilliant 'Culture Date' No. 3: Wine Tasting with Lisa Marie Rollins | KQED","description":"A conversation between the Bay Area theater artist and Brown Estate Vineyards co-owner Coral Brown, inspiring connection around work, wine and ghosts. 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They experience the Symphony’s annual, community-focused “\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2018-19/All-San-Francisco-Concert.aspx\" target=\"_blank\" rel=\"noopener\">All San Francisco Concert\u003c/a>,” a performance aimed at local social service and neighborhood organizations in recognition of their services to the community.\u003c/p>\n\u003cp>Michael Tilson Thomas leads the orchestra in works by Lizst, Gershwin and Tchaikovsky (Jessica’s favorite composer).\u003c/p>\n\u003cp>Click the play button above to listen to a discussion between Jessica and Chloe about the concert, Jessica’s approach to conducting, and why community service matters to her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Bay Area orchestra conductor and KQED's Chloe Veltman head to Davies Symphony Hall to hear the San Francisco Symphony and to chat about Jessica's formidable career. ","status":"publish","parent":0,"modified":1705027059,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":151},"headData":{"title":"Bay Brilliant 'Culture Date' No. 2: At the Symphony with Jessica Bejarano | KQED","description":"The Bay Area orchestra conductor and KQED's Chloe Veltman head to Davies Symphony Hall to hear the San Francisco Symphony and to chat about Jessica's formidable career. 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They experience the Symphony’s annual, community-focused “\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2018-19/All-San-Francisco-Concert.aspx\" target=\"_blank\" rel=\"noopener\">All San Francisco Concert\u003c/a>,” a performance aimed at local social service and neighborhood organizations in recognition of their services to the community.\u003c/p>\n\u003cp>Michael Tilson Thomas leads the orchestra in works by Lizst, Gershwin and Tchaikovsky (Jessica’s favorite composer).\u003c/p>\n\u003cp>Click the play button above to listen to a discussion between Jessica and Chloe about the concert, Jessica’s approach to conducting, and why community service matters to her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13842685/bay-brilliant-culture-date-no-2-at-the-symphony-with-jessica-bejarano","authors":["8608"],"series":["arts_5448"],"categories":["arts_835","arts_69"],"tags":["arts_5449","arts_1312","arts_4058","arts_1118","arts_596"],"featImg":"arts_13842690","label":"arts_5448"},"arts_13843822":{"type":"posts","id":"arts_13843822","meta":{"index":"posts_1591205157","site":"arts","id":"13843822","score":null,"sort":[1540850572000]},"guestAuthors":[],"slug":"bay-brilliant-culture-date-no-1-whale-watching-with-india-sky-davis","title":"Bay Brilliant 'Culture Date' No. 1: Whale Watching with India Sky Davis","publishDate":1540850572,"format":"audio","headTitle":"Bay Brilliant ‘Culture Date’ No. 1: Whale Watching with India Sky Davis | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp class=\"p1\">\u003cspan class=\"s1\">Welcome to the first chapter of KQED Arts’ special, five-part Bay Brilliant audio series of Culture Dates!\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Over the next few weeks, join KQED reporter Chloe Veltman and producer Ashleyanne Krigbaum as they head out on a variety of cultural adventures around the Bay Area with a handful of this year’s Bay Brilliant honorees.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">This week: \u003ca href=\"https://www.kqed.org/arts/13839026/bay-brilliant-india-sky-davis\">\u003cspan class=\"s2\">India Sky Davis\u003c/span>\u003c/a>, the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\">\u003cspan class=\"s2\">Topsy Turvy Queer Circus\u003c/span>\u003c/a>, goes searching for inspiration from the sea on a whale watching tour. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Click the play button above to listen to India and Chloe discuss how the movements of sea life play a role in Davis’s choreography—while they search the waves to spot a whale.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>India Sky Davis performs Thursday, Nov. 1, at the \u003ca href=\"https://www.eventbrite.com/e/ritual-laboratories-night-show-tickets-51435748709\">Ritual Laboratories Night Show\u003c/a> at Red Bay Coffee Roastery & Bar in Oakland.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area circus artist and KQED's Chloe Veltman go whale watching to discuss the natural world and India's artistic life. ","status":"publish","parent":0,"modified":1705027077,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":149},"headData":{"title":"Bay Brilliant 'Culture Date' No. 1: Whale Watching with India Sky Davis | KQED","description":"The Bay Area circus artist and KQED's Chloe Veltman go whale watching to discuss the natural world and India's artistic life. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant 'Culture Date' No. 1: Whale Watching with India Sky Davis","datePublished":"2018-10-29T22:02:52.000Z","dateModified":"2024-01-12T02:37:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/10/VeltmanIndiaSkyDavis.mp3","sticky":false,"audioTrackLength":232,"path":"/arts/13843822/bay-brilliant-culture-date-no-1-whale-watching-with-india-sky-davis","audioDuration":239000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">Welcome to the first chapter of KQED Arts’ special, five-part Bay Brilliant audio series of Culture Dates!\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Over the next few weeks, join KQED reporter Chloe Veltman and producer Ashleyanne Krigbaum as they head out on a variety of cultural adventures around the Bay Area with a handful of this year’s Bay Brilliant honorees.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">This week: \u003ca href=\"https://www.kqed.org/arts/13839026/bay-brilliant-india-sky-davis\">\u003cspan class=\"s2\">India Sky Davis\u003c/span>\u003c/a>, the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\">\u003cspan class=\"s2\">Topsy Turvy Queer Circus\u003c/span>\u003c/a>, goes searching for inspiration from the sea on a whale watching tour. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Click the play button above to listen to India and Chloe discuss how the movements of sea life play a role in Davis’s choreography—while they search the waves to spot a whale.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>India Sky Davis performs Thursday, Nov. 1, at the \u003ca href=\"https://www.eventbrite.com/e/ritual-laboratories-night-show-tickets-51435748709\">Ritual Laboratories Night Show\u003c/a> at Red Bay Coffee Roastery & Bar in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13843822/bay-brilliant-culture-date-no-1-whale-watching-with-india-sky-davis","authors":["8608","11510"],"series":["arts_5448"],"categories":["arts_1","arts_835","arts_966","arts_235"],"tags":["arts_5449","arts_1118","arts_596"],"featImg":"arts_13843864","label":"arts_5448"},"arts_13839999":{"type":"posts","id":"arts_13839999","meta":{"index":"posts_1591205157","site":"arts","id":"13839999","score":null,"sort":[1536094243000]},"guestAuthors":[],"slug":"bay-brilliant-live-meet-the-makers-shaping-bay-area-culture","title":"Bay Brilliant Live!: Meet the Makers Shaping Bay Area Culture","publishDate":1536094243,"format":"standard","headTitle":"Bay Brilliant Live!: Meet the Makers Shaping Bay Area Culture | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">On Sept. 25, jumpstart your creativity with a \u003c/span>\u003cspan style=\"font-weight: 400\">cabaret-variety show filled with music, performances, interviews and storytelling by extraordinary local artists from KQED Arts’ series \u003c/span>\u003ca href=\"https://www.kqed.org/arts/series/bay-brilliant\">\u003cspan style=\"font-weight: 400\">Bay Brilliant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Join us for a celebration of the \u003c/span>\u003cspan style=\"font-weight: 400\">artists and makers who are creating and shaping Bay Area arts and culture:\u003c/span> \u003ca href=\"https://www.kqed.org/arts/13838727/bay-brilliant-jessica-bejarano\">\u003cspan style=\"font-weight: 400\">Jessica Bejerano\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839026/bay-brilliant-india-sky-davis\">\u003cspan style=\"font-weight: 400\">India Sky Davis\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839078/bay-brilliant-nia-levy-king\">\u003cspan style=\"font-weight: 400\">Nia Levy King\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839036/bay-brilliant-quynh-mai-nguyen\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839060/bay-brilliant-lisa-marie-rollins\">\u003cspan style=\"font-weight: 400\">Lisa Marie Rollins\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13838608/bay-brilliant-joey-alison-sayers\">\u003cspan style=\"font-weight: 400\">Joey Alison Sayers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839514/bay-brilliant-amara-tabor-smith\">\u003cspan style=\"font-weight: 400\">Amara Tabor Smith\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13838812/bay-brilliant-sol-development\">\u003cspan style=\"font-weight: 400\">Sol Development\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (pictured above) and \u003ca href=\"http://www.peacockrebellion.org/about/\" target=\"_blank\" rel=\"noopener\">Devi Peacock\u003c/a> and \u003ca href=\"https://soundcloud.com/lamfemmebear\" target=\"_blank\" rel=\"noopener\">#lamfemmebear\u003c/a> from \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839611/bay-brilliant-peacock-rebellion\">\u003cspan style=\"font-weight: 400\"> Peacock Rebellion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003ch2>Bay Brilliant Live\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tuesday, Sept. 25\u003c/span>\u003cbr>\n\u003ca href=\"http://www.swedishamericanhall.com/\">\u003cspan style=\"font-weight: 400\">The Swedish American Hall\u003c/span>\u003c/a>\u003cbr>\n\u003cspan style=\"font-weight: 400\">2174 Market Street, San Francisco\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">6:30pm Doors\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">7:00pm Event Starts\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">$10 \u003c/span>\u003cbr>\n\u003ca href=\"https://kqedbaybrilliant2018.eventbrite.com\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Get tickets\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Please note this event is open seating—please arrive early to secure your seats.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/newsletter/\">\u003ci>\u003cspan style=\"font-weight: 400\">Sign up for our weekly email newsletter\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and get your weekly dose of creative inspiration, including artist interviews and profiles, event recommendations and a Bay Area perspective on arts, culture and entertainment. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Want to learn more about the series? Check out our \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/bay-brilliant\">\u003ci>\u003cspan style=\"font-weight: 400\">Bay Brilliant series page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> which includes photo galleries, artist work and interviews.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Join KQED Arts for a night filled with music, performances, interviews and storytelling by extraordinary local artists from our series Bay Brilliant.","status":"publish","parent":0,"modified":1705027291,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":181},"headData":{"title":"Bay Brilliant Live!: Meet the Makers Shaping Bay Area Culture | KQED","description":"Join KQED Arts for a night filled with music, performances, interviews and storytelling by extraordinary local artists from our series Bay Brilliant.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant Live!: Meet the Makers Shaping Bay Area Culture","datePublished":"2018-09-04T20:50:43.000Z","dateModified":"2024-01-12T02:41:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839999/bay-brilliant-live-meet-the-makers-shaping-bay-area-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On Sept. 25, jumpstart your creativity with a \u003c/span>\u003cspan style=\"font-weight: 400\">cabaret-variety show filled with music, performances, interviews and storytelling by extraordinary local artists from KQED Arts’ series \u003c/span>\u003ca href=\"https://www.kqed.org/arts/series/bay-brilliant\">\u003cspan style=\"font-weight: 400\">Bay Brilliant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Join us for a celebration of the \u003c/span>\u003cspan style=\"font-weight: 400\">artists and makers who are creating and shaping Bay Area arts and culture:\u003c/span> \u003ca href=\"https://www.kqed.org/arts/13838727/bay-brilliant-jessica-bejarano\">\u003cspan style=\"font-weight: 400\">Jessica Bejerano\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839026/bay-brilliant-india-sky-davis\">\u003cspan style=\"font-weight: 400\">India Sky Davis\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839078/bay-brilliant-nia-levy-king\">\u003cspan style=\"font-weight: 400\">Nia Levy King\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839036/bay-brilliant-quynh-mai-nguyen\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839060/bay-brilliant-lisa-marie-rollins\">\u003cspan style=\"font-weight: 400\">Lisa Marie Rollins\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13838608/bay-brilliant-joey-alison-sayers\">\u003cspan style=\"font-weight: 400\">Joey Alison Sayers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839514/bay-brilliant-amara-tabor-smith\">\u003cspan style=\"font-weight: 400\">Amara Tabor Smith\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13838812/bay-brilliant-sol-development\">\u003cspan style=\"font-weight: 400\">Sol Development\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (pictured above) and \u003ca href=\"http://www.peacockrebellion.org/about/\" target=\"_blank\" rel=\"noopener\">Devi Peacock\u003c/a> and \u003ca href=\"https://soundcloud.com/lamfemmebear\" target=\"_blank\" rel=\"noopener\">#lamfemmebear\u003c/a> from \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13839611/bay-brilliant-peacock-rebellion\">\u003cspan style=\"font-weight: 400\"> Peacock Rebellion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003ch2>Bay Brilliant Live\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tuesday, Sept. 25\u003c/span>\u003cbr>\n\u003ca href=\"http://www.swedishamericanhall.com/\">\u003cspan style=\"font-weight: 400\">The Swedish American Hall\u003c/span>\u003c/a>\u003cbr>\n\u003cspan style=\"font-weight: 400\">2174 Market Street, San Francisco\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">6:30pm Doors\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">7:00pm Event Starts\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">$10 \u003c/span>\u003cbr>\n\u003ca href=\"https://kqedbaybrilliant2018.eventbrite.com\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Get tickets\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Please note this event is open seating—please arrive early to secure your seats.