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"content": "\u003cp>Long before \u003cem>Sleep No More\u003c/em> upended \u003cem>Macbeth\u003c/em> in New York City, or San Francisco’s linchpin immersive theater experience \u003cem>The Speakeasy\u003c/em> poured its first gin cocktail, a band of classic misfits began a whimsical, meta-theatrical tribute to the creative genius of author and artist Edward Gorey, who died in 2000. Twenty years later, the Edwardian Ball has evolved into a weekend-long wonderland of choose-your-own adventure pageantry and sensory overdrive.\u003c/p>\n\u003cp>A sumptuous soiree with significant literary underpinnings, the Edwardian Ball and its weekend of auxiliary events has come a long way from its humble beginnings at the Cat Club on Folsom Street. That first foray, coaxed into existence by dark cabaret act Rosin Coven, involved not much more than a slideshow of Gorey’s gleefully morbid abecedarium, \u003cem>The Ghashlycrumb Tinies\u003c/em>, and a concert of their own music. A few years in, they recognized the limitations of that format, and invited the then-emerging circus-centric performance troupe Vau de Vire Society to reenact one of Gorey’s peculiar works onstage. A fertile creative collaboration was born.\u003c/p>\n\u003cp>Though a frequent misconception about the Ball is to conflate the “Edwardian” in the event with period-specificity, co-founder Justin Katz is emphatic about the name as a reference to Edward Gorey, their “patron saint.” This open-ended theme allows participants to let their imagination alone guide them in what to wear and how best to participate.\u003c/p>\n\u003cfigure id=\"attachment_13873509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants dance and mingle at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katz confesses a fondness for the costumes with a literary bent—Gorey-an or otherwise—citing participants who clad themselves as \u003ca href=\"https://en.wikipedia.org/wiki/The_Gashlycrumb_Tinies\" rel=\"noopener noreferrer\" target=\"_blank\">Gashlycrumb Tinies\u003c/a>, or \u003ca href=\"https://en.wikipedia.org/wiki/The_Doubtful_Guest\" rel=\"noopener noreferrer\" target=\"_blank\">Doubtful Guests\u003c/a>. But what really excites him are those who go the extra mile to create elaborate, character-driven backstories complemented by but not subsumed by their costumery. As much inspired by Victorian Science Fiction and Nonsense Literature as by Edward Gorey, you’ll find attendees in top hats and spats dancing with ones in homemade replicas of anthropomorphic diving suits, stripe-stockinged bawds escorting bewigged dandies, and plenty of feathers, flounces, and fringe.\u003c/p>\n\u003cp>“Whatever the roleplay that they are doing, people come prepared with their own story,” Katz enthuses. “And I feel like in that way, we are writing the book of the Edwardian Ball each time.”\u003c/p>\n\u003cfigure id=\"attachment_13873508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bailey and Maggie Powers of the Vau de Vire Society setting the stage at the 2019 Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the character traits and artful attire displayed by Ball patrons are those contributed by the Vau de Vire Society. After coming onboard during the Ball’s scrappy Cat Club years, and taking on co-producing duties ever since, the Vau de Vire Society gives the Ball a playful, unpredictable edge, and much of its visual panache. Adapting an Edward Gorey story each year into a narrative for the stage, Vau de Vire’s flamboyant approach to creating spectacle turns Goery’s wryly somber monochromatics into a dazzling, daring tableau.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s really fun to play around with his work,” Vau de Vire co-founder Mike Gaines enthuses. “There’s a lot of openings for story, that we’ll create, or opening to develop a character. We usually dive deep…embellishing their backstory…without deviating from his scripts.” Over the last few years they’ve also engaged the services of director Alexis Poledouris to help them solidify the plot points and motivations, integrating them smoothly with their acrobatic prowess. This year’s Gorey story, \u003cem>The Lost Lions\u003c/em>, features circus dancer Juliano Wade as the lead—a charmed movie star named Hamish—whose propensity for his pet lions lands him in an unusual predicament (unusual predicaments being somewhat of an Edward Gorey specialty).\u003c/p>\n\u003cfigure id=\"attachment_13873507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg\" alt=\"Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in ...\" width=\"800\" height=\"526\" class=\"size-medium wp-image-13873507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-768x505.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in … \u003ccite>(James Ryan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two decades, the Edwardian Ball has gone through many iterations, forever building upon past lessons with new nuances. From the slideshows and cardboard cutout decor of the early years, the Vau de Vire Society’s first adaptation which involved shrieking demons swooping across the Cat Club on swinging trapezes, and their brief residency at the Great American Music Hall which included Grand Guignol stalwarts, the Thrillpeddlers, gleefully “decapitating” onlookers with their life-size guillotine, every Ball manages to bring something new to the table, even 20 years in.\u003c/p>\n\u003cfigure id=\"attachment_13873511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dark Garden model Lindsay Getzell comfortably ensconced in the Regency Ballroom, current venue of the Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, comfortably ensconced at the Regency Ballroom, the Ball is bigger—and admittedly pricier than those earlier productions—but carefully conceptualized. An intricately detailed \u003cem>Wunderkammer\u003c/em> with just enough blank space for each attendee to create their part of the narrative. A multi-faceted world where Tea Parties and museum pieces thrive beside sideshow entertainers and electro-swing, literary nonsense rubs shoulders with morbid curiosity, and kinksters run wilder in clownpaint and knickers, while escape artists emerge from their straitjacket cocoons, and opera singers deliver cameo arias.\u003c/p>\n\u003cp>“One of the things I’ve seen that I find very encouraging is we’ve seen a real uptick in youth participation,” Katz remarks of his all-ages bacchanalia. “A new generation of Edwardians, bringing a lot of new energy and new ideas to the ball. I’m curious to see where advances in film, lighting, (and) theatrical advancements will allow us to go, and allow us to create even more immersive and inclusive experiences…(while continuing) to emphasize the participant-generated environment.”\u003c/p>\n\u003cfigure id=\"attachment_13873515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Couple dancing at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what would Edward Gorey, the inspiration for it all, think of his namesake celebration? A well-known facet of his character was his love for the New York Ballet during the Balanchine years, and in 1978 he won a Tony for his innovative work on the Broadway production of \u003cem>Dracula\u003c/em>, for which he designed both costumes and the set. As detailed in the 2018 Mark Dery biography \u003cem>Born to be Posthumous\u003c/em>, even in his college days Gorey was drawn to the performative, penning short plays and creating playbills with Cambridge’s “Poets’ Theatre” along with soon-to-be literary greats such as Frank O’Hara. He then spent his sunset years in Cape Cod working on fanciful puppet theater pieces of his own devising, crafting the narratives, puppets, and stage sets and directing teams of (mostly amateur) puppeteers in weird vignettes with titles such as \u003cem>Lost Shoelaces\u003c/em> and \u003cem>Crazed Teacups.\u003c/em> True, the Edwardian Ball, with its rollicking extravagance, is a far cry from a modest cluster of poets and puppets, but beneath the madness, there is plenty of method.\u003c/p>\n\u003cp>“I think he might find us a bit much,” admits Katz with a laugh. “But I think underneath he would love the theatrical nature of what the Edwardians create together…I wish that Gorey could have seen this at least once, to know that there was this much love and care for the craft that went into it. I think it would be something he could be proud of.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Edwardian Ball runs Jan. 24–25 at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.edwardianball.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "All’s Faire in Love and Gorey: The Edwardian Ball Turns 20",
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"startTimeString": "Jan. 24–25, 2020",