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/newsletter/\">\u003ci>\u003cspan style=\"font-weight: 400\">Sign up for our weekly email newsletter\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and get your weekly dose of creative inspiration, including artist interviews and profiles, event recommendations and a Bay Area perspective on arts, culture and entertainment. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Want to learn more about the series? Check out our \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/bay-brilliant\">\u003ci>\u003cspan style=\"font-weight: 400\">Bay Brilliant series page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> which includes photo galleries, artist work and interviews.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839999/bay-brilliant-live-meet-the-makers-shaping-bay-area-culture","authors":["99"],"series":["arts_5448"],"categories":["arts_71"],"tags":["arts_5449"],"featImg":"arts_13839076","label":"arts_5448"},"arts_13838923":{"type":"posts","id":"arts_13838923","meta":{"index":"posts_1591205157","site":"arts","id":"13838923","score":null,"sort":[1535209253000]},"guestAuthors":[],"slug":"welcome-to-bay-brilliant","title":"Introducing Bay Brilliant: 10 Bay Area Artists You Need to Know","publishDate":1535209253,"format":"image","headTitle":"Introducing Bay Brilliant: 10 Bay Area Artists You Need to Know | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>When we think of artists in the Bay Area, a reliable contingent of big names come to mind, providing the region’s star power. But at KQED, we know that there are hundreds of lesser-known figures, either on stage or behind the scenes, who comprise the Bay Area’s soul.\u003c/p>\n\u003cp>Giving recognition to these artists is the simple purpose of Bay Brilliant, an annual KQED Arts series which launched in 2016 under the title \u003ca href=\"https://www.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>. This year—with an expanded criteria to include not just women, but trans artists and men—the name may be new but the motivation is the same: to salute artists making significant contributions in their field. Some of them are well-along in their careers; others are just starting out. All of them deserve some shine.\u003c/p>\n\u003cp>Each weekday over the next two weeks, from Aug. 13–24, you’ll hear from 10 extraordinary people in music, dance, theater, visual art, performance, writing, illustration and more. Read their interviews online at KQED Arts, follow along with their stories on our Instagram at \u003ca href=\"https://www.instagram.com/kqed_arts/?hl=en\" target=\"_blank\" rel=\"noopener\">@kqed_arts\u003c/a>, and tune in to KQED-FM to catch some of their insight and experience. Also: be sure to save the date for a special live event featuring artists from the series on Tuesday, Sept. 25, at the Swedish American Hall.\u003c/p>\n\u003cp>It’s easy to be an artist. But it takes someone special to be truly brilliant. We hope you’ll enjoy getting to know our Bay Brilliant honorees as much as we have.\u003c/p>\n\u003cp>\u003cem>—Gabe Meline, Senior Editor, KQED Arts\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Our two-week series honors 10 extraordinary Bay Area artists in music, dance, theater, visual art, performance, illustration and more.","status":"publish","parent":0,"modified":1705027327,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":270},"headData":{"title":"Introducing Bay Brilliant: 10 Bay Area Artists You Need to Know | KQED","description":"Our two-week series honors 10 extraordinary Bay Area artists in music, dance, theater, visual art, performance, illustration and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Introducing Bay Brilliant: 10 Bay Area Artists You Need to Know","datePublished":"2018-08-25T15:00:53.000Z","dateModified":"2024-01-12T02:42:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13838923/welcome-to-bay-brilliant","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we think of artists in the Bay Area, a reliable contingent of big names come to mind, providing the region’s star power. But at KQED, we know that there are hundreds of lesser-known figures, either on stage or behind the scenes, who comprise the Bay Area’s soul.\u003c/p>\n\u003cp>Giving recognition to these artists is the simple purpose of Bay Brilliant, an annual KQED Arts series which launched in 2016 under the title \u003ca href=\"https://www.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>. This year—with an expanded criteria to include not just women, but trans artists and men—the name may be new but the motivation is the same: to salute artists making significant contributions in their field. Some of them are well-along in their careers; others are just starting out. All of them deserve some shine.\u003c/p>\n\u003cp>Each weekday over the next two weeks, from Aug. 13–24, you’ll hear from 10 extraordinary people in music, dance, theater, visual art, performance, writing, illustration and more. Read their interviews online at KQED Arts, follow along with their stories on our Instagram at \u003ca href=\"https://www.instagram.com/kqed_arts/?hl=en\" target=\"_blank\" rel=\"noopener\">@kqed_arts\u003c/a>, and tune in to KQED-FM to catch some of their insight and experience. Also: be sure to save the date for a special live event featuring artists from the series on Tuesday, Sept. 25, at the Swedish American Hall.\u003c/p>\n\u003cp>It’s easy to be an artist. But it takes someone special to be truly brilliant. We hope you’ll enjoy getting to know our Bay Brilliant honorees as much as we have.\u003c/p>\n\u003cp>\u003cem>—Gabe Meline, Senior Editor, KQED Arts\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13838923/welcome-to-bay-brilliant","authors":["185"],"series":["arts_5448"],"categories":["arts_1"],"tags":["arts_5449","arts_596"],"featImg":"arts_13838957","label":"arts_5448"},"arts_13839611":{"type":"posts","id":"arts_13839611","meta":{"index":"posts_1591205157","site":"arts","id":"13839611","score":null,"sort":[1535139546000]},"guestAuthors":[],"slug":"bay-brilliant-peacock-rebellion","title":"Bay Brilliant: Peacock Rebellion","publishDate":1535139546,"format":"image","headTitle":"Bay Brilliant: Peacock Rebellion | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Using humor and imagination as survival tools is a guiding principle for Peacock Rebellion, an East Oakland-based art and activism collective composed of queer and trans people of color. Led by Devi Peacock, Lexi Adsit, Q Quintero, Kathrin Cantin and Luna Merbruja, the group leverages its many creative talents to engage their communities in social justice causes.\u003c/p>\n\u003cp>Peacock Rebellion may be primarily known for \u003ca href=\"http://www.peacockrebellion.org/shows/\" target=\"_blank\" rel=\"noopener\">Brouhaha\u003c/a>, a hilarious and moving comedic storytelling showcase with a cast of trans women of color. But the group also offers services to the community: They banded together with several other activist-minded collectives to \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\" target=\"_blank\" rel=\"noopener\">purchase a mixed-use building\u003c/a> on 23rd Avenue in Oakland through a land trust deal, securing affordable housing and commercial rent for activist groups and low-income residents. In their new headquarters, they lead performance workshops, offer access to technologies like 3D printers and industrial sewing machines, provide a low-cost event space and host events to activate their community in local politics.\u003c/p>\n\u003cp>The artist-activists in Peacock Rebellion reject the notion that big, bureaucratic nonprofits hold the keys to a more equitable future; instead, their focus is on people power. (They have a board of elders instead of a board of directors, consisting of Cherry Galette of Mangos with Chili, writer-activist Jen-Mei Wu, game developer and author Micha Cárdenas, Kebo Drew of Queer Women of Color Media Arts Project, Pam Peniston of the Queer Cultural Center and musician and filmmaker StormMiguel Florez.)\u003c/p>\n\u003cp>Despite the many institutional barriers and -isms faced by queer and trans people of color, Peacock Rebellion fights for change through their artistry, always keeping their vision for a better world front of mind.\u003c/p>\n\u003cfigure id=\"attachment_13839240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg\" alt=\"Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you sum up the mission of Peacock Rebellion? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> How do we sum up the mission? Oh, my gosh. First, it came out of a lot of stuff I was doing with [the queer and trans people of color (QTPOC) performance collective] Mangos With Chili, and then I was performing in Queer Rebels and a bunch of these QTPOC groups in the Bay. I was also in art school at Goddard, and I dropped out of art school because I was spending more time organizing students and faculty of color dealing with institutionalized racism than I was working on my art.\u003c/p>\n\u003cp>That’s the one part, and then the other part was I was burning out as an organizer. I was way more effective with a microphone than a megaphone. I was able to move people on stage with social justice messages through my comedy, but in my organizing I wasn’t necessarily reaching the people who weren’t already coming to a march or a protest.\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I guess I would also just add that in recent years we’ve really centered the organization around trans women of color and trans femmes of color. When I entered the organization in 2012, I was a part of the stand-up cohort. There was a transphobia that came up in that cohort, and me and a number of other trans women of color at the time were really noticing a lack of visible trans women of color artists and art shows. I think Devi did a really amazing job in giving Peacock the space and platform where trans women of color and trans femmes of color can access free, quality arts training and support in that way.\u003c/p>\n\u003cfigure id=\"attachment_13839239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg\" alt=\"Lexi Adsit of Peacock Rebellion.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lexi Adsit of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like the power of the collective is very important to your vision. You guys have a core leadership group of five people, right? Could you talk about the importance of collaboration in making your projects possible? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Yeah, I think Devi and I both have a lot of experience navigating the nonprofit industrial complex. There’s such a hierarchy [within nonprofits] that repeats very problematic power dynamics. For us, we’re really unique in the sense that we also have a board of elders that don’t really get seen as much but they’re super amazing and provide us a lot of really wonderful feedback and insights.\u003c/p>\n\u003cp>Our structure is really set up in a way where it’s not just one person making the decisions. There’s the core group of five of us, but we’re all still receiving feedback from our artists all the time, or the board of elders all the time, or our community partners and other organizations that we work closely with all the time. We use all that information to really inform our politics and the things that we promote in terms of our newsletter or calls to action.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, for me, the idea that somehow the success of an organization is dependent on one person is just such bullsh-t. Everybody’s brilliance actually creates the whole.\u003c/p>\n\u003cp>We need to center femme leadership. That’s why actually almost all of what we do is, I would say, femme emotional labor. The last Brouhaha, we turned it into a festival and 800 people came. Then within a matter of days, all these people showed up for court support [for someone in our community], and to donate directly to trans women of color, and call the DA to drop charges against a trans woman of color who was defending herself against an abuser.\u003c/p>\n\u003cp>All of that stuff is ultimately about the power of the collective. For us, it’s very low infrastructure on purpose, so that we can move very quickly.\u003c/p>\n\u003cfigure id=\"attachment_13839242\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg\" alt=\"The power of the collective is a guiding principle for the Peacock Rebellion crew.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The power of the collective is a guiding principle for the Peacock Rebellion crew. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been over six months now since you guys officially bought your building on 23rd Avenue in Oakland. What have been some of the biggest challenges of that and the biggest rewards since buying it?