"venueName": "Regency Ballroom",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before \u003cem>Sleep No More\u003c/em> upended \u003cem>Macbeth\u003c/em> in New York City, or San Francisco’s linchpin immersive theater experience \u003cem>The Speakeasy\u003c/em> poured its first gin cocktail, a band of classic misfits began a whimsical, meta-theatrical tribute to the creative genius of author and artist Edward Gorey, who died in 2000. Twenty years later, the Edwardian Ball has evolved into a weekend-long wonderland of choose-your-own adventure pageantry and sensory overdrive.\u003c/p>\n\u003cp>A sumptuous soiree with significant literary underpinnings, the Edwardian Ball and its weekend of auxiliary events has come a long way from its humble beginnings at the Cat Club on Folsom Street. That first foray, coaxed into existence by dark cabaret act Rosin Coven, involved not much more than a slideshow of Gorey’s gleefully morbid abecedarium, \u003cem>The Ghashlycrumb Tinies\u003c/em>, and a concert of their own music. A few years in, they recognized the limitations of that format, and invited the then-emerging circus-centric performance troupe Vau de Vire Society to reenact one of Gorey’s peculiar works onstage. A fertile creative collaboration was born.\u003c/p>\n\u003cp>Though a frequent misconception about the Ball is to conflate the “Edwardian” in the event with period-specificity, co-founder Justin Katz is emphatic about the name as a reference to Edward Gorey, their “patron saint.” This open-ended theme allows participants to let their imagination alone guide them in what to wear and how best to participate.\u003c/p>\n\u003cfigure id=\"attachment_13873509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants dance and mingle at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katz confesses a fondness for the costumes with a literary bent—Gorey-an or otherwise—citing participants who clad themselves as \u003ca href=\"https://en.wikipedia.org/wiki/The_Gashlycrumb_Tinies\" rel=\"noopener noreferrer\" target=\"_blank\">Gashlycrumb Tinies\u003c/a>, or \u003ca href=\"https://en.wikipedia.org/wiki/The_Doubtful_Guest\" rel=\"noopener noreferrer\" target=\"_blank\">Doubtful Guests\u003c/a>. But what really excites him are those who go the extra mile to create elaborate, character-driven backstories complemented by but not subsumed by their costumery. As much inspired by Victorian Science Fiction and Nonsense Literature as by Edward Gorey, you’ll find attendees in top hats and spats dancing with ones in homemade replicas of anthropomorphic diving suits, stripe-stockinged bawds escorting bewigged dandies, and plenty of feathers, flounces, and fringe.\u003c/p>\n\u003cp>“Whatever the roleplay that they are doing, people come prepared with their own story,” Katz enthuses. “And I feel like in that way, we are writing the book of the Edwardian Ball each time.”\u003c/p>\n\u003cfigure id=\"attachment_13873508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bailey and Maggie Powers of the Vau de Vire Society setting the stage at the 2019 Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the character traits and artful attire displayed by Ball patrons are those contributed by the Vau de Vire Society. After coming onboard during the Ball’s scrappy Cat Club years, and taking on co-producing duties ever since, the Vau de Vire Society gives the Ball a playful, unpredictable edge, and much of its visual panache. Adapting an Edward Gorey story each year into a narrative for the stage, Vau de Vire’s flamboyant approach to creating spectacle turns Goery’s wryly somber monochromatics into a dazzling, daring tableau.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s really fun to play around with his work,” Vau de Vire co-founder Mike Gaines enthuses. “There’s a lot of openings for story, that we’ll create, or opening to develop a character. We usually dive deep…embellishing their backstory…without deviating from his scripts.” Over the last few years they’ve also engaged the services of director Alexis Poledouris to help them solidify the plot points and motivations, integrating them smoothly with their acrobatic prowess. This year’s Gorey story, \u003cem>The Lost Lions\u003c/em>, features circus dancer Juliano Wade as the lead—a charmed movie star named Hamish—whose propensity for his pet lions lands him in an unusual predicament (unusual predicaments being somewhat of an Edward Gorey specialty).\u003c/p>\n\u003cfigure id=\"attachment_13873507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg\" alt=\"Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in ...\" width=\"800\" height=\"526\" class=\"size-medium wp-image-13873507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-768x505.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in … \u003ccite>(James Ryan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two decades, the Edwardian Ball has gone through many iterations, forever building upon past lessons with new nuances. From the slideshows and cardboard cutout decor of the early years, the Vau de Vire Society’s first adaptation which involved shrieking demons swooping across the Cat Club on swinging trapezes, and their brief residency at the Great American Music Hall which included Grand Guignol stalwarts, the Thrillpeddlers, gleefully “decapitating” onlookers with their life-size guillotine, every Ball manages to bring something new to the table, even 20 years in.\u003c/p>\n\u003cfigure id=\"attachment_13873511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dark Garden model Lindsay Getzell comfortably ensconced in the Regency Ballroom, current venue of the Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, comfortably ensconced at the Regency Ballroom, the Ball is bigger—and admittedly pricier than those earlier productions—but carefully conceptualized. An intricately detailed \u003cem>Wunderkammer\u003c/em> with just enough blank space for each attendee to create their part of the narrative. A multi-faceted world where Tea Parties and museum pieces thrive beside sideshow entertainers and electro-swing, literary nonsense rubs shoulders with morbid curiosity, and kinksters run wilder in clownpaint and knickers, while escape artists emerge from their straitjacket cocoons, and opera singers deliver cameo arias.\u003c/p>\n\u003cp>“One of the things I’ve seen that I find very encouraging is we’ve seen a real uptick in youth participation,” Katz remarks of his all-ages bacchanalia. “A new generation of Edwardians, bringing a lot of new energy and new ideas to the ball. I’m curious to see where advances in film, lighting, (and) theatrical advancements will allow us to go, and allow us to create even more immersive and inclusive experiences…(while continuing) to emphasize the participant-generated environment.”\u003c/p>\n\u003cfigure id=\"attachment_13873515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Couple dancing at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what would Edward Gorey, the inspiration for it all, think of his namesake celebration? A well-known facet of his character was his love for the New York Ballet during the Balanchine years, and in 1978 he won a Tony for his innovative work on the Broadway production of \u003cem>Dracula\u003c/em>, for which he designed both costumes and the set. As detailed in the 2018 Mark Dery biography \u003cem>Born to be Posthumous\u003c/em>, even in his college days Gorey was drawn to the performative, penning short plays and creating playbills with Cambridge’s “Poets’ Theatre” along with soon-to-be literary greats such as Frank O’Hara. He then spent his sunset years in Cape Cod working on fanciful puppet theater pieces of his own devising, crafting the narratives, puppets, and stage sets and directing teams of (mostly amateur) puppeteers in weird vignettes with titles such as \u003cem>Lost Shoelaces\u003c/em> and \u003cem>Crazed Teacups.\u003c/em> True, the Edwardian Ball, with its rollicking extravagance, is a far cry from a modest cluster of poets and puppets, but beneath the madness, there is plenty of method.\u003c/p>\n\u003cp>“I think he might find us a bit much,” admits Katz with a laugh. “But I think underneath he would love the theatrical nature of what the Edwardians create together…I wish that Gorey could have seen this at least once, to know that there was this much love and care for the craft that went into it. I think it would be something he could be proud of.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Edwardian Ball runs Jan. 24–25 at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.edwardianball.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult",
"title": "How Larry Arrington Integrated Astrology and Dance to Confront Cosmic Tumult",
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"content": "\u003cp>One recent afternoon, dancer and choreographer \u003ca href=\"https://www.astrologywithlarry.com/dance\">Larry Arrington\u003c/a> crawled beneath a green, furry sheet in San Francisco’s ODC Theater. It was a rehearsal for \u003cem>No Quarter\u003c/em>, her latest work, and flower petals and a large garment covered the stage while a boombox played arrhythmic electronic music. Performers Chelsea Reichert and Jose Abad were already under the fabric, and Sherwood Chen would momentarily lay atop the mounds, intimating their arched bodies. \u003c/p>\n\u003cp>“I told them to get closer to each other,” said Arrington, clad in a dark tank top and shorts, during a break. “As a sort of joke, I call it a solo.” The theme of hybridity or blending runs throughout \u003cem>No Quarter\u003c/em> in strikingly mirrored duets. “Sharing bodies,” in Arrington’s parlance, also references the alignment of Saturn and Pluto in what astrologers such as herself call a conjunction. “Really I’m an astrologer who uses dance in my astrological practice,” she said. “Dance is the mouth I use to chew things.” \u003c/p>\n\u003cp>\u003cem>No Quarter\u003c/em> shows Arrington integrating her astrology with live performance more closely than ever. Her first piece created entirely in alignment with planetary cycles, Arrington started developing \u003cem>No Quarter\u003c/em> in December 2017, when Saturn entered Capricorn. It runs Jan. 9–11, at \u003ca href=\"https://www.odc.dance/NoQuarter\">ODC Theater\u003c/a> in the Mission District, where she’s a resident artist, as Saturn begins to conjunct Pluto—a rare cosmic event that, Arrington and other astrologers believe, augurs global tumult. \u003c/p>\n\u003cp>“The Saturn-Pluto cycles are all about crises of power,” Arrington said, mentioning Richard Tarnas’ book \u003cem>Cosmos and Psyche\u003c/em>, which charts the major historical events of modernity along with planetary cycles. “It’s very out there, very woo-woo,” she said. “I actually don’t talk a lot about this publicly. But the idea is I do art in alignment with these cycles, as petitions to them.” \u003c/p>\n\u003cfigure id=\"attachment_13872292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arrington-seated-800x450.jpg\" alt=\"Larry Arrington is a San Francisco dancer-choreographer and astrologer. 'No Quarter,' her latest work, runs January 9-11 at ODC Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Arrington is a San Francisco dancer-choreographer and astrologer. ‘No Quarter,’ her latest work, runs January 9-11 at ODC Theater. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>No Quarter\u003c/em> partly resembles a symposium. It begins with the performers still, surrounded by petals, while Arrington uses a chalkboard to digress, in a declarative-yet-elliptical style familiar from astrology, between ancient myth, modern geopolitics and the solar system. Attendees go on stage, intone phrases and learn to tell “daemon” from “demon.” Not that Arrington is too didactic: She stokes ambiguity and confusion, wondering what the planets portend for herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The last Saturn-Pluto conjunction was in 1982,” Arrington said. “And I was born in 1982.” \u003c/p>\n\u003cp>Arrington, 37, grew up in Louisiana and moved from New York to San Francisco more than a decade ago. At the time, she was leery of dancing professionally, but felt energized by the city’s climate of experimentation, drawing inspiration from collaborators Amara Tabor-Smith, Jesse Hewitt and Keith Hennessy. She landed residencies at Headlands Center for the Arts and CounterPULSE, and was invited to the closely-watched American Realness Festival in New York in 2012. \u003c/p>\n\u003cp>In the early 2010s, Arrington also created SQUART (Spontaneous Queer Art). For the performance series, often hosted at the Lab or SOMArts in San Francisco, with installments in Berlin and Portland, Oregon, artists convened in random groups to build performances around loose, winking prompts. “Celebrity judges” assessed the results, game show-style, in a satire of art-world workshops and competition that conveyed her misgivings about dance-as-vocation.\u003c/p>\n\u003cp>In 2015, her work pivoted towards its present forms and concerns. Rising cost-of-living had diminished her roster of collaborators; instead of large ensembles Arrington turned to duets and solos. Around the same time, a series of injuries left her temporarily unable to teach. “That made me panic,” she said. “All of the money I’d ever made was about being able to move.” So Arrington began charging money for the astrological insights she’d previously shared for free.\u003c/p>\n\u003cfigure id=\"attachment_13872295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg\" alt=\"Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arrington, who’s also a Rhythm & Motion dance teacher, offers group and individual astrology readings, plus regular horoscopes and related writings, and recently launched a \u003ca href=\"https://www.patreon.com/join/larryarrington\">Patreon\u003c/a>. On \u003ca href=\"https://www.instagram.com/larrylarryarrington/?hl=en\">Instagram\u003c/a>, she posts video collages involving interpretive dance of planetary movements: Instead of the oracular neutrality of a written horoscope, Arrington’s head emerges from a fur blanket and spins like a top to represent a “trine” creating fertile conditions for personal growth. \u003c/p>\n\u003cp>A typical comment reads, “This is the perfect representation of my inner experience.” \u003c/p>\n\u003cp>Diversifying income sources lessens the pressures of wooing arts funders. “I was at this talk and someone said, ‘Be careful how you write your grant, you might start to believe yourself,’” she recalled, explaining how artists self-limit by tailoring narrow theses to funders instead of capturing what arises unbidden from the creative process. The distance from institutions also helps protect her work’s accessibility; admission to \u003cem>No Quarter\u003c/em>, for instance, is sliding scale. \u003c/p>\n\u003cp>Arrington explores ideas in an open-ended way, carrying questions from one piece to the next as if each project is a swatch of the same borderless latticework. \u003cem>Quarter\u003c/em>, a prelude to \u003cem>No Quarter\u003c/em>, created as a part of Hope Mohr Dance’s Bridge Project in 2016 (in response to Trisha Brown’s cube-based 1975 piece \u003cem>Locus\u003c/em>), found Arrington critically examining how neatly delineated space—think maps, crosses—undergirds monotheism, patriarchy and colonialism. \u003c/p>\n\u003cfigure id=\"attachment_13872296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/sherwood-800x450.jpg\" alt=\"Sherwood Chen is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sherwood Chen is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a global resurgence of far-right nationalism, Arrington sees those forces of division intensifying, and the planetary conjunction at the core of \u003cem>No Quarter\u003c/em> threatens to pronounce them further. She also believes it’s a time of turning inward and facing shadows. “Buried things announce themselves, the past/dead speak,” reads her astrology workbook for 2020. “We are asked to take necessary and challenging looks at power, paternity, structure and the past.” \u003c/p>\n\u003cp>In \u003cem>No Quarter\u003c/em>, Arrington takes her own advice. At a work-in-progress preview in August, Arrington recited Rainer Maria Rilke’s poem “You, Darkness,” and performed a series of duets between stories drawn from her distant patrilineage and Greco-Roman mythology—like Saturn eating his children and castrating his father. On a chalkboard she drew a gun and a wagon wheel, “problematic inventions,” she said, that figured in the deaths of her great-grandfathers. \u003c/p>\n\u003cp>Arrington describes No Quarter as tracking the shift “from the many to the one” in the past 2,000 years or so. It is a vast subject, and she seems to savor the risk of an audience left unmoored. In one of two chalkboard columns, Arrington wrote “YIKES,” “DEAD” and “HISTORY,” and drew a circle around them before adding arrows pointing to other gnomic words. “Yes?” Arrington said, nodding wide-eyed at the crowd. She wrote “transcendence,” adding the letters from right to left, drew two clocks at the top (linear and circular time), and at the bottom scrawled “#1DAD.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This make sense?” she said, prompting nervous laughter. Arrington entertained questions, and someone asked about two symbols that turned out to be glyphs for Saturn and Pluto. With enough mythological fluency, the chalkboard cohered. But Arrington also seemed content to let it sit like a poem, enigmatic to the point of provocation, and move along. “Should we keep dancing?” She continued, “Okay, I’m not going to give you a ton of context for this next one.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One recent afternoon, dancer and choreographer \u003ca href=\"https://www.astrologywithlarry.com/dance\">Larry Arrington\u003c/a> crawled beneath a green, furry sheet in San Francisco’s ODC Theater. It was a rehearsal for \u003cem>No Quarter\u003c/em>, her latest work, and flower petals and a large garment covered the stage while a boombox played arrhythmic electronic music. Performers Chelsea Reichert and Jose Abad were already under the fabric, and Sherwood Chen would momentarily lay atop the mounds, intimating their arched bodies. \u003c/p>\n\u003cp>“I told them to get closer to each other,” said Arrington, clad in a dark tank top and shorts, during a break. “As a sort of joke, I call it a solo.” The theme of hybridity or blending runs throughout \u003cem>No Quarter\u003c/em> in strikingly mirrored duets. “Sharing bodies,” in Arrington’s parlance, also references the alignment of Saturn and Pluto in what astrologers such as herself call a conjunction. “Really I’m an astrologer who uses dance in my astrological practice,” she said. “Dance is the mouth I use to chew things.” \u003c/p>\n\u003cp>\u003cem>No Quarter\u003c/em> shows Arrington integrating her astrology with live performance more closely than ever. Her first piece created entirely in alignment with planetary cycles, Arrington started developing \u003cem>No Quarter\u003c/em> in December 2017, when Saturn entered Capricorn. It runs Jan. 9–11, at \u003ca href=\"https://www.odc.dance/NoQuarter\">ODC Theater\u003c/a> in the Mission District, where she’s a resident artist, as Saturn begins to conjunct Pluto—a rare cosmic event that, Arrington and other astrologers believe, augurs global tumult. \u003c/p>\n\u003cp>“The Saturn-Pluto cycles are all about crises of power,” Arrington said, mentioning Richard Tarnas’ book \u003cem>Cosmos and Psyche\u003c/em>, which charts the major historical events of modernity along with planetary cycles. “It’s very out there, very woo-woo,” she said. “I actually don’t talk a lot about this publicly. But the idea is I do art in alignment with these cycles, as petitions to them.” \u003c/p>\n\u003cfigure id=\"attachment_13872292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arrington-seated-800x450.jpg\" alt=\"Larry Arrington is a San Francisco dancer-choreographer and astrologer. 'No Quarter,' her latest work, runs January 9-11 at ODC Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Arrington is a San Francisco dancer-choreographer and astrologer. ‘No Quarter,’ her latest work, runs January 9-11 at ODC Theater. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>No Quarter\u003c/em> partly resembles a symposium. It begins with the performers still, surrounded by petals, while Arrington uses a chalkboard to digress, in a declarative-yet-elliptical style familiar from astrology, between ancient myth, modern geopolitics and the solar system. Attendees go on stage, intone phrases and learn to tell “daemon” from “demon.” Not that Arrington is too didactic: She stokes ambiguity and confusion, wondering what the planets portend for herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The last Saturn-Pluto conjunction was in 1982,” Arrington said. “And I was born in 1982.” \u003c/p>\n\u003cp>Arrington, 37, grew up in Louisiana and moved from New York to San Francisco more than a decade ago. At the time, she was leery of dancing professionally, but felt energized by the city’s climate of experimentation, drawing inspiration from collaborators Amara Tabor-Smith, Jesse Hewitt and Keith Hennessy. She landed residencies at Headlands Center for the Arts and CounterPULSE, and was invited to the closely-watched American Realness Festival in New York in 2012. \u003c/p>\n\u003cp>In the early 2010s, Arrington also created SQUART (Spontaneous Queer Art). For the performance series, often hosted at the Lab or SOMArts in San Francisco, with installments in Berlin and Portland, Oregon, artists convened in random groups to build performances around loose, winking prompts. “Celebrity judges” assessed the results, game show-style, in a satire of art-world workshops and competition that conveyed her misgivings about dance-as-vocation.