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I think we’re just really fortunate in the situation that we’re in with the work that we do—with the cost of rent, the cost of living—we’re just truly really blessed to have this amazing space on this amazing block, and to have such awesome community partners like Eastside Arts Alliance, \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), \u003ca href=\"https://www.cyclesofchange.org/bike_shop_the_bikery\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>—all these places that are just right next door to us that are kinship partners.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> For me, I think similarly the blessings around it are because of the collective power. For example, the day that we got that email from our landlord being like, “Hey, I’m going to sell the building in 90 days,” I absolutely cried. And then very quickly we rolled up our sleeves and were like, “All right, well, I guess we’re buying a building.”\u003c/p>\n\u003cp>Our reality as mostly marginalized people is that we’re struggling just to survive day-to-day on top of everything else. The Bikery got robbed a couple days ago. Yesterday there was a fire at The Village, which is just down the block, and we have a close relationship with them as well.\u003c/p>\n\u003cp>How do we, as a collective of collectives, shape something, go out of crisis mode? How do we dream futures where we’re at the center and we can actually thrive?\u003c/p>\n\u003cfigure id=\"attachment_13839241\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg\" alt=\"Katherin Canton of Peacock Rebellion. \" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katherin Canton of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nWhat programs are you currently running out of your space in addition to Brouhaha?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> Currently, our office is closed for renovations, but when we are not closed for renovations we run a monthly maker day. We have this industrial sewing machine, we have 3D printers, we have a strong base of coders and folks involved in tech.\u003c/p>\n\u003cp>We’re currently in talks with an organization to do a writing group. Then we’re preparing for a big spring show, and that’s going to be more of a cabaret-style show, and it’s going to be on mental health.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah. The spring show is called Magic Mirrors. Luna Merbruja is artistic-directing it. As it’s scheduled, it’s all trans people of color and looking at mental illness as a kind of brilliance.\u003c/p>\n\u003cp>Then we just had a call yesterday to firm up the writing series. It’s a month-long series that’s all trans femmes. That is in collaboration with \u003ca href=\"https://www.heartsparkpress.com/\" target=\"_blank\" rel=\"noopener\">Heartspark Press\u003c/a>, which is an amazing trans press. Luna is actually also teaching that workshop series.\u003c/p>\n\u003cp>The maker days are all focused around social justice. One recent maker day was called We Are Gems. Nastia, brace yourself, because it is all on \u003cem>Steven Universe\u003c/em>. You’ve seen \u003cem>Steven Universe\u003c/em>, yeah?\u003c/p>\n\u003cp>\u003cstrong>Oh, I actually haven’t.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> I just watched all five seasons in like two weeks. That’s like a couple hundred episodes. It’s because I cannot believe that that show is on TV, that the government has not shut it down, because I’m like, “This is f-cking incredible.” There’s a lot of queer and trans visibility in the characters, and it’s all about social justice.\u003c/p>\n\u003cfigure id=\"attachment_13839244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg\" alt=\"Q Quintero of Peacock Rebellion.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Q Quintero of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nI had no idea! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, like all around empire, capitalism, PTSD, police brutality. There’s all this stuff they cover somehow on this children’s cartoon. So we had this maker day called We Are Gems. Each character [in the show] is a gem, like an amethyst, a rose quartz or that kind of thing. People would actually have to design their gem and then identify their own personal traits in their relationship to social justice.\u003c/p>\n\u003cp>Then we encouraged them to think about what are your core values, and how do you see them in terms of shaping the cultural practices in Oakland? The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" target=\"_blank\" rel=\"noopener\">City of Oakland’s Cultural Plan\u003c/a> is being rewritten for the first time in 30 years, and the last version of the cultural plan is not even a little about equity.\u003c/p>\n\u003cp>We had copies of the City of Oakland’s Cultural Plan, and people, together as a collective of people who had never met before, [used the gem project] to shape their own talking points. We took those talking points, and then we had stations set up for people to call and email the City of Oakland with their ideas about what they want to see in the Cultural Plan. Then we sent the collectively written talking points to our email list with a call-to-action button.\u003c/p>\n\u003cp>\u003cstrong>What would be your wildest dreams of what you can do with your new space? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Something we are dreaming about and thinking about how to make happen is we want to turn one of the back rooms into a sound studio. People would be able to do podcasts, or record music or audio, or we would be able to run programs out of there.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> I’m also interested in shifting the maker days into an \u003ca href=\"https://www.akpress.org/emergentstrategy.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Emergent Strategy\u003c/em>\u003c/a> training series [based on Adrienne Maree Brown’s radical self-help book]. We’d be taking people through a yearlong study of the \u003cem>Emergent Strategy\u003c/em> framework and book. One example is that a couple months ago someone lit a blanket on fire and threw it over the fence and half of the yard next to us burned. The fire department never came.\u003c/p>\n\u003cp>\u003cstrong>Oh my god, that’s terrible.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> We had gone through training on how to use fire extinguishers and stuff, so people from The Bikery ran over and put out the fire. We need to be able to be ready to provide our own solutions, and this is something a lot of people in the building are talking about. So, how do we build out safety teams? We had a skinhead come to the door a couple weeks after the election. I was the only one there, and the person held up this sharpened object to my neck. Spoiler alert, I’m still here. I’m alive.\u003c/p>\n\u003cp>\u003cstrong>That sounds terrifying!\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> Yeah, it was not the highlight of my day, I will say that. The thing about that, this sh-t is real and I never thought that that would happen in East Oakland, like ever. But, yeah, this sh-t is everywhere.\u003c/p>\n\u003cp>Yeah, so being like what does that look like, what does that look like if there were a giant earthquake or whatever it is, something happens and you lose your communication channels, what do you do? What skills do you have, what can you contribute to the thing, how do you communicate to your crew, who is your crew, what are your plans that are in place.\u003c/p>\n\u003cp>And then also I just want to write some f-cking jokes. You know how there’s \u003cem>Saturday Night Live\u003c/em>? I want to do a thing that’s called \u003cem>Sunday Night Dead\u003c/em>, and do kind of a weekly in-person show where we actually talk about the news, but we talk about it in a way that’s not just trauma-informed but healing-centered with our people, but all comedy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> That is super easy to answer. I guess starting with the basics, I would love artists to have the ability to live in the Bay Area, survive in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Instantly when you said that, I was just like, “Artists need to get paid!” You know? But the truth is, we also need an end to capitalism.\u003c/p>\n\u003cp>What’s true is that our people’s survival always depends on creativity. We have to be able to imagine worlds with ourselves going beyond survival. What I’m hoping for and I think what we’re trying to plant seeds for is that everyone actually sees themselves as an artist and as a creative person, and that we can through that collective creativity imagine worlds together and build worlds together where everyone is held, and cherished, and valued, everybody has dignity, everybody has love, everybody has access. Frankly, around the basics also, everyone should have free, clean access to water and clean air.\u003c/p>\n\u003cp>Also, b-tches need to get paid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Peacock Rebellion \u003ca href=\"http://www.peacockrebellion.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The artist-activist collective uses humor and imagination to provide vital services to their community of queer and trans people of color. ","status":"publish","parent":0,"modified":1705027331,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":2488},"headData":{"title":"Bay Brilliant: Peacock Rebellion | KQED","description":"The artist-activist collective uses humor and imagination to provide vital services to their community of queer and trans people of color. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant: Peacock Rebellion","datePublished":"2018-08-24T19:39:06.000Z","dateModified":"2024-01-12T02:42:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839611/bay-brilliant-peacock-rebellion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Using humor and imagination as survival tools is a guiding principle for Peacock Rebellion, an East Oakland-based art and activism collective composed of queer and trans people of color. Led by Devi Peacock, Lexi Adsit, Q Quintero, Kathrin Cantin and Luna Merbruja, the group leverages its many creative talents to engage their communities in social justice causes.\u003c/p>\n\u003cp>Peacock Rebellion may be primarily known for \u003ca href=\"http://www.peacockrebellion.org/shows/\" target=\"_blank\" rel=\"noopener\">Brouhaha\u003c/a>, a hilarious and moving comedic storytelling showcase with a cast of trans women of color. But the group also offers services to the community: They banded together with several other activist-minded collectives to \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\" target=\"_blank\" rel=\"noopener\">purchase a mixed-use building\u003c/a> on 23rd Avenue in Oakland through a land trust deal, securing affordable housing and commercial rent for activist groups and low-income residents. In their new headquarters, they lead performance workshops, offer access to technologies like 3D printers and industrial sewing machines, provide a low-cost event space and host events to activate their community in local politics.\u003c/p>\n\u003cp>The artist-activists in Peacock Rebellion reject the notion that big, bureaucratic nonprofits hold the keys to a more equitable future; instead, their focus is on people power. (They have a board of elders instead of a board of directors, consisting of Cherry Galette of Mangos with Chili, writer-activist Jen-Mei Wu, game developer and author Micha Cárdenas, Kebo Drew of Queer Women of Color Media Arts Project, Pam Peniston of the Queer Cultural Center and musician and filmmaker StormMiguel Florez.)\u003c/p>\n\u003cp>Despite the many institutional barriers and -isms faced by queer and trans people of color, Peacock Rebellion fights for change through their artistry, always keeping their vision for a better world front of mind.\u003c/p>\n\u003cfigure id=\"attachment_13839240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg\" alt=\"Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you sum up the mission of Peacock Rebellion? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> How do we sum up the mission? Oh, my gosh. First, it came out of a lot of stuff I was doing with [the queer and trans people of color (QTPOC) performance collective] Mangos With Chili, and then I was performing in Queer Rebels and a bunch of these QTPOC groups in the Bay. I was also in art school at Goddard, and I dropped out of art school because I was spending more time organizing students and faculty of color dealing with institutionalized racism than I was working on my art.\u003c/p>\n\u003cp>That’s the one part, and then the other part was I was burning out as an organizer. I was way more effective with a microphone than a megaphone. I was able to move people on stage with social justice messages through my comedy, but in my organizing I wasn’t necessarily reaching the people who weren’t already coming to a march or a protest.\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I guess I would also just add that in recent years we’ve really centered the organization around trans women of color and trans femmes of color. When I entered the organization in 2012, I was a part of the stand-up cohort. There was a transphobia that came up in that cohort, and me and a number of other trans women of color at the time were really noticing a lack of visible trans women of color artists and art shows. I think Devi did a really amazing job in giving Peacock the space and platform where trans women of color and trans femmes of color can access free, quality arts training and support in that way.\u003c/p>\n\u003cfigure id=\"attachment_13839239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg\" alt=\"Lexi Adsit of Peacock Rebellion.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lexi Adsit of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like the power of the collective is very important to your vision. You guys have a core leadership group of five people, right? Could you talk about the importance of collaboration in making your projects possible? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Yeah, I think Devi and I both have a lot of experience navigating the nonprofit industrial complex. There’s such a hierarchy [within nonprofits] that repeats very problematic power dynamics. For us, we’re really unique in the sense that we also have a board of elders that don’t really get seen as much but they’re super amazing and provide us a lot of really wonderful feedback and insights.\u003c/p>\n\u003cp>Our structure is really set up in a way where it’s not just one person making the decisions. There’s the core group of five of us, but we’re all still receiving feedback from our artists all the time, or the board of elders all the time, or our community partners and other organizations that we work closely with all the time. We use all that information to really inform our politics and the things that we promote in terms of our newsletter or calls to action.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, for me, the idea that somehow the success of an organization is dependent on one person is just such bullsh-t. Everybody’s brilliance actually creates the whole.\u003c/p>\n\u003cp>We need to center femme leadership. That’s why actually almost all of what we do is, I would say, femme emotional labor. The last Brouhaha, we turned it into a festival and 800 people came. Then within a matter of days, all these people showed up for court support [for someone in our community], and to donate directly to trans women of color, and call the DA to drop charges against a trans woman of color who was defending herself against an abuser.\u003c/p>\n\u003cp>All of that stuff is ultimately about the power of the collective. For us, it’s very low infrastructure on purpose, so that we can move very quickly.\u003c/p>\n\u003cfigure id=\"attachment_13839242\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg\" alt=\"The power of the collective is a guiding principle for the Peacock Rebellion crew.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The power of the collective is a guiding principle for the Peacock Rebellion crew. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been over six months now since you guys officially bought your building on 23rd Avenue in Oakland. What have been some of the biggest challenges of that and the biggest rewards since buying it?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I think we’re just really fortunate in the situation that we’re in with the work that we do—with the cost of rent, the cost of living—we’re just truly really blessed to have this amazing space on this amazing block, and to have such awesome community partners like Eastside Arts Alliance, \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), \u003ca href=\"https://www.cyclesofchange.org/bike_shop_the_bikery\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>—all these places that are just right next door to us that are kinship partners.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> For me, I think similarly the blessings around it are because of the collective power. For example, the day that we got that email from our landlord being like, “Hey, I’m going to sell the building in 90 days,” I absolutely cried. And then very quickly we rolled up our sleeves and were like, “All right, well, I guess we’re buying a building.”\u003c/p>\n\u003cp>Our reality as mostly marginalized people is that we’re struggling just to survive day-to-day on top of everything else. The Bikery got robbed a couple days ago. Yesterday there was a fire at The Village, which is just down the block, and we have a close relationship with them as well.\u003c/p>\n\u003cp>How do we, as a collective of collectives, shape something, go out of crisis mode? How do we dream futures where we’re at the center and we can actually thrive?\u003c/p>\n\u003cfigure id=\"attachment_13839241\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg\" alt=\"Katherin Canton of Peacock Rebellion. \" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katherin Canton of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nWhat programs are you currently running out of your space in addition to Brouhaha?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> Currently, our office is closed for renovations, but when we are not closed for renovations we run a monthly maker day. We have this industrial sewing machine, we have 3D printers, we have a strong base of coders and folks involved in tech.\u003c/p>\n\u003cp>We’re currently in talks with an organization to do a writing group. Then we’re preparing for a big spring show, and that’s going to be more of a cabaret-style show, and it’s going to be on mental health.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah. The spring show is called Magic Mirrors. Luna Merbruja is artistic-directing it. As it’s scheduled, it’s all trans people of color and looking at mental illness as a kind of brilliance.\u003c/p>\n\u003cp>Then we just had a call yesterday to firm up the writing series. It’s a month-long series that’s all trans femmes. That is in collaboration with \u003ca href=\"https://www.heartsparkpress.com/\" target=\"_blank\" rel=\"noopener\">Heartspark Press\u003c/a>, which is an amazing trans press. Luna is actually also teaching that workshop series.\u003c/p>\n\u003cp>The maker days are all focused around social justice. One recent maker day was called We Are Gems. Nastia, brace yourself, because it is all on \u003cem>Steven Universe\u003c/em>. You’ve seen \u003cem>Steven Universe\u003c/em>, yeah?\u003c/p>\n\u003cp>\u003cstrong>Oh, I actually haven’t.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> I just watched all five seasons in like two weeks. That’s like a couple hundred episodes. It’s because I cannot believe that that show is on TV, that the government has not shut it down, because I’m like, “This is f-cking incredible.” There’s a lot of queer and trans visibility in the characters, and it’s all about social justice.\u003c/p>\n\u003cfigure id=\"attachment_13839244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg\" alt=\"Q Quintero of Peacock Rebellion.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Q Quintero of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nI had no idea! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, like all around empire, capitalism, PTSD, police brutality. There’s all this stuff they cover somehow on this children’s cartoon. So we had this maker day called We Are Gems. Each character [in the show] is a gem, like an amethyst, a rose quartz or that kind of thing. People would actually have to design their gem and then identify their own personal traits in their relationship to social justice.\u003c/p>\n\u003cp>Then we encouraged them to think about what are your core values, and how do you see them in terms of shaping the cultural practices in Oakland? The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" target=\"_blank\" rel=\"noopener\">City of Oakland’s Cultural Plan\u003c/a> is being rewritten for the first time in 30 years, and the last version of the cultural plan is not even a little about equity.\u003c/p>\n\u003cp>We had copies of the City of Oakland’s Cultural Plan, and people, together as a collective of people who had never met before, [used the gem project] to shape their own talking points. We took those talking points, and then we had stations set up for people to call and email the City of Oakland with their ideas about what they want to see in the Cultural Plan. Then we sent the collectively written talking points to our email list with a call-to-action button.\u003c/p>\n\u003cp>\u003cstrong>What would be your wildest dreams of what you can do with your new space? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Something we are dreaming about and thinking about how to make happen is we want to turn one of the back rooms into a sound studio. People would be able to do podcasts, or record music or audio, or we would be able to run programs out of there.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> I’m also interested in shifting the maker days into an \u003ca href=\"https://www.akpress.org/emergentstrategy.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Emergent Strategy\u003c/em>\u003c/a> training series [based on Adrienne Maree Brown’s radical self-help book]. We’d be taking people through a yearlong study of the \u003cem>Emergent Strategy\u003c/em> framework and book. One example is that a couple months ago someone lit a blanket on fire and threw it over the fence and half of the yard next to us burned. The fire department never came.\u003c/p>\n\u003cp>\u003cstrong>Oh my god, that’s terrible.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> We had gone through training on how to use fire extinguishers and stuff, so people from The Bikery ran over and put out the fire. We need to be able to be ready to provide our own solutions, and this is something a lot of people in the building are talking about. So, how do we build out safety teams? We had a skinhead come to the door a couple weeks after the election. I was the only one there, and the person held up this sharpened object to my neck. Spoiler alert, I’m still here. I’m alive.\u003c/p>\n\u003cp>\u003cstrong>That sounds terrifying!\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> Yeah, it was not the highlight of my day, I will say that. The thing about that, this sh-t is real and I never thought that that would happen in East Oakland, like ever. But, yeah, this sh-t is everywhere.\u003c/p>\n\u003cp>Yeah, so being like what does that look like, what does that look like if there were a giant earthquake or whatever it is, something happens and you lose your communication channels, what do you do? What skills do you have, what can you contribute to the thing, how do you communicate to your crew, who is your crew, what are your plans that are in place.\u003c/p>\n\u003cp>And then also I just want to write some f-cking jokes. You know how there’s \u003cem>Saturday Night Live\u003c/em>? I want to do a thing that’s called \u003cem>Sunday Night Dead\u003c/em>, and do kind of a weekly in-person show where we actually talk about the news, but we talk about it in a way that’s not just trauma-informed but healing-centered with our people, but all comedy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> That is super easy to answer. I guess starting with the basics, I would love artists to have the ability to live in the Bay Area, survive in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Instantly when you said that, I was just like, “Artists need to get paid!” You know? But the truth is, we also need an end to capitalism.\u003c/p>\n\u003cp>What’s true is that our people’s survival always depends on creativity. We have to be able to imagine worlds with ourselves going beyond survival. What I’m hoping for and I think what we’re trying to plant seeds for is that everyone actually sees themselves as an artist and as a creative person, and that we can through that collective creativity imagine worlds together and build worlds together where everyone is held, and cherished, and valued, everybody has dignity, everybody has love, everybody has access. Frankly, around the basics also, everyone should have free, clean access to water and clean air.\u003c/p>\n\u003cp>Also, b-tches need to get paid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Peacock Rebellion \u003ca href=\"http://www.peacockrebellion.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839611/bay-brilliant-peacock-rebellion","authors":["11387"],"series":["arts_5448"],"categories":["arts_968","arts_835","arts_1003","arts_967"],"tags":["arts_5449","arts_1118","arts_596"],"featImg":"arts_13839237","label":"arts_5448"},"arts_13839514":{"type":"posts","id":"arts_13839514","meta":{"index":"posts_1591205157","site":"arts","id":"13839514","score":null,"sort":[1535050853000]},"guestAuthors":[],"slug":"bay-brilliant-amara-tabor-smith","title":"Bay Brilliant: Amara Tabor-Smith","publishDate":1535050853,"format":"image","headTitle":"Bay Brilliant: Amara Tabor-Smith | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>One evening last March, dozens of black women sat in a circle in a downtown Oakland gallery to be blessed and encouraged to rest. Some wept, while others deeply exhaled. Onlookers hummed in unison. Then the women went to a private boarding house outfitted for further relaxation. \u003c/p>\n\u003cp>The scene was one part of “Black Women Dreaming: A Ritual Rest,” the 11th “episode” in multi-site performance series \u003cem>House/Full of BlackWomen\u003c/em>, which Ellen Sebastian Chang created with local dancer-choreographer Amara Tabor-Smith. The series, intended to address displacement, well-being, and sex trafficking of black women and girls in Oakland, exemplifies what Smith calls her politically pointed, spiritually infused “afro-futurist conjure art.” \u003c/p>\n\u003cp>Smith, 53, leads \u003ca href=\"http://www.deepwatersdance.com/\">Deep Waters Dance Theater\u003c/a>, a performance art ensemble centering ritual and folklore in its examination of issues facing people of color and the environment. In recent years, the Oakland artist and UC Berkeley lecturer’s work has increasingly foregrounded her spiritual practice as a Yoruba priest.\u003c/p>\n\u003cp>Read on as Tabor-Smith discusses collaboration as cultivation, preferring grocery stores to dance studios, and the enduring influence of her early mentor and teacher, the late dancer-choreographer Ed Mock. \u003c/p>\n\u003cfigure id=\"attachment_13839494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The politically charged dancer-choreographer discusses her ‘afro-futurist conjecture art.’ \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How was \u003cem>House/Full of BlackWomen\u003c/em> like or unlike any other project in your career?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First what I’ll say is that it isn’t behind me. It moved from being a two-year project to a five-year project. Whether due to grants, funding, or project goals, as artists we’re often dictated by the calendar, the clock. I really wanted to give myself and the women I would be collaborating with time to explore, discover, to be in process, and to cultivate larger community and trust. \u003c/p>\n\u003cp>The more that I got to know folks, and the issues, and delved deeper into the issues facing black women, not just myself and collaborators, but a larger community of black women, the more I realized, “Oh, this is gonna take time.” I say “cultivate” and not “build” because cultivation, like farming, like anything, needs attention, needs time, and needs seasons. My work is rooted in ritual, and something doesn’t become ritual without time, and without practice and dedication.\u003c/p>\n\u003cp>\u003cstrong>To a lot of artists, the prospect of a five- or even two-year project probably sounds luxurious. What advice do you have for artists attempting projects of that scope?\u003c/strong>\u003c/p>\n\u003cp>It’s about cultivating relationships, and that directly contradicts the ways we get socialized as artists, where we’re in competition with each other for resources, and therefore we’re alienated from each other. We’ll talk about wanting to make connection, but we’re also being really guarded because we’re under this idea of there’s only a few resources for a few people. But if we say, “No, it’s more important that I take time with this work,” and believe in it—it may not be easy, and the hustle is the hustle, but you help shift the culture that says five years is luxurious.\u003c/p>\n\u003cfigure id=\"attachment_13839498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in San Francisco. Can you talk about your early life, and how you discovered dance and choreography?\u003c/strong>\u003c/p>\n\u003cp>I was born and raised in San Francisco. I started dancing as a teenager, a really young teenager. I studied with a very beloved dance figure whose name was Ed Mock. I’ve always credited him for why I became a dancer and dance maker. Ed was this phenomenal dancer, improviser, and really a Griot movement artist. I would say he raised me. I always say he was like my father in dance. \u003c/p>\n\u003cp>I remember walking into his studio, which was on 32 Page Street, and going into this room full of dancers all stretching on the floor—brick wall, wood floor—and I felt magic in the room. Then when he walked into the room to start class, I had this experience where, just being in his presence, I felt like I was seeing God. That’s how I felt, and I was never one to idolize anyone.\u003c/p>\n\u003cp>Then I started studying with him. I was in awe of him. I was afraid of him. I had such reverence and respect for him. The way that he would conjure the spirit of a character that he was dancing was much more the way of an improviser. Even though he choreographed movement on his dancers, he never choreographed movement for himself. Those two things really stuck with me.\u003c/p>\n\u003cp>\u003cstrong>Your \u003ca href=\"http://www.deepwatersdance.com/portfolio/hemovedswiftly/\">series conjuring Ed Mock\u003c/a> gave his legacy a lot more visibility, and it inspired Brontez Purnell to continue this project of honoring and remembering him. What would you say to other artists who’d like their work to similarly highlight secret histories of local culture?\u003c/strong> \u003c/p>\n\u003cp>That’s such an interesting question. I would say listen to the streets. If you’re not from the Bay, get to know people who’ve been here. Ask yourself why. So there’s a hidden history in San Francisco—what is it about that history that calls you? What is it about that energy that’s calling you? Listen to that, and be guided by it. Making that piece for Ed was the first time that I integrated my spiritual practice more profoundly into my artwork. It was really about listening. I prayed to Ed, and I said, “Tell me the piece you want me to make.” I just listened, and I trusted. \u003c/p>\n\u003cp>So I say that there are the obvious histories that will be in the forefront, that have to do with the people that had more visibility, for whatever reason. But I say for someone who really wants to look at the hidden history, listen. Go to the places. Go to the places and scratch the surface. And give yourself time that’s not just about the research where you go into the libraries and you go into the archives, but also when you go sit in the cafes where said histories took place, or where said people visited. If you go and sit in with the people and listen to the concrete, they’ll talk. \u003c/p>\n\u003cfigure id=\"attachment_13839493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your spiritual practice—how did you begin incorporating that into your work, particularly the Yoruba tradition? \u003c/strong>\u003c/p>\n\u003cp>I am a priest in the Yoruba tradition, and my spiritual practice has always been the underpinning of my work. Icons and figures have always presented themselves in my work, but more subversively, not necessarily on the surface. Partly that was because I felt like I didn’t want my spirituality to be seen as a dogma guiding my art. I wanted to keep that separate, and did so for a long time. But that felt disingenuous. There came a point where I felt like there was something missing. I didn’t know what it was, and then the opportunity came to make the piece for Ed. \u003c/p>\n\u003cp>I remember thinking, “You know, if I’m gonna do this, I really need to conjure him. And If I’m gonna conjure him, I’ve gotta use techniques that I use in my spiritual practice, which are about sitting with the dead.” You know, being in what you might call a séance. Kind of having rehearsals function as a kind of séance, and that requires that the performers participate. It was like I recognized through the making of the work that this was the piece that was missing in my work all these years, the need to incorporate spiritual ritual more prominently in my work. \u003c/p>\n\u003cp>\u003cstrong>It sounds like you’re saying there was sort of a stigma attached to spiritually centered art.\u003c/strong>\u003c/p>\n\u003cp>Totally. It’s only been recently that people who are actually engaging in ritual in their art-making practices have become more accepted. Before, people would be like, “What? What are you doing?” And there would be questions about this idea of, again, it coming from a sort of stereotypical Christian perspective of putting spirituality in your work, meaning that it’s religious.\u003c/p>\n\u003cfigure id=\"attachment_13839501\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1205\" class=\"size-medium wp-image-13839501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-797x1200.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-520x783.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor-Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A lot of your work is site-specific or outdoors. How and why did you get interested in moving dance away from the theater and the stage? \u003c/strong>\u003c/p>\n\u003cp>I feel more at home in environments outside of the theater. It’s not that I don’t make work in the theater at all, but I feel like the site work has given me more inspiration. Part of it is that my approach to site-based work is that your site is a character. Your site is a part of the story, is a character, an active environment. So I don’t use a street as if it’s a stage. It’s a collaborator.\u003c/p>\n\u003cp>I can go into a studio to make choreography and feel completely blank. Whereas I can be in the aisle of a supermarket and be more inspired to move my body because I’m stimulated by the energies, the people, the vegetables, the story that’s in that space. That’s just what feeds me.\u003c/p>\n\u003cp>\u003cstrong>To circle back to House/Full of BlackWomen, what’s next for that project? \u003c/strong>\u003c/p>\n\u003cp>Part of the reason that I wanted to continue this work is that we do ritual processions, and the procession work is rooted in sort of shifting the vibration of the topics that we are dealing with: displacement and the sex trafficking of black women and girls in Oakland. I’m less interested in educating people through the work, and more in shifting the vibration of the issues.\u003c/p>\n\u003cp>One of the ways we’ve done that is to do ritual processions down the streets of Oakland. Each time we’ve done one there’s been a shift. The hope is that the women who’ve been collaborating on the processions will continue them. To think of founding a society of black women who are dedicated to these processions to end trafficking and displacement, it becomes ritual, a neo-folk tradition. What might it look like for these processions to occur in Oakland for 30, 40, 100 years? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Amara Tabor-Smith \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A master of what she calls 'afro-futurist conjecture art,' Amara Tabor-Smith discusses her spiritual approach to dance-making and choreography.","status":"publish","parent":0,"modified":1705027336,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1832},"headData":{"title":"Bay Brilliant: Amara Tabor-Smith | KQED","description":"A master of what she calls 'afro-futurist conjecture art,' Amara Tabor-Smith discusses her spiritual approach to dance-making and choreography.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant: Amara Tabor-Smith","datePublished":"2018-08-23T19:00:53.000Z","dateModified":"2024-01-12T02:42:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839514/bay-brilliant-amara-tabor-smith","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>One evening last March, dozens of black women sat in a circle in a downtown Oakland gallery to be blessed and encouraged to rest. Some wept, while others deeply exhaled. Onlookers hummed in unison. Then the women went to a private boarding house outfitted for further relaxation. \u003c/p>\n\u003cp>The scene was one part of “Black Women Dreaming: A Ritual Rest,” the 11th “episode” in multi-site performance series \u003cem>House/Full of BlackWomen\u003c/em>, which Ellen Sebastian Chang created with local dancer-choreographer Amara Tabor-Smith. The series, intended to address displacement, well-being, and sex trafficking of black women and girls in Oakland, exemplifies what Smith calls her politically pointed, spiritually infused “afro-futurist conjure art.” \u003c/p>\n\u003cp>Smith, 53, leads \u003ca href=\"http://www.deepwatersdance.com/\">Deep Waters Dance Theater\u003c/a>, a performance art ensemble centering ritual and folklore in its examination of issues facing people of color and the environment. In recent years, the Oakland artist and UC Berkeley lecturer’s work has increasingly foregrounded her spiritual practice as a Yoruba priest.\u003c/p>\n\u003cp>Read on as Tabor-Smith discusses collaboration as cultivation, preferring grocery stores to dance studios, and the enduring influence of her early mentor and teacher, the late dancer-choreographer Ed Mock. \u003c/p>\n\u003cfigure id=\"attachment_13839494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The politically charged dancer-choreographer discusses her ‘afro-futurist conjecture art.’ \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How was \u003cem>House/Full of BlackWomen\u003c/em> like or unlike any other project in your career?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First what I’ll say is that it isn’t behind me. It moved from being a two-year project to a five-year project. Whether due to grants, funding, or project goals, as artists we’re often dictated by the calendar, the clock. I really wanted to give myself and the women I would be collaborating with time to explore, discover, to be in process, and to cultivate larger community and trust. \u003c/p>\n\u003cp>The more that I got to know folks, and the issues, and delved deeper into the issues facing black women, not just myself and collaborators, but a larger community of black women, the more I realized, “Oh, this is gonna take time.” I say “cultivate” and not “build” because cultivation, like farming, like anything, needs attention, needs time, and needs seasons. My work is rooted in ritual, and something doesn’t become ritual without time, and without practice and dedication.\u003c/p>\n\u003cp>\u003cstrong>To a lot of artists, the prospect of a five- or even two-year project probably sounds luxurious. What advice do you have for artists attempting projects of that scope?\u003c/strong>\u003c/p>\n\u003cp>It’s about cultivating relationships, and that directly contradicts the ways we get socialized as artists, where we’re in competition with each other for resources, and therefore we’re alienated from each other. We’ll talk about wanting to make connection, but we’re also being really guarded because we’re under this idea of there’s only a few resources for a few people. But if we say, “No, it’s more important that I take time with this work,” and believe in it—it may not be easy, and the hustle is the hustle, but you help shift the culture that says five years is luxurious.\u003c/p>\n\u003cfigure id=\"attachment_13839498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in San Francisco. Can you talk about your early life, and how you discovered dance and choreography?\u003c/strong>\u003c/p>\n\u003cp>I was born and raised in San Francisco. I started dancing as a teenager, a really young teenager. I studied with a very beloved dance figure whose name was Ed Mock. I’ve always credited him for why I became a dancer and dance maker. Ed was this phenomenal dancer, improviser, and really a Griot movement artist. I would say he raised me. I always say he was like my father in dance. \u003c/p>\n\u003cp>I remember walking into his studio, which was on 32 Page Street, and going into this room full of dancers all stretching on the floor—brick wall, wood floor—and I felt magic in the room. Then when he walked into the room to start class, I had this experience where, just being in his presence, I felt like I was seeing God. That’s how I felt, and I was never one to idolize anyone.