\u003c/p>\n\u003cp>In 2015, her work pivoted towards its present forms and concerns. Rising cost-of-living had diminished her roster of collaborators; instead of large ensembles Arrington turned to duets and solos. Around the same time, a series of injuries left her temporarily unable to teach. “That made me panic,” she said. “All of the money I’d ever made was about being able to move.” So Arrington began charging money for the astrological insights she’d previously shared for free.\u003c/p>\n\u003cfigure id=\"attachment_13872295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg\" alt=\"Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arrington, who’s also a Rhythm & Motion dance teacher, offers group and individual astrology readings, plus regular horoscopes and related writings, and recently launched a \u003ca href=\"https://www.patreon.com/join/larryarrington\">Patreon\u003c/a>. On \u003ca href=\"https://www.instagram.com/larrylarryarrington/?hl=en\">Instagram\u003c/a>, she posts video collages involving interpretive dance of planetary movements: Instead of the oracular neutrality of a written horoscope, Arrington’s head emerges from a fur blanket and spins like a top to represent a “trine” creating fertile conditions for personal growth. \u003c/p>\n\u003cp>A typical comment reads, “This is the perfect representation of my inner experience.” \u003c/p>\n\u003cp>Diversifying income sources lessens the pressures of wooing arts funders. “I was at this talk and someone said, ‘Be careful how you write your grant, you might start to believe yourself,’” she recalled, explaining how artists self-limit by tailoring narrow theses to funders instead of capturing what arises unbidden from the creative process. The distance from institutions also helps protect her work’s accessibility; admission to \u003cem>No Quarter\u003c/em>, for instance, is sliding scale. \u003c/p>\n\u003cp>Arrington explores ideas in an open-ended way, carrying questions from one piece to the next as if each project is a swatch of the same borderless latticework. \u003cem>Quarter\u003c/em>, a prelude to \u003cem>No Quarter\u003c/em>, created as a part of Hope Mohr Dance’s Bridge Project in 2016 (in response to Trisha Brown’s cube-based 1975 piece \u003cem>Locus\u003c/em>), found Arrington critically examining how neatly delineated space—think maps, crosses—undergirds monotheism, patriarchy and colonialism. \u003c/p>\n\u003cfigure id=\"attachment_13872296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/sherwood-800x450.jpg\" alt=\"Sherwood Chen is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sherwood Chen is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a global resurgence of far-right nationalism, Arrington sees those forces of division intensifying, and the planetary conjunction at the core of \u003cem>No Quarter\u003c/em> threatens to pronounce them further. She also believes it’s a time of turning inward and facing shadows. “Buried things announce themselves, the past/dead speak,” reads her astrology workbook for 2020. “We are asked to take necessary and challenging looks at power, paternity, structure and the past.” \u003c/p>\n\u003cp>In \u003cem>No Quarter\u003c/em>, Arrington takes her own advice. At a work-in-progress preview in August, Arrington recited Rainer Maria Rilke’s poem “You, Darkness,” and performed a series of duets between stories drawn from her distant patrilineage and Greco-Roman mythology—like Saturn eating his children and castrating his father. On a chalkboard she drew a gun and a wagon wheel, “problematic inventions,” she said, that figured in the deaths of her great-grandfathers. \u003c/p>\n\u003cp>Arrington describes No Quarter as tracking the shift “from the many to the one” in the past 2,000 years or so. It is a vast subject, and she seems to savor the risk of an audience left unmoored. In one of two chalkboard columns, Arrington wrote “YIKES,” “DEAD” and “HISTORY,” and drew a circle around them before adding arrows pointing to other gnomic words. “Yes?” Arrington said, nodding wide-eyed at the crowd. She wrote “transcendence,” adding the letters from right to left, drew two clocks at the top (linear and circular time), and at the bottom scrawled “#1DAD.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This make sense?” she said, prompting nervous laughter. Arrington entertained questions, and someone asked about two symbols that turned out to be glyphs for Saturn and Pluto. With enough mythological fluency, the chalkboard cohered. But Arrington also seemed content to let it sit like a poem, enigmatic to the point of provocation, and move along. “Should we keep dancing?” She continued, “Okay, I’m not going to give you a ton of context for this next one.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happens when you take the resplendent stillness of Grace Cathedral and fill every corner of it with contemporary dancers?\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Movement Arts Festival\u003c/a> has been answering that question for six years now; it returns this January with over 300 dancers and performers. An unconventionally arranged array of disciplines will be on display in every corner of the cathedral, including ballet, contemporary and aerial. A live soundtrack promises to enhance the displays.\u003c/p>\n\u003cp>With 90 percent of scheduled performers being Bay Area-based (others hail from Texas, Arizona, New York and Southern California), the festival also offers a compact glimpse into local dance talent and trends, as well as showcasing rising stars in the community.\u003c/p>\n\u003cp>Take a stroll through last summer’s event in the video below. \u003cem>–Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=62&v=E5LU4xBJDwU&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when you take the resplendent stillness of Grace Cathedral and fill every corner of it with contemporary dancers?\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Movement Arts Festival\u003c/a> has been answering that question for six years now; it returns this January with over 300 dancers and performers. An unconventionally arranged array of disciplines will be on display in every corner of the cathedral, including ballet, contemporary and aerial. A live soundtrack promises to enhance the displays.\u003c/p>\n\u003cp>With 90 percent of scheduled performers being Bay Area-based (others hail from Texas, Arizona, New York and Southern California), the festival also offers a compact glimpse into local dance talent and trends, as well as showcasing rising stars in the community.\u003c/p>\n\u003cp>Take a stroll through last summer’s event in the video below. \u003cem>–Rae Alexandra\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E5LU4xBJDwU'\n title='//www.youtube.com/embed/E5LU4xBJDwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This summer 10 local artists of various disciplines spent two weeks at ODC Theater learning—and interrogating—the technique and philosophy of Merce Cunningham with former dancers in the storied choreographer’s company, and then creating their own original works in response. The residency, organized by Hope Mohr Dance’s Bridge Project in collaboration with SFMOMA’s Open Space, fostered a “sense of permission to ask big questions,” Mohr \u003ca href=\"https://www.kqed.org/arts/13864830/merce-cunningham-artist-residency-celebrates-challenges-dance-luminary\">told KQED\u003c/a> at the time. Participants including Sofia Córdova, Jenny Odell and Maxe Crandall wrestled physically with Cunningham movement, and intellectually with his composition methods and legacy. The results of \u003cem>Signals from the West: Bay Area Artists in Conversation with Merce Cunningham\u003c/em> premiere Friday and Saturday at ODC Theater alongside Cunningham repertory excerpts performed by professional dancers, preceded by a free artist talk Thursday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival",
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"content": "\u003cp>At a time when societies are increasingly fractured along tribal lines, there may be no more potent a reflection of the personal costs of these conflicts than Shakespeare’s \u003cstrong>\u003cem>Romeo & Juliet\u003c/em>\u003c/strong>. Though the tale has been reinvented in countless ways, prepare to be torn to shreds by a new film version from Britain’s \u003ca href=\"https://www.balletboyz.com\" target=\"_blank\" rel=\"noopener\">BalletBoyz\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7XjMg1iPaZQ\u003c/p>\n\u003cp>Directors Michael Nunn and William Trevitt have swept Kenneth MacMillan’s dramatic ballet onto the streets of Budapest, and drafted a captivating cast from a young generation of stars at the Royal Ballet. Their staging injects new realism and intimacy into the classic work without sacrificing the grandeur and drama. They’ve driven the action along at a furious pace, trimming the darkly glorious Prokofiev score to a lean, mean, fighting 90 minutes, and unleashed the heavens on a pivotal fight scene—it’s sensual, adrenaline-pumping stuff.\u003c/p>\n\u003cfigure id=\"attachment_13869100\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>American audiences will get their first view of this \u003cstrong>\u003cem>\u003ca href=\"https://www.sfdancefilmfest.org/festival-films/2019-program/romeo-juliet/\" target=\"_blank\" rel=\"noopener\">Romeo & Juliet\u003c/a> \u003c/em>\u003c/strong>when it opens on Wednesday, Nov. 6, at the San Francisco Dance Film Festival, close to the time of the U.K. premiere. I caught up with Trevitt over the phone as he and Nunn prepared to fly to San Francisco for the opening. Both men danced for many years with the Royal before helming their own gutsy all-male contemporary troupe, and have earned accolades for their innovative \u003ca href=\"https://www.balletboyz.com/stage\" target=\"_blank\" rel=\"noopener\">stage\u003c/a> and \u003ca href=\"https://www.balletboyz.com/film\" target=\"_blank\" rel=\"noopener\">film\u003c/a> projects.\u003c/p>\n\u003cp>Of ballet on the big screen, Trevitt said, “Film opens up so much potential in an art form that can seem slightly frozen in time.” Restless cameras weave in and out of market square and ballroom crowds, pry into Juliet’s balcony and bedroom, and penetrate the gloom of the Capulet clan’s underground crypt. The dancers’ taut physiques may be sheathed in tights and pointe shoes, but their barely made-up faces register deep, often conflicting emotions with a refreshing naturalness.