\u003c/p>\n\u003cp>Then I started studying with him. I was in awe of him. I was afraid of him. I had such reverence and respect for him. The way that he would conjure the spirit of a character that he was dancing was much more the way of an improviser. Even though he choreographed movement on his dancers, he never choreographed movement for himself. Those two things really stuck with me.\u003c/p>\n\u003cp>\u003cstrong>Your \u003ca href=\"http://www.deepwatersdance.com/portfolio/hemovedswiftly/\">series conjuring Ed Mock\u003c/a> gave his legacy a lot more visibility, and it inspired Brontez Purnell to continue this project of honoring and remembering him. What would you say to other artists who’d like their work to similarly highlight secret histories of local culture?\u003c/strong> \u003c/p>\n\u003cp>That’s such an interesting question. I would say listen to the streets. If you’re not from the Bay, get to know people who’ve been here. Ask yourself why. So there’s a hidden history in San Francisco—what is it about that history that calls you? What is it about that energy that’s calling you? Listen to that, and be guided by it. Making that piece for Ed was the first time that I integrated my spiritual practice more profoundly into my artwork. It was really about listening. I prayed to Ed, and I said, “Tell me the piece you want me to make.” I just listened, and I trusted. \u003c/p>\n\u003cp>So I say that there are the obvious histories that will be in the forefront, that have to do with the people that had more visibility, for whatever reason. But I say for someone who really wants to look at the hidden history, listen. Go to the places. Go to the places and scratch the surface. And give yourself time that’s not just about the research where you go into the libraries and you go into the archives, but also when you go sit in the cafes where said histories took place, or where said people visited. If you go and sit in with the people and listen to the concrete, they’ll talk. \u003c/p>\n\u003cfigure id=\"attachment_13839493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your spiritual practice—how did you begin incorporating that into your work, particularly the Yoruba tradition? \u003c/strong>\u003c/p>\n\u003cp>I am a priest in the Yoruba tradition, and my spiritual practice has always been the underpinning of my work. Icons and figures have always presented themselves in my work, but more subversively, not necessarily on the surface. Partly that was because I felt like I didn’t want my spirituality to be seen as a dogma guiding my art. I wanted to keep that separate, and did so for a long time. But that felt disingenuous. There came a point where I felt like there was something missing. I didn’t know what it was, and then the opportunity came to make the piece for Ed. \u003c/p>\n\u003cp>I remember thinking, “You know, if I’m gonna do this, I really need to conjure him. And If I’m gonna conjure him, I’ve gotta use techniques that I use in my spiritual practice, which are about sitting with the dead.” You know, being in what you might call a séance. Kind of having rehearsals function as a kind of séance, and that requires that the performers participate. It was like I recognized through the making of the work that this was the piece that was missing in my work all these years, the need to incorporate spiritual ritual more prominently in my work. \u003c/p>\n\u003cp>\u003cstrong>It sounds like you’re saying there was sort of a stigma attached to spiritually centered art.\u003c/strong>\u003c/p>\n\u003cp>Totally. It’s only been recently that people who are actually engaging in ritual in their art-making practices have become more accepted. Before, people would be like, “What? What are you doing?” And there would be questions about this idea of, again, it coming from a sort of stereotypical Christian perspective of putting spirituality in your work, meaning that it’s religious.\u003c/p>\n\u003cfigure id=\"attachment_13839501\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1205\" class=\"size-medium wp-image-13839501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-797x1200.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-520x783.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor-Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A lot of your work is site-specific or outdoors. How and why did you get interested in moving dance away from the theater and the stage? \u003c/strong>\u003c/p>\n\u003cp>I feel more at home in environments outside of the theater. It’s not that I don’t make work in the theater at all, but I feel like the site work has given me more inspiration. Part of it is that my approach to site-based work is that your site is a character. Your site is a part of the story, is a character, an active environment. So I don’t use a street as if it’s a stage. It’s a collaborator.\u003c/p>\n\u003cp>I can go into a studio to make choreography and feel completely blank. Whereas I can be in the aisle of a supermarket and be more inspired to move my body because I’m stimulated by the energies, the people, the vegetables, the story that’s in that space. That’s just what feeds me.\u003c/p>\n\u003cp>\u003cstrong>To circle back to House/Full of BlackWomen, what’s next for that project? \u003c/strong>\u003c/p>\n\u003cp>Part of the reason that I wanted to continue this work is that we do ritual processions, and the procession work is rooted in sort of shifting the vibration of the topics that we are dealing with: displacement and the sex trafficking of black women and girls in Oakland. I’m less interested in educating people through the work, and more in shifting the vibration of the issues.\u003c/p>\n\u003cp>One of the ways we’ve done that is to do ritual processions down the streets of Oakland. Each time we’ve done one there’s been a shift. The hope is that the women who’ve been collaborating on the processions will continue them. To think of founding a society of black women who are dedicated to these processions to end trafficking and displacement, it becomes ritual, a neo-folk tradition. What might it look like for these processions to occur in Oakland for 30, 40, 100 years? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Amara Tabor-Smith \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839514/bay-brilliant-amara-tabor-smith","authors":["11091"],"series":["arts_5448"],"categories":["arts_835","arts_966","arts_1003"],"tags":["arts_3713","arts_5449","arts_879","arts_1118","arts_596"],"featImg":"arts_13839492","label":"arts_5448"},"arts_13839060":{"type":"posts","id":"arts_13839060","meta":{"index":"posts_1591205157","site":"arts","id":"13839060","score":null,"sort":[1534964413000]},"guestAuthors":[],"slug":"bay-brilliant-lisa-marie-rollins","title":"Bay Brilliant: Lisa Marie Rollins","publishDate":1534964413,"format":"image","headTitle":"Bay Brilliant: Lisa Marie Rollins | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Although the prolific theatre artist Lisa Marie Rollins identifies primarily as a writer and director, her resume virtually bursts at the seams. She’s an academic, educator, activist, artist and poet. She’s been a Sundance Theatre Fellow, a \u003cem>Colorlines\u003c/em> “Innovator to Watch,” and has an upcoming Djerassi residency for playwriting in September. A powerhouse in word and deed, she’s directed some of the Bay Area’s most thought-provoking and unique productions, including the 2017 West Coast premiere of \u003cem>Hooded\u003c/em>, or \u003cem>Being Black for Dummies\u003c/em> at Custom Made Theatre, and co-directing Crowded Fire’s 2016 production of \u003cem>The Shipment\u003c/em>.\u003c/p>\n\u003cp>Adopted by white parents who refused to acknowledge her black and Filipino ancestry, race consciousness came to Rollins the hard way, by being persistently “othered” by her all-white, conservative Washington State community. Later in life, academia and activism helped develop her artistic imperative for telling not only her own story, but those of others—a key component to her work as a dramaturg and director. Currently an artist-in-residence at both Crowded Fire and Brava Theater, Rollins plans to eventually bring her talents on the road as a traveling director and playwright. \u003c/p>\n\u003cfigure id=\"attachment_13839431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re about to head off to Djerassi to work on your play \u003cem>Token\u003c/em>. What’s your elevator pitch or synopsis of it?\u003c/strong>\u003c/p>\n\u003cp>Because I grew up in Washington State, I pay attention to a lot of the adoption news from there. And there was a little girl and her brother adopted from Ethiopia into this very conservative, evangelical Christian family that followed this particular type of childrearing practice that includes physical punishment—more than just spankings. And they left her outside in the winter, and she died from a combination of starvation, and hypothermia, and drowning, because she fell with her face in a pool of water and didn’t have the strength to move herself. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So this play is based \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Hana_Grace-Rose_Williams\" rel=\"noopener\" target=\"_blank\">on that\u003c/a>. Basically, there’s a little girl who haunts an adult adoptee, and the adult comes back to her hometown and the little girl is trying to get her attention and talk to her about how she died. It’s sort of a ghost story, sort of a spiritual declaration for the adult woman, and a comment on both the destruction of black families and how to find reconciliation when your ‘original’ family has been torn apart.\u003c/p>\n\u003cp>\u003cstrong>A lot of your writing and playwriting focuses on themes of transracial adoption and identity. Describe what these themes mean to you personally and how they drive you and your work. \u003c/strong>\u003c/p>\n\u003cp>I’d say some of my writing used to focus on themes of transracial adoption but now when I focus on that, whether in writing or directing, it’s expanded beyond that narrative specifically to examine the role government agencies play in denying women of color the right to parent. So it includes considerations of things like the current visibility of the crisis of child removal from detainees.\u003c/p>\n\u003cp>Transracial adoption is part of how I came into my racial consciousness and my understanding of the specific circumstances for black people in the United States. I was born in Washington state and raised with a very conservative, evangelical Christian, Republican family. Being a black and pinay little girl in an all-white setting is a very surreal experience. My parents had been told I ‘wasn’t black’ on the adoption papers, and thus moved me through my younger years with this sensibility. \u003c/p>\n\u003cp>Growing up as a black/brown body in an all-white world, with no mirrors or images that reflect you, can have an extraordinarily damaging impact on how you imagine yourself. But because I was a very smart little girl, I was able to understand when people were being unfair, or when someone was just outright racist, even if I didn’t have those words to identity what was happening. \u003c/p>\n\u003cfigure id=\"attachment_13839430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk about your experiences with \u003ca href=\"http://www.soloperformanceworkshop.org/\" rel=\"noopener\" target=\"_blank\">Solo Performance Workshop\u003c/a>. Was that your entry into theatre, or a part of your development as a theatre artist?\u003c/strong>\u003c/p>\n\u003cp>I was there from the very beginning, at the very first class facilitated by W. Kamau Bell! I had already been inside the theatre, working backstage or producing, and I really took the Solo Performance Workshop because I wanted to experiment with writing for the stage. That turned into the development of my first play (\u003cem>Ungrateful Daughter\u003c/em>). \u003c/p>\n\u003cp>Moving into directing…people just started asking me to direct their shows, because they knew me from assistant teaching at SPW, and it was just the perfect fit for my sensibility, and the way that I was interested in people developing and sharing their stories. At some point I was asked to dramaturg on larger ensemble pieces. Working with Kamau on the development of his show (\u003cem>The Bell Curve: Ending Racism in About an Hour\u003c/em>) and learning from his years of experience performing on the comedy stage was also really invaluable to how I thought, and learned to think about audiences early on. So yes, SPW was definitely key to a lot of my artistic development. \u003c/p>\n\u003cp>\u003cstrong>How are you able to make a living as an artist given that we live in a very expensive region? What are some of the more creative ways you stay solvent? \u003c/strong>\u003c/p>\n\u003cp>I’ll be absolutely clear that if I didn’t have rent control I would be unable to live here in the Bay Area. Secondly, I’m also a woman who knows what I’m worth. I know what my peers make and I know what white men make and since I do that work—plus the work of supporting and forcing you to change the culture of your institution, not only by my presence but by my willingness to participate in the hard labor of that change—you need to pay me for that shit. Finally, I’ve been teaching on the University level for about 20 years as an adjunct, specifically because I never wanted a full time position. I found an educational home that respects me as an artist and understands that I sit comfortably inside both the academic world and the artist world, and that also helps.\u003c/p>\n\u003cfigure id=\"attachment_13839522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-800x1200.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13839522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Nathan Yungerberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The thing about other countries is that the arts are subsidized by the government, and so being an artist is just as much of a profession as being anything else. So I would love to see the Bay Area become a place where theatrical institutions are just as supported, so that they can pay people equitable pay. And that, all the way down to the intern, people can actually afford to live here and be able to have the space and time to create rather than just doing a job to get by. It shouldn’t have to be a hustle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Find more on Lisa Marie Rollins \u003ca href=\"https://twitter.com/thirdrootprod\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n","blocks":[],"excerpt":"A powerhouse in word and deed, Rollins is the playwright and director behind some of the Bay Area's most thought-provoking productions.","status":"publish","parent":0,"modified":1705027341,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1253},"headData":{"title":"Bay Brilliant: Lisa Marie Rollins | KQED","description":"A powerhouse in word and deed, Rollins is the playwright and director behind some of the Bay Area's most thought-provoking productions.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant: Lisa Marie Rollins","datePublished":"2018-08-22T19:00:13.000Z","dateModified":"2024-01-12T02:42:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839060/bay-brilliant-lisa-marie-rollins","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Although the prolific theatre artist Lisa Marie Rollins identifies primarily as a writer and director, her resume virtually bursts at the seams. She’s an academic, educator, activist, artist and poet. She’s been a Sundance Theatre Fellow, a \u003cem>Colorlines\u003c/em> “Innovator to Watch,” and has an upcoming Djerassi residency for playwriting in September. A powerhouse in word and deed, she’s directed some of the Bay Area’s most thought-provoking and unique productions, including the 2017 West Coast premiere of \u003cem>Hooded\u003c/em>, or \u003cem>Being Black for Dummies\u003c/em> at Custom Made Theatre, and co-directing Crowded Fire’s 2016 production of \u003cem>The Shipment\u003c/em>.\u003c/p>\n\u003cp>Adopted by white parents who refused to acknowledge her black and Filipino ancestry, race consciousness came to Rollins the hard way, by being persistently “othered” by her all-white, conservative Washington State community. Later in life, academia and activism helped develop her artistic imperative for telling not only her own story, but those of others—a key component to her work as a dramaturg and director. Currently an artist-in-residence at both Crowded Fire and Brava Theater, Rollins plans to eventually bring her talents on the road as a traveling director and playwright. \u003c/p>\n\u003cfigure id=\"attachment_13839431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re about to head off to Djerassi to work on your play \u003cem>Token\u003c/em>. What’s your elevator pitch or synopsis of it?\u003c/strong>\u003c/p>\n\u003cp>Because I grew up in Washington State, I pay attention to a lot of the adoption news from there. And there was a little girl and her brother adopted from Ethiopia into this very conservative, evangelical Christian family that followed this particular type of childrearing practice that includes physical punishment—more than just spankings. And they left her outside in the winter, and she died from a combination of starvation, and hypothermia, and drowning, because she fell with her face in a pool of water and didn’t have the strength to move herself. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So this play is based \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Hana_Grace-Rose_Williams\" rel=\"noopener\" target=\"_blank\">on that\u003c/a>. Basically, there’s a little girl who haunts an adult adoptee, and the adult comes back to her hometown and the little girl is trying to get her attention and talk to her about how she died. It’s sort of a ghost story, sort of a spiritual declaration for the adult woman, and a comment on both the destruction of black families and how to find reconciliation when your ‘original’ family has been torn apart.\u003c/p>\n\u003cp>\u003cstrong>A lot of your writing and playwriting focuses on themes of transracial adoption and identity. Describe what these themes mean to you personally and how they drive you and your work. \u003c/strong>\u003c/p>\n\u003cp>I’d say some of my writing used to focus on themes of transracial adoption but now when I focus on that, whether in writing or directing, it’s expanded beyond that narrative specifically to examine the role government agencies play in denying women of color the right to parent. So it includes considerations of things like the current visibility of the crisis of child removal from detainees.\u003c/p>\n\u003cp>Transracial adoption is part of how I came into my racial consciousness and my understanding of the specific circumstances for black people in the United States. I was born in Washington state and raised with a very conservative, evangelical Christian, Republican family. Being a black and pinay little girl in an all-white setting is a very surreal experience. My parents had been told I ‘wasn’t black’ on the adoption papers, and thus moved me through my younger years with this sensibility. \u003c/p>\n\u003cp>Growing up as a black/brown body in an all-white world, with no mirrors or images that reflect you, can have an extraordinarily damaging impact on how you imagine yourself. But because I was a very smart little girl, I was able to understand when people were being unfair, or when someone was just outright racist, even if I didn’t have those words to identity what was happening. \u003c/p>\n\u003cfigure id=\"attachment_13839430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk about your experiences with \u003ca href=\"http://www.soloperformanceworkshop.org/\" rel=\"noopener\" target=\"_blank\">Solo Performance Workshop\u003c/a>. Was that your entry into theatre, or a part of your development as a theatre artist?\u003c/strong>\u003c/p>\n\u003cp>I was there from the very beginning, at the very first class facilitated by W. Kamau Bell! I had already been inside the theatre, working backstage or producing, and I really took the Solo Performance Workshop because I wanted to experiment with writing for the stage. That turned into the development of my first play (\u003cem>Ungrateful Daughter\u003c/em>). \u003c/p>\n\u003cp>Moving into directing…people just started asking me to direct their shows, because they knew me from assistant teaching at SPW, and it was just the perfect fit for my sensibility, and the way that I was interested in people developing and sharing their stories. At some point I was asked to dramaturg on larger ensemble pieces. Working with Kamau on the development of his show (\u003cem>The Bell Curve: Ending Racism in About an Hour\u003c/em>) and learning from his years of experience performing on the comedy stage was also really invaluable to how I thought, and learned to think about audiences early on. So yes, SPW was definitely key to a lot of my artistic development. \u003c/p>\n\u003cp>\u003cstrong>How are you able to make a living as an artist given that we live in a very expensive region? What are some of the more creative ways you stay solvent? \u003c/strong>\u003c/p>\n\u003cp>I’ll be absolutely clear that if I didn’t have rent control I would be unable to live here in the Bay Area. Secondly, I’m also a woman who knows what I’m worth. I know what my peers make and I know what white men make and since I do that work—plus the work of supporting and forcing you to change the culture of your institution, not only by my presence but by my willingness to participate in the hard labor of that change—you need to pay me for that shit. Finally, I’ve been teaching on the University level for about 20 years as an adjunct, specifically because I never wanted a full time position. I found an educational home that respects me as an artist and understands that I sit comfortably inside both the academic world and the artist world, and that also helps.\u003c/p>\n\u003cfigure id=\"attachment_13839522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-800x1200.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13839522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Nathan Yungerberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The thing about other countries is that the arts are subsidized by the government, and so being an artist is just as much of a profession as being anything else. So I would love to see the Bay Area become a place where theatrical institutions are just as supported, so that they can pay people equitable pay. And that, all the way down to the intern, people can actually afford to live here and be able to have the space and time to create rather than just doing a job to get by. It shouldn’t have to be a hustle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Find more on Lisa Marie Rollins \u003ca href=\"https://twitter.com/thirdrootprod\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839060/bay-brilliant-lisa-marie-rollins","authors":["11497"],"series":["arts_5448"],"categories":["arts_967"],"tags":["arts_5449","arts_1118","arts_596"],"featImg":"arts_13839428","label":"arts_5448"},"arts_13839078":{"type":"posts","id":"arts_13839078","meta":{"index":"posts_1591205157","site":"arts","id":"13839078","score":null,"sort":[1534878043000]},"guestAuthors":[],"slug":"bay-brilliant-nia-levy-king","title":"Bay Brilliant: Nia Levy King","publishDate":1534878043,"format":"image","headTitle":"Bay Brilliant: Nia Levy King | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives \u003c/em>and\u003cem> makers who are pushing boundaries in 2018. Driven by \u003c/em>passion\u003cem> for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Nia Levy King is a keeper of stories—a role she undertakes with great care.\u003c/p>\n\u003cp>Whether she’s producing the newest episode of her podcast, \u003ca href=\"http://www.niaking.com/podcast.html\" target=\"_blank\" rel=\"noopener\">\u003cem>We Want the Airwaves\u003c/em>\u003c/a>, self-publishing a new volume in her \u003ca href=\"http://www.niaking.com/books.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Queer & Trans Artists of Color\u003c/em> \u003c/a>series or writing for publications like the \u003ca href=\"https://www.eastbayexpress.com/author/nia-king\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Express\u003c/em>\u003c/a> and \u003ca href=\"https://www.colorlines.com/writers/nia-king\" target=\"_blank\" rel=\"noopener\">\u003cem>Colorlines\u003c/em>\u003c/a>, King has built a growing, living archive of queer histories.\u003c/p>\n\u003cp>After self-publishing two volumes of her \u003cem>Queer & Trans Artists of Color\u003c/em> series, King has her sights on a \u003ca href=\"https://www.kickstarter.com/projects/191674419/queer-and-trans-artists-of-color-vol-3\" target=\"_blank\" rel=\"noopener\">third volume\u003c/a> after successfully raising funds to pay every artist, editor and contributor.\u003c/p>\n\u003cp>In every episode of her podcast, King offers herself up as a partner in conversation, with raw vulnerability and transparency. For King, a queer, mixed-race artist and activist, housing is a queer issue. Health care is a queer issue. Poverty is a queer issue. And her continued fight against inequity starts and ends with creativity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>So you’ve been creating zines since you were 17. You’re a comic artist, filmmaker, podcaster and now, a published author of two books. But what is something that people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>My first instinct is to be like, “I’m an open book.” But that’s not true. I consider myself a pretty private person. I think I want people to know that I try hard to do my work in the most ethical way possible. And a lot of the work is relationship-building and relationship maintenance, and managing artist personalities. And that work is not visible work.\u003c/p>\n\u003cp>Editing is also not visible work, but being a holder of stories is also being a holder of community in certain ways. You can’t make everyone happy all the time, but I really try.\u003c/p>\n\u003cp>\u003cstrong>What are things that you do to keep hope alive in times that are not so hopeful?\u003c/strong>\u003c/p>\n\u003cp>I don’t get a lot of feedback on the podcast in part because I don’t have a comment section, which you can probably imagine why. But when I do get feedback from listeners, that’s what keeps me going.\u003c/p>\n\u003cp>I got a sweet, very short message from a woman, a black lesbian woman in Missouri who told me, “I don’t have any community out here, and your podcast is my connection to community.” She made it sound like my podcast was a life preserver.\u003c/p>\n\u003cp>What keeps me going is knowing that the hours I spend editing alone in my room instead of having a social life is making a difference to someone—making another queer person feel a little bit less lonely.\u003c/p>\n\u003cfigure id=\"attachment_13839334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839334 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-800x435.jpg\" alt=\"Photo of Nia interviewing Gabby Rivera for her podcast 'We Want the Airwaves.'\" width=\"800\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-520x283.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Nia interviewing Gabby Rivera for her podcast ‘We Want the Airwaves.’ \u003ccite>(Tecpatl DeSequoia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You are fully funded for your third publication of \u003cem>Queer and Trans Artists of Color\u003c/em>. What are you hoping that people will take from this third book that’s different than the other two?