\u003c/p>\n\u003cfigure id=\"attachment_13869101\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Hayward as Juliet in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>The cast reflects the \u003ca href=\"https://www.pointemagazine.com/new-promotions-royal-ballet-2412894276.html\" target=\"_blank\" rel=\"noopener\">increasing diversity\u003c/a> of the Royal Ballet’s ranks—Francesca Hayward as Juliet, in particular, has made waves as \u003ca href=\"https://www.essence.com/articles/francesca-hayward-black-female-lead-cats/\" target=\"_blank\" rel=\"noopener\">one of the few black ballerinas\u003c/a> to be named a Principal dancer in a major classical ballet company. Her chemistry with William Bracewell’s boyish, impetuous Romeo is undeniable—yet at their first encounter, when he and his pals gatecrash the Capulets’ ball, the overwhelming sense from the camerawork is one of claustrophobia, as society closes in on the pair.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even as individual characters are finely etched, the framing of the action throughout the film reinforces the idea of the powerlessness of the individual in a monstrous feudal system. Juliet is just an impressionable teenager, and Romeo no more of a hero than his cocky pals (the exuberant Marcelino Sambé and James Hay), and they don’t fully comprehend the game in which they are pawns. The whirlwind infatuation and its deadly consequences could have been the fate of any of their peers: it’s presented as a tragedy of society more than the tragic love story of these two young people with horrible parents. That the grownups themselves feel trapped is evident in searing portrayals of the grief-stricken Lady Capulet by Kristen McNally, the chilling Lord Capulet by Christopher Saunders, the fiery Tybalt by Matthew Ball, and the conflicted Friar Laurence by Bennet Gartside.\u003c/p>\n\u003cfigure id=\"attachment_13869102\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Bracewell and Francesca Hayward in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Trevitt said, “We had some pushback from people early on saying, ‘You need to tell me which one is Romeo from the beginning, you need to show me a headshot so I can identify him.’ We said, ‘We don’t want to do it like that, we want to have this community where gradually one of the people is revealed because their storyline happens to be the one that you follow. But you don’t need to know which one that is until the storyline begins to reveal itself.’ So, it’s more about a bunch of three friends, and a family preparing for a marriage, and much less about the stars, the lead characters.”\u003c/p>\n\u003cp>He went on to reflect, “But part of that is because—although Michael and I did perform Romeo, Mercutio and Benvolio in our day, all the leading male roles—we also spent a lot of time as townspeople. We know the stars can’t do it unless the community around them responds in the right way. We wanted to really respect the work of the \u003cem>corps de ballet \u003c/em>dancers and for them to end up being as important a character as the leads were. Perhaps that’s why you saw what you described as something that could have happened to any of them: it’s just a tragic sequence of events that led to it being this particular tragedy on this particular day.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=0&v=EHPT8IglL0s\u003c/p>\n\u003cp>Teenage passions and swordfights to the death aren’t the only things to look forward to at the San Francisco Dance Film Festival. In 10 years, the festival has seen an explosion in submissions, across an abundance of dance forms. This year 120+ entries from 25 countries offer a wide-ranging exploration of why people dance. And they celebrate the kinds of superheroes who don’t need stuntmen to pull off extraordinary feats of artistry and daredevilry on screen.\u003c/p>\n\u003cp>https://vimeo.com/369463318\u003c/p>\n\u003cp>That would include the Memphis jookers in \u003cem>Lil’ Buck: Real Swan\u003c/em>, a documentary that traces the journey of Charles “Lil’ Buck” Riley from the streets of Memphis to ballet studios and international concert stages, and then back to Memphis to inspire the next generation of jookers.\u003c/p>\n\u003cfigure id=\"attachment_13869099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1920x1165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ekaterina Kondaurova and Lil’ Buck. Photo: Dan Krauss. Image courtesy of Versatile Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Lil’ Buck’s fleet-footed \u003ca href=\"https://www.youtube.com/watch?v=C9jghLeYufQ\" target=\"_blank\" rel=\"noopener\">collaborations\u003c/a> with cellist Yo-Yo Ma feel as serendipitous as the extravaganza that united French choreographer Maurice Béjart with the music of Queen and Mozart, and the designs of Gianni Versace. Though Béjart was moved to create his ballet by the deaths from AIDS of his lover and muse Jorge Donn, and Freddie Mercury, the work itself is more joyous than mournful. The making of the ballet in 1997 is recounted in the new documentary \u003cem>Queen + Béjart: Ballet For Life\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=0aXEsYAjYWE\u003c/p>\n\u003cp>Scottish Ballet is a smallish company with an outsize digital footprint and an appetite for trying new things. This year, Jessica Wright and Morgann Runacre-Temple envisioned a fine dining experience gone hilariously wrong in \u003cem>Tremble\u003c/em>. And for a piece called \u003cem>Frontiers\u003c/em>, San Francisco Ballet’s Myles Thatcher flew in to engineer an assortment of intimate grapplings by pairs of dancers of mixed- and same-sex, in the shelter of Glasgow’s colossal concrete underpasses.\u003c/p>\n\u003cfigure id=\"attachment_13869110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg\" alt=\"\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1200x1021.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo for English National Ballet / Akram Khan’s Giselle. Photo: Jason Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Akram Khan’s\u003c/em> \u003cem>Giselle \u003c/em>is an austere and gripping reimagining of the classic 19th century ballet about class betrayal—this version set in a community of garment factory workers. The Kathak-trained contemporary choreographer has given the classically trained dancers of English National Ballet a hypnotic movement idiom, and the brigade of undead women in Act II are every bit as eerie as in the traditional rendering.\u003c/p>\n\u003cfigure id=\"attachment_13869108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869108\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valtteri Raekallio in Fram. Choreography and direction: Thomas Freundlich and Valtteri Raekallio. Photo: Thomas Freundlich\u003c/figcaption>\u003c/figure>\n\u003cp>Because easy things are rarely worth doing, dancers traveled literally to opposite ends of the earth to make \u003cem>Dancing on Icebergs\u003c/em>, by New Zealand’s Corey Baker, and \u003cem>Fram\u003c/em>, by Finland’s Thomas Freundlich and Valtteri Raekallio.\u003c/p>\n\u003cp>(In full disclosure, sticking closer to home is a pair of films from KQED’s Webby Award-winning series \u003cem>\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">If Cities Could Dance\u003c/a>, \u003c/em>in which local dance crews Turf Feinz thread their way through the streets of Oakland, and R.O.O.T.S. The Movement imprint Richmond locales with their distinctive high-octane movement style.)\u003c/p>\n\u003cp>It wouldn’t be San Francisco without an ultra-high tech angle. Two years ago, the festival started screening \u003ca href=\"https://www.kqed.org/arts/13811546/is-virtual-reality-the-future-of-dance\" target=\"_blank\" rel=\"noopener\">virtual reality (VR) dance films\u003c/a>. Today, festival executive director Judy Flannery notes that VR is “still outside the reach of a ‘regular filmmaker’ both in terms of costs and truly understanding how best to utilize the unique advantages the technology can bring to a dance film.” But from the handful of recent submissions, she notes that “what was purely experimental two years ago is now more thoughtful and deliberate.”\u003c/p>\n\u003cp>https://vimeo.com/289988509\u003c/p>\n\u003cp>So, for the first time, the festival has commissioned a VR dance film, pairing a research engineer with a choreographer to produce the work in a tight timeframe. Jodi Lomask and Bhautik Joshi’s \u003cem>Into the Neural Forest\u003c/em> was inspired by actual brain imagery, and whisks viewers into a model of the brain, populated by dancers who behave like neurons.\u003c/p>\n\u003cp>It’s a brave new world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The San Francisco Dance Film Festival runs from Nov. 2–10 at various venues around the city. \u003ca href=\"https://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "BalletBoyz' adaptation of the Shakespeare classic is just one of many offerings at the festival.",