\u003c/strong>\u003c/p>\n\u003cp>The hope is always to push the conversation forward and have a more advanced and thoughtful dialogue than the previous book. I feel like in the first book, it was more economically focused, which might have been a strength, but it was also more QTPOC 101.\u003c/p>\n\u003cp>The conversations in QTPOC communities are evolving. In book three, colorism and anti-blackness are going to be big themes, because I feel like those are conversations that are happening in the QTPOC community right now—and in the Bay right now—that are important.\u003c/p>\n\u003cp>\u003cstrong>Do you have any rituals or traditions before approaching a project?\u003c/strong>\u003c/p>\n\u003cp>No. That would suggest that I stop to think about things. I’m more of a go, go, go kind of person. Is budgeting a ritual? There’s a lot of planning. There are a lot of spreadsheets.\u003c/p>\n\u003cp>\u003cstrong>When you feel a block creatively, where do you go and what do you do?\u003c/strong>\u003c/p>\n\u003cp>I mean, with the books and the podcast, it is less about creativity. I think editing is somewhat creative. But for me, it’s also a very intuitive process. Having edited 89 interviews and two books, I have kind of a gut feeling about what’s a cut and what’s a keep.\u003c/p>\n\u003cp>I think you have to take breaks. You know, get outside, go for a walk, watch some Netflix, whatever. Call your mom. Just step away from the screen.\u003c/p>\n\u003cfigure id=\"attachment_13839247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839247 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/NLKing_horiz-800x571.jpg\" alt=\"Nia Levy King writing at the window. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Levy King signing a copy of her book Queer & Trans Artists of Color at the window. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A piece of advice you’ve given to artists over the years is not to work for free. What other lessons do you want to impart on QTPOC artists?\u003c/strong>\u003c/p>\n\u003cp>It’s complicated. I’ve written essays on when it might make sense to work for free. But in general, I try to discourage it because as you know, when you’re a young woman, person of color, queer, trans person, there’s no end to the number of people that want to exploit your labor and not pay you for it.\u003c/p>\n\u003cp>Once you start working for free, it can be really hard to stop working for free. But sometimes, especially when you’re very new and emerging, unpaid opportunities are the only ones you get. The more artists work for free, the harder it is for any artist to make a living.\u003c/p>\n\u003cp>So, now, to answer your question. There’s something—I’m going to paraphrase—that Star Amerasu said in \u003ca href=\"https://www.scribd.com/document/329450563/we-want-the-airwaves-star-amerasu-pt-2\" target=\"_blank\" rel=\"noopener\">our interview\u003c/a>.\u003c/p>\n\u003cp>When I asked her how she was able to do what she does, she said good friends, low rent and a flexible work schedule. Artists need the same thing everyone else needs. We need low rent, access to health care and day jobs that pay us a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13839337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839337 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nia-and-elena-800x534.jpg\" alt=\"Nia Levy King pictured with Elena Rose, editor of the second volume of 'Queer and Trans Artists of Color.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Levy King pictured with Elena Rose, editor of the second volume of ‘Queer and Trans Artists of Color.’ \u003ccite>(Sunshine Velasco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>We need stronger rent protections. We need an end to the evictions. We need a much more affordable Bay Area in every way.\u003c/p>\n\u003cp>I honestly feel like a lot of the greatest artists of my generation are bagging groceries at Trader Joe’s. What artists need is what everyone else needs. We need the cost of housing to stop going up. We need wages to go up. And we need health care to be affordable. Because the things you need to make art are just the things we need to live, you know?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Nia Levy King \u003ca href=\"http://www.niaking.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As a writer, editor and podcaster, Nia Levy King has built a growing, living archive of queer histories.","status":"publish","parent":0,"modified":1705027345,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1184},"headData":{"title":"Bay Brilliant: Nia Levy King | KQED","description":"As a writer, editor and podcaster, Nia Levy King has built a growing, living archive of queer histories.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant: Nia Levy King","datePublished":"2018-08-21T19:00:43.000Z","dateModified":"2024-01-12T02:42:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839078/bay-brilliant-nia-levy-king","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives \u003c/em>and\u003cem> makers who are pushing boundaries in 2018. Driven by \u003c/em>passion\u003cem> for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Nia Levy King is a keeper of stories—a role she undertakes with great care.\u003c/p>\n\u003cp>Whether she’s producing the newest episode of her podcast, \u003ca href=\"http://www.niaking.com/podcast.html\" target=\"_blank\" rel=\"noopener\">\u003cem>We Want the Airwaves\u003c/em>\u003c/a>, self-publishing a new volume in her \u003ca href=\"http://www.niaking.com/books.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Queer & Trans Artists of Color\u003c/em> \u003c/a>series or writing for publications like the \u003ca href=\"https://www.eastbayexpress.com/author/nia-king\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Express\u003c/em>\u003c/a> and \u003ca href=\"https://www.colorlines.com/writers/nia-king\" target=\"_blank\" rel=\"noopener\">\u003cem>Colorlines\u003c/em>\u003c/a>, King has built a growing, living archive of queer histories.\u003c/p>\n\u003cp>After self-publishing two volumes of her \u003cem>Queer & Trans Artists of Color\u003c/em> series, King has her sights on a \u003ca href=\"https://www.kickstarter.com/projects/191674419/queer-and-trans-artists-of-color-vol-3\" target=\"_blank\" rel=\"noopener\">third volume\u003c/a> after successfully raising funds to pay every artist, editor and contributor.\u003c/p>\n\u003cp>In every episode of her podcast, King offers herself up as a partner in conversation, with raw vulnerability and transparency. For King, a queer, mixed-race artist and activist, housing is a queer issue. Health care is a queer issue. Poverty is a queer issue. And her continued fight against inequity starts and ends with creativity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>So you’ve been creating zines since you were 17. You’re a comic artist, filmmaker, podcaster and now, a published author of two books. But what is something that people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>My first instinct is to be like, “I’m an open book.” But that’s not true. I consider myself a pretty private person. I think I want people to know that I try hard to do my work in the most ethical way possible. And a lot of the work is relationship-building and relationship maintenance, and managing artist personalities. And that work is not visible work.\u003c/p>\n\u003cp>Editing is also not visible work, but being a holder of stories is also being a holder of community in certain ways. You can’t make everyone happy all the time, but I really try.\u003c/p>\n\u003cp>\u003cstrong>What are things that you do to keep hope alive in times that are not so hopeful?\u003c/strong>\u003c/p>\n\u003cp>I don’t get a lot of feedback on the podcast in part because I don’t have a comment section, which you can probably imagine why. But when I do get feedback from listeners, that’s what keeps me going.\u003c/p>\n\u003cp>I got a sweet, very short message from a woman, a black lesbian woman in Missouri who told me, “I don’t have any community out here, and your podcast is my connection to community.” She made it sound like my podcast was a life preserver.\u003c/p>\n\u003cp>What keeps me going is knowing that the hours I spend editing alone in my room instead of having a social life is making a difference to someone—making another queer person feel a little bit less lonely.\u003c/p>\n\u003cfigure id=\"attachment_13839334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839334 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-800x435.jpg\" alt=\"Photo of Nia interviewing Gabby Rivera for her podcast 'We Want the Airwaves.'\" width=\"800\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-interviews-gabby-800-520x283.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Nia interviewing Gabby Rivera for her podcast ‘We Want the Airwaves.’ \u003ccite>(Tecpatl DeSequoia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You are fully funded for your third publication of \u003cem>Queer and Trans Artists of Color\u003c/em>. What are you hoping that people will take from this third book that’s different than the other two?\u003c/strong>\u003c/p>\n\u003cp>The hope is always to push the conversation forward and have a more advanced and thoughtful dialogue than the previous book. I feel like in the first book, it was more economically focused, which might have been a strength, but it was also more QTPOC 101.\u003c/p>\n\u003cp>The conversations in QTPOC communities are evolving. In book three, colorism and anti-blackness are going to be big themes, because I feel like those are conversations that are happening in the QTPOC community right now—and in the Bay right now—that are important.\u003c/p>\n\u003cp>\u003cstrong>Do you have any rituals or traditions before approaching a project?\u003c/strong>\u003c/p>\n\u003cp>No. That would suggest that I stop to think about things. I’m more of a go, go, go kind of person. Is budgeting a ritual? There’s a lot of planning. There are a lot of spreadsheets.\u003c/p>\n\u003cp>\u003cstrong>When you feel a block creatively, where do you go and what do you do?\u003c/strong>\u003c/p>\n\u003cp>I mean, with the books and the podcast, it is less about creativity. I think editing is somewhat creative. But for me, it’s also a very intuitive process. Having edited 89 interviews and two books, I have kind of a gut feeling about what’s a cut and what’s a keep.\u003c/p>\n\u003cp>I think you have to take breaks. You know, get outside, go for a walk, watch some Netflix, whatever. Call your mom. Just step away from the screen.\u003c/p>\n\u003cfigure id=\"attachment_13839247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839247 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/NLKing_horiz-800x571.jpg\" alt=\"Nia Levy King writing at the window. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/NLKing_horiz.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Levy King signing a copy of her book Queer & Trans Artists of Color at the window. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A piece of advice you’ve given to artists over the years is not to work for free. What other lessons do you want to impart on QTPOC artists?\u003c/strong>\u003c/p>\n\u003cp>It’s complicated. I’ve written essays on when it might make sense to work for free. But in general, I try to discourage it because as you know, when you’re a young woman, person of color, queer, trans person, there’s no end to the number of people that want to exploit your labor and not pay you for it.\u003c/p>\n\u003cp>Once you start working for free, it can be really hard to stop working for free. But sometimes, especially when you’re very new and emerging, unpaid opportunities are the only ones you get. The more artists work for free, the harder it is for any artist to make a living.\u003c/p>\n\u003cp>So, now, to answer your question. There’s something—I’m going to paraphrase—that Star Amerasu said in \u003ca href=\"https://www.scribd.com/document/329450563/we-want-the-airwaves-star-amerasu-pt-2\" target=\"_blank\" rel=\"noopener\">our interview\u003c/a>.\u003c/p>\n\u003cp>When I asked her how she was able to do what she does, she said good friends, low rent and a flexible work schedule. Artists need the same thing everyone else needs. We need low rent, access to health care and day jobs that pay us a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13839337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839337 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nia-and-elena-800x534.jpg\" alt=\"Nia Levy King pictured with Elena Rose, editor of the second volume of 'Queer and Trans Artists of Color.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nia-and-elena-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nia Levy King pictured with Elena Rose, editor of the second volume of ‘Queer and Trans Artists of Color.’ \u003ccite>(Sunshine Velasco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>We need stronger rent protections. We need an end to the evictions. We need a much more affordable Bay Area in every way.\u003c/p>\n\u003cp>I honestly feel like a lot of the greatest artists of my generation are bagging groceries at Trader Joe’s. What artists need is what everyone else needs. We need the cost of housing to stop going up. We need wages to go up. And we need health care to be affordable. Because the things you need to make art are just the things we need to live, you know?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Nia Levy King \u003ca href=\"http://www.niaking.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839078/bay-brilliant-nia-levy-king","authors":["11357"],"series":["arts_5448"],"categories":["arts_73","arts_71"],"tags":["arts_5449","arts_1118","arts_596","arts_5498"],"featImg":"arts_13839246","label":"arts_5448"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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