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"title": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when societies are increasingly fractured along tribal lines, there may be no more potent a reflection of the personal costs of these conflicts than Shakespeare’s \u003cstrong>\u003cem>Romeo & Juliet\u003c/em>\u003c/strong>. Though the tale has been reinvented in countless ways, prepare to be torn to shreds by a new film version from Britain’s \u003ca href=\"https://www.balletboyz.com\" target=\"_blank\" rel=\"noopener\">BalletBoyz\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7XjMg1iPaZQ'\n title='//www.youtube.com/embed/7XjMg1iPaZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Directors Michael Nunn and William Trevitt have swept Kenneth MacMillan’s dramatic ballet onto the streets of Budapest, and drafted a captivating cast from a young generation of stars at the Royal Ballet. Their staging injects new realism and intimacy into the classic work without sacrificing the grandeur and drama. They’ve driven the action along at a furious pace, trimming the darkly glorious Prokofiev score to a lean, mean, fighting 90 minutes, and unleashed the heavens on a pivotal fight scene—it’s sensual, adrenaline-pumping stuff.\u003c/p>\n\u003cfigure id=\"attachment_13869100\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>American audiences will get their first view of this \u003cstrong>\u003cem>\u003ca href=\"https://www.sfdancefilmfest.org/festival-films/2019-program/romeo-juliet/\" target=\"_blank\" rel=\"noopener\">Romeo & Juliet\u003c/a> \u003c/em>\u003c/strong>when it opens on Wednesday, Nov. 6, at the San Francisco Dance Film Festival, close to the time of the U.K. premiere. I caught up with Trevitt over the phone as he and Nunn prepared to fly to San Francisco for the opening. Both men danced for many years with the Royal before helming their own gutsy all-male contemporary troupe, and have earned accolades for their innovative \u003ca href=\"https://www.balletboyz.com/stage\" target=\"_blank\" rel=\"noopener\">stage\u003c/a> and \u003ca href=\"https://www.balletboyz.com/film\" target=\"_blank\" rel=\"noopener\">film\u003c/a> projects.\u003c/p>\n\u003cp>Of ballet on the big screen, Trevitt said, “Film opens up so much potential in an art form that can seem slightly frozen in time.” Restless cameras weave in and out of market square and ballroom crowds, pry into Juliet’s balcony and bedroom, and penetrate the gloom of the Capulet clan’s underground crypt. The dancers’ taut physiques may be sheathed in tights and pointe shoes, but their barely made-up faces register deep, often conflicting emotions with a refreshing naturalness.\u003c/p>\n\u003cfigure id=\"attachment_13869101\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Hayward as Juliet in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>The cast reflects the \u003ca href=\"https://www.pointemagazine.com/new-promotions-royal-ballet-2412894276.html\" target=\"_blank\" rel=\"noopener\">increasing diversity\u003c/a> of the Royal Ballet’s ranks—Francesca Hayward as Juliet, in particular, has made waves as \u003ca href=\"https://www.essence.com/articles/francesca-hayward-black-female-lead-cats/\" target=\"_blank\" rel=\"noopener\">one of the few black ballerinas\u003c/a> to be named a Principal dancer in a major classical ballet company. Her chemistry with William Bracewell’s boyish, impetuous Romeo is undeniable—yet at their first encounter, when he and his pals gatecrash the Capulets’ ball, the overwhelming sense from the camerawork is one of claustrophobia, as society closes in on the pair.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even as individual characters are finely etched, the framing of the action throughout the film reinforces the idea of the powerlessness of the individual in a monstrous feudal system. Juliet is just an impressionable teenager, and Romeo no more of a hero than his cocky pals (the exuberant Marcelino Sambé and James Hay), and they don’t fully comprehend the game in which they are pawns. The whirlwind infatuation and its deadly consequences could have been the fate of any of their peers: it’s presented as a tragedy of society more than the tragic love story of these two young people with horrible parents. That the grownups themselves feel trapped is evident in searing portrayals of the grief-stricken Lady Capulet by Kristen McNally, the chilling Lord Capulet by Christopher Saunders, the fiery Tybalt by Matthew Ball, and the conflicted Friar Laurence by Bennet Gartside.\u003c/p>\n\u003cfigure id=\"attachment_13869102\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Bracewell and Francesca Hayward in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Trevitt said, “We had some pushback from people early on saying, ‘You need to tell me which one is Romeo from the beginning, you need to show me a headshot so I can identify him.’ We said, ‘We don’t want to do it like that, we want to have this community where gradually one of the people is revealed because their storyline happens to be the one that you follow. But you don’t need to know which one that is until the storyline begins to reveal itself.’ So, it’s more about a bunch of three friends, and a family preparing for a marriage, and much less about the stars, the lead characters.”\u003c/p>\n\u003cp>He went on to reflect, “But part of that is because—although Michael and I did perform Romeo, Mercutio and Benvolio in our day, all the leading male roles—we also spent a lot of time as townspeople. We know the stars can’t do it unless the community around them responds in the right way. We wanted to really respect the work of the \u003cem>corps de ballet \u003c/em>dancers and for them to end up being as important a character as the leads were. Perhaps that’s why you saw what you described as something that could have happened to any of them: it’s just a tragic sequence of events that led to it being this particular tragedy on this particular day.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EHPT8IglL0s'\n title='//www.youtube.com/embed/EHPT8IglL0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Teenage passions and swordfights to the death aren’t the only things to look forward to at the San Francisco Dance Film Festival. In 10 years, the festival has seen an explosion in submissions, across an abundance of dance forms. This year 120+ entries from 25 countries offer a wide-ranging exploration of why people dance. And they celebrate the kinds of superheroes who don’t need stuntmen to pull off extraordinary feats of artistry and daredevilry on screen.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That would include the Memphis jookers in \u003cem>Lil’ Buck: Real Swan\u003c/em>, a documentary that traces the journey of Charles “Lil’ Buck” Riley from the streets of Memphis to ballet studios and international concert stages, and then back to Memphis to inspire the next generation of jookers.\u003c/p>\n\u003cfigure id=\"attachment_13869099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1920x1165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ekaterina Kondaurova and Lil’ Buck. Photo: Dan Krauss. Image courtesy of Versatile Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Lil’ Buck’s fleet-footed \u003ca href=\"https://www.youtube.com/watch?v=C9jghLeYufQ\" target=\"_blank\" rel=\"noopener\">collaborations\u003c/a> with cellist Yo-Yo Ma feel as serendipitous as the extravaganza that united French choreographer Maurice Béjart with the music of Queen and Mozart, and the designs of Gianni Versace. Though Béjart was moved to create his ballet by the deaths from AIDS of his lover and muse Jorge Donn, and Freddie Mercury, the work itself is more joyous than mournful. The making of the ballet in 1997 is recounted in the new documentary \u003cem>Queen + Béjart: Ballet For Life\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0aXEsYAjYWE'\n title='//www.youtube.com/embed/0aXEsYAjYWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Scottish Ballet is a smallish company with an outsize digital footprint and an appetite for trying new things. This year, Jessica Wright and Morgann Runacre-Temple envisioned a fine dining experience gone hilariously wrong in \u003cem>Tremble\u003c/em>. And for a piece called \u003cem>Frontiers\u003c/em>, San Francisco Ballet’s Myles Thatcher flew in to engineer an assortment of intimate grapplings by pairs of dancers of mixed- and same-sex, in the shelter of Glasgow’s colossal concrete underpasses.\u003c/p>\n\u003cfigure id=\"attachment_13869110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg\" alt=\"\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1200x1021.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo for English National Ballet / Akram Khan’s Giselle. Photo: Jason Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Akram Khan’s\u003c/em> \u003cem>Giselle \u003c/em>is an austere and gripping reimagining of the classic 19th century ballet about class betrayal—this version set in a community of garment factory workers. The Kathak-trained contemporary choreographer has given the classically trained dancers of English National Ballet a hypnotic movement idiom, and the brigade of undead women in Act II are every bit as eerie as in the traditional rendering.\u003c/p>\n\u003cfigure id=\"attachment_13869108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869108\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valtteri Raekallio in Fram. Choreography and direction: Thomas Freundlich and Valtteri Raekallio. Photo: Thomas Freundlich\u003c/figcaption>\u003c/figure>\n\u003cp>Because easy things are rarely worth doing, dancers traveled literally to opposite ends of the earth to make \u003cem>Dancing on Icebergs\u003c/em>, by New Zealand’s Corey Baker, and \u003cem>Fram\u003c/em>, by Finland’s Thomas Freundlich and Valtteri Raekallio.\u003c/p>\n\u003cp>(In full disclosure, sticking closer to home is a pair of films from KQED’s Webby Award-winning series \u003cem>\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">If Cities Could Dance\u003c/a>, \u003c/em>in which local dance crews Turf Feinz thread their way through the streets of Oakland, and R.O.O.T.S. The Movement imprint Richmond locales with their distinctive high-octane movement style.)\u003c/p>\n\u003cp>It wouldn’t be San Francisco without an ultra-high tech angle. Two years ago, the festival started screening \u003ca href=\"https://www.kqed.org/arts/13811546/is-virtual-reality-the-future-of-dance\" target=\"_blank\" rel=\"noopener\">virtual reality (VR) dance films\u003c/a>. Today, festival executive director Judy Flannery notes that VR is “still outside the reach of a ‘regular filmmaker’ both in terms of costs and truly understanding how best to utilize the unique advantages the technology can bring to a dance film.” But from the handful of recent submissions, she notes that “what was purely experimental two years ago is now more thoughtful and deliberate.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So, for the first time, the festival has commissioned a VR dance film, pairing a research engineer with a choreographer to produce the work in a tight timeframe. Jodi Lomask and Bhautik Joshi’s \u003cem>Into the Neural Forest\u003c/em> was inspired by actual brain imagery, and whisks viewers into a model of the brain, populated by dancers who behave like neurons.\u003c/p>\n\u003cp>It’s a brave new world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The San Francisco Dance Film Festival runs from Nov. 2–10 at various venues around the city. \u003ca href=\"https://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-do-list-our-picks-for-fire-relief-fka-twigs-dia-de-los-muertos-and-more",
"title": "The Do List: Our Picks for Fire Relief, FKA Twigs, Día de los Muertos and More",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Sam Lefebvre, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Fire Relief\u003c/strong>: First things first, this has been a trying week for people who live up in the North Bay. The Kincade Fire has caused evacuations across Sonoma County and, for the rest of the Bay Area, air quality alerts. To help, the California Academy of Sciences is offering free admission through Nov. 1 to those in mandatory evacuation zones – and also, the SFMOMA is offering free admission to its permanent collection to the general public. If you need to get out of the smoke this weekend, remember that the de Young and Legion of Honor also offer free admission on Saturdays to San Francisco residents, too. \u003ca href=\"https://www.kqed.org/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>FKA Twigs\u003c/strong>: British art-pop singer FKA Twigs is one of the most groundbreaking artists of the past decade—not just a triple threat, but a \u003cem>quintuple\u003c/em> threat. Her voice is an angelic falsetto; she writes uncomfortable, probing lyrics that flip gender stereotypes; her CGI music videos are out of this world. And, after taking a couple years off from touring due to health issues, she came back stronger than ever with an incredible new skillset: pole dancing, which she uses as a form of theatrical storytelling. She’ll be at Oakland’s Fox Theater on Nov. 6 and 7. \u003ca href=\"http://thefoxoakland.com/events/fka-twigs-magdalene\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Día de los Muertos\u003c/strong>: If you’ve got a kid who loved the Pixar film \u003cem>Coco\u003c/em>, you’ll have some opportunities to show them a deeper look at the tradition of Día de los Muertos. At the Oakland Museum of California, there’s an exhibit called \u003cem>¡El Movimiento Vivo!: Chicano Roots of El Día de los Muertos\u003c/em>, all about the Chicano activists who brought Day of the Dead traditions to the United States. You’ll see ofrendas, and hear stories from elders in Oaxaca. That’s up now through Feb. 16 of next year. \u003ca href=\"https://museumca.org/exhibit/%C2%A1el-movimiento-vivo-chicano-roots-el-d%C3%ADa-de-los-muertos\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And another Día de Los Muertos tradition is brewing in the East Bay: the Oakland Ballet’s \u003cem>Luna Mexicana\u003c/em>. This is a dance performance in partnership with Ballet Folklórico México Danza with a Frida Kahlo theme, but it’s also a celebration of music, costumes, candles, and food. Tamales and Mexican hot chocolate will be served in the gorgeous art-deco lobby of the Paramount Theater, another great way to introduce kids to this tradition. That’s on Friday and Saturday, Nov. 1 and 2, at the Paramount Theatre in Oakland. \u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams\u003c/strong>: Sam plays in a band, and while they were on tour recently, they spent a lot of time listening to Lucinda Williams. She’s had an unusual career, in part because her breakthrough album arrived about 20 years after her first album. It’s called \u003cem>Car Wheels on a Gravel Road\u003c/em>, and it’s an achingly beautiful record about longing, forgetting and escape with an atmosphere of road-weary realism. In the van, on repeat, it served as a soundtrack for many of the same cities and landmarks referenced on the album. Twenty years since its release, Lucinda Williams plays the album in its entirety—plus a second career-wide set—on Saturday, Nov. 2, at the Fox Theater in Oakland. \u003ca href=\"http://thefoxoakland.com/events/lucinda-williams-band-buick-6\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Blanket the Homeless’\u003c/strong>: So many of our neighbors have lost homes and been forced onto the streets during the Bay Area’s housing crisis, and the problem is only getting worse. A bunch of artists recently teamed up for a benefit compilation called \u003cem>Blanket the Homeless\u003c/em>, which raises money for an organization that passes out hygiene kits and supplies to unsheltered people in the Bay Area. The compilation features Fantastic Negrito, Rainbow Girls, the Stone Foxes and many more. The Stone Foxes’ Shannon Koehler and producer Scott Mickelson perform live for a benefit concert and record release show. That’s on Nov. 7, at the Independent in San Francisco. \u003ca href=\"http://blanketthehomeless.org/events/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"headline": "The Do List: Our Picks for Fire Relief, FKA Twigs, Día de los Muertos and More",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Sam Lefebvre, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Fire Relief\u003c/strong>: First things first, this has been a trying week for people who live up in the North Bay. The Kincade Fire has caused evacuations across Sonoma County and, for the rest of the Bay Area, air quality alerts. To help, the California Academy of Sciences is offering free admission through Nov. 1 to those in mandatory evacuation zones – and also, the SFMOMA is offering free admission to its permanent collection to the general public. If you need to get out of the smoke this weekend, remember that the de Young and Legion of Honor also offer free admission on Saturdays to San Francisco residents, too. \u003ca href=\"https://www.kqed.org/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>FKA Twigs\u003c/strong>: British art-pop singer FKA Twigs is one of the most groundbreaking artists of the past decade—not just a triple threat, but a \u003cem>quintuple\u003c/em> threat. Her voice is an angelic falsetto; she writes uncomfortable, probing lyrics that flip gender stereotypes; her CGI music videos are out of this world. And, after taking a couple years off from touring due to health issues, she came back stronger than ever with an incredible new skillset: pole dancing, which she uses as a form of theatrical storytelling. She’ll be at Oakland’s Fox Theater on Nov. 6 and 7. \u003ca href=\"http://thefoxoakland.com/events/fka-twigs-magdalene\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Día de los Muertos\u003c/strong>: If you’ve got a kid who loved the Pixar film \u003cem>Coco\u003c/em>, you’ll have some opportunities to show them a deeper look at the tradition of Día de los Muertos. At the Oakland Museum of California, there’s an exhibit called \u003cem>¡El Movimiento Vivo!: Chicano Roots of El Día de los Muertos\u003c/em>, all about the Chicano activists who brought Day of the Dead traditions to the United States. You’ll see ofrendas, and hear stories from elders in Oaxaca. That’s up now through Feb. 16 of next year. \u003ca href=\"https://museumca.org/exhibit/%C2%A1el-movimiento-vivo-chicano-roots-el-d%C3%ADa-de-los-muertos\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And another Día de Los Muertos tradition is brewing in the East Bay: the Oakland Ballet’s \u003cem>Luna Mexicana\u003c/em>. This is a dance performance in partnership with Ballet Folklórico México Danza with a Frida Kahlo theme, but it’s also a celebration of music, costumes, candles, and food. Tamales and Mexican hot chocolate will be served in the gorgeous art-deco lobby of the Paramount Theater, another great way to introduce kids to this tradition. That’s on Friday and Saturday, Nov. 1 and 2, at the Paramount Theatre in Oakland. \u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams\u003c/strong>: Sam plays in a band, and while they were on tour recently, they spent a lot of time listening to Lucinda Williams. She’s had an unusual career, in part because her breakthrough album arrived about 20 years after her first album. It’s called \u003cem>Car Wheels on a Gravel Road\u003c/em>, and it’s an achingly beautiful record about longing, forgetting and escape with an atmosphere of road-weary realism. In the van, on repeat, it served as a soundtrack for many of the same cities and landmarks referenced on the album. Twenty years since its release, Lucinda Williams plays the album in its entirety—plus a second career-wide set—on Saturday, Nov. 2, at the Fox Theater in Oakland. \u003ca href=\"http://thefoxoakland.com/events/lucinda-williams-band-buick-6\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Blanket the Homeless’\u003c/strong>: So many of our neighbors have lost homes and been forced onto the streets during the Bay Area’s housing crisis, and the problem is only getting worse. A bunch of artists recently teamed up for a benefit compilation called \u003cem>Blanket the Homeless\u003c/em>, which raises money for an organization that passes out hygiene kits and supplies to unsheltered people in the Bay Area. The compilation features Fantastic Negrito, Rainbow Girls, the Stone Foxes and many more. The Stone Foxes’ Shannon Koehler and producer Scott Mickelson perform live for a benefit concert and record release show. That’s on Nov. 7, at the Independent in San Francisco. \u003ca href=\"http://blanketthehomeless.org/events/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prosecutors Investigate Possible Jury Misconduct in Dance Coach Trial",
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"content": "\u003cp>Contra Costa County prosecutors say they are investigating possible juror misconduct that may have led to a mistrial in a high-profile sexual assault case involving a Bay Area dance instructor.\u003c/p>\n\u003cp>The Contra Costa County district attorney’s office says one of the jurors may have had preconceived notions about the facts in the trial of Viktor Kabaniaev before hearing any of the evidence, and discussed their feelings outside the courtroom with other potential jurors.\u003c/p>\n\u003cp>The highly-respected ballet coach is accused of 14 acts of sexual assault against at least two of his female students, who were children at the time. The case will undergo a retrial in Contra Costa County Superior Court since the previous jury was unable to reach a verdict last week.\u003c/p>\n\u003cp>“The right for a criminal trial to be decided by an impartial jury is fundamental to our democracy, and essential for any victims hoping to seek justice,” said Contra Costa County District Attorney’s office spokesman, Scott Alonso. “If a juror brings their own personal bias or speculative beliefs into the jury box, it can taint the case and the potential for a just outcome.”\u003c/p>\n\u003cp>Kabaniaev’s defense attorney, Kenneth Wine, said the case was not a close one; the previous jury was ultimately evenly divided in its verdict. He said the prosecution should show more respect for jurors’ vote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Each juror deserves their vote to be counted and respected,” Wine said. “The D.A. should tread lightly, lest they appear to be threatening jurors who disagree with them. To do so strikes at the core of our jury system.”\u003c/p>\n\u003cp>The next court date for Kabaniaev’s retrial is set for Nov. 22.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Contra Costa County prosecutors say they are investigating possible juror misconduct that may have led to a mistrial in a high-profile sexual assault case involving a Bay Area dance instructor.\u003c/p>\n\u003cp>The Contra Costa County district attorney’s office says one of the jurors may have had preconceived notions about the facts in the trial of Viktor Kabaniaev before hearing any of the evidence, and discussed their feelings outside the courtroom with other potential jurors.\u003c/p>\n\u003cp>The highly-respected ballet coach is accused of 14 acts of sexual assault against at least two of his female students, who were children at the time. The case will undergo a retrial in Contra Costa County Superior Court since the previous jury was unable to reach a verdict last week.\u003c/p>\n\u003cp>“The right for a criminal trial to be decided by an impartial jury is fundamental to our democracy, and essential for any victims hoping to seek justice,” said Contra Costa County District Attorney’s office spokesman, Scott Alonso. “If a juror brings their own personal bias or speculative beliefs into the jury box, it can taint the case and the potential for a just outcome.”\u003c/p>\n\u003cp>Kabaniaev’s defense attorney, Kenneth Wine, said the case was not a close one; the previous jury was ultimately evenly divided in its verdict. He said the prosecution should show more respect for jurors’ vote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Each juror deserves their vote to be counted and respected,” Wine said. “The D.A. should tread lightly, lest they appear to be threatening jurors who disagree with them. To do so strikes at the core of our jury system.”\u003c/p>\n\u003cp>The next court date for Kabaniaev’s retrial is set for Nov. 22.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dance Coach's Molestation Case Headed to Retrial Following Hung Jury",
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"content": "\u003cp>A sexual assault case against a renowned ballet coach is heading to retrial in an East Bay Court after the jury couldn’t reach a decision following two days of deliberations.\u003c/p>\n\u003cp>Three of Viktor Kabaniaev’s ex-students testified against their former coach, who was arrested in January 2018 and charged with 14 counts involving sex crimes against minors.\u003c/p>\n\u003cp>One woman said he raped her for the first time when she was only 12 years old, and forced her to have sex with him dozens of times thereafter. The other two accused Kabaniaev of molesting them.\u003c/p>\n\u003cp>Among these people was a new, third alleged victim, who came forward publicly for the first time as the trial unfolded to give her testimony.\u003c/p>\n\u003cp>Additional witnesses for the prosecution also took the stand during the two-week trial in Martinez, including the father of the alleged rape victim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My daughter was assaulted over a long period of time,” the man said on the witness stand. He broke down a couple of times during his testimony.\u003c/span>\u003c/p>\n\u003cp>Despite the government’s case against the 56-year-old Kabaniaev, six of the 12 jurors remained unconvinced.\u003c/p>\n\u003cp>“My client\u003cb>\u003c/b> is delighted that six jurors believed his version of the facts,” said defense attorney Kenneth Wine in a phone interview. “He’s ready to fight on.”\u003c/p>\n\u003cp>The trial will now start over with a new jury.\u003c/p>\n\u003cp>“I am a bit disappointed with the jury’s decision,” said Miko Fogarty, a former student of Kabaniaev’s who shared her testimony during the trial, alleging that\u003cspan style=\"font-weight: 400\"> Kabaniaev molested her when she was 13. “But I am still hopeful for the retrial.”\u003c/span>\u003c/p>\n\u003cp>Scott Alonso, a spokesman for the Contra Costa County District Attorney’s Office, said his office expects a date for the retrial to be set next week.\u003c/p>\n\u003cp>“We are deeply concerned with the jury’s outcome,” Alonso said in a written statement. “The women that came forward, including a new, third victim on the record, demonstrated immense courage in speaking publicly about these horrible crimes. Sexual assault victims deserve justice in this case. We will proceed with a new trial.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kabaniaev has been behind bars since his arrest nearly two years ago. If found guilty, he could face up to a life sentence. \u003c/span>\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>\n\u003cp>\u003cem>Listen to KQED’s 28-minute audio documentary about the long and complex journey of one of Kabaniaev’s alleged victims \u003ca href=\"https://www.kqed.org/news/11696615/ballet-star-moves-past-pain-for-a-new-stage-science\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My daughter was assaulted over a long period of time,” the man said on the witness stand. He broke down a couple of times during his testimony.\u003c/span>\u003c/p>\n\u003cp>Despite the government’s case against the 56-year-old Kabaniaev, six of the 12 jurors remained unconvinced.\u003c/p>\n\u003cp>“My client\u003cb>\u003c/b> is delighted that six jurors believed his version of the facts,” said defense attorney Kenneth Wine in a phone interview. “He’s ready to fight on.”\u003c/p>\n\u003cp>The trial will now start over with a new jury.\u003c/p>\n\u003cp>“I am a bit disappointed with the jury’s decision,” said Miko Fogarty, a former student of Kabaniaev’s who shared her testimony during the trial, alleging that\u003cspan style=\"font-weight: 400\"> Kabaniaev molested her when she was 13. “But I am still hopeful for the retrial.”\u003c/span>\u003c/p>\n\u003cp>Scott Alonso, a spokesman for the Contra Costa County District Attorney’s Office, said his office expects a date for the retrial to be set next week.\u003c/p>\n\u003cp>“We are deeply concerned with the jury’s outcome,” Alonso said in a written statement. “The women that came forward, including a new, third victim on the record, demonstrated immense courage in speaking publicly about these horrible crimes. Sexual assault victims deserve justice in this case. We will proceed with a new trial.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kabaniaev has been behind bars since his arrest nearly two years ago. If found guilty, he could face up to a life sentence. \u003c/span>\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>\n\u003cp>\u003cem>Listen to KQED’s 28-minute audio documentary about the long and complex journey of one of Kabaniaev’s alleged victims \u003ca href=\"https://www.kqed.org/news/11696615/ballet-star-moves-past-pain-for-a-new-stage-science\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a skit that didn’t even make it into a \u003cem>Saturday Night Live\u003c/em> broadcast. In “Alan,” Bill Hader starred as “the future of casual entertainment”: a robot that dances in a goofy, dad-friendly way that never quite progresses past the point of pedestrian. The very funny bit was cut for time in 2015, but thankfully found its way online after the episode aired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=xplEPT5I39E\u003c/p>\n\u003cp>Now, a new Twitter account is taking the Alan to new and seemingly boundless heights thanks to the discovery that Hader’s dancing in the skit goes with, well, absolutely everything. And somehow, the more videos \u003ca href=\"https://twitter.com/billhaderdancin\" target=\"_blank\" rel=\"noopener\">@billhaderdancin\u003c/a> posts, the funnier this gets. Observe.\u003c/p>\n\u003cp>The Alan works with classic rock:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178009490765033472?s=20\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178321115845926914?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1178321115845926914&ref_url=https%3A%2F%2Fwww.dailydot.com%2Funclick%2Fbill-hader-dancing-meme%2F\u003c/p>\n\u003cp>He works with contemporary pop:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1177651408474198017\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178372131719122946\u003c/p>\n\u003cp>And he even works with indie rock tunes:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1176507672503431168\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1174121070678482944\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An 18-year-old Florida woman named \u003ca href=\"https://twitter.com/lustsfilm\" target=\"_blank\" rel=\"noopener\">Sam\u003c/a>, a big fan of Hader and Keanu Reeves, discovered the versatility of the Alan dance and launched the account on September 17. Its videos have already garnered well over a million views. No wonder—thanks to Hader’s inability to do anything badly, this is destined to be a gift that keeps on giving.\u003c/p>\n\n",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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 />",
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"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. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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