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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>[aside tag='if-cities-could-dance' label='WATCH: If Cities Could Dance']\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>[aside tag='immigration' label='Stories For You']\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Great Man, A Complicated Man: Gandhi On Stage in Song and Dance",
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"content": "\u003cp>It’s an epic story; everything from Mahatma Gandhi’s early days in law school to his campaigns in South Africa, to the civil disobedience movement he led against British colonial rule in India that inspired people all over the world, including \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/gandhi-mohandas-k\" target=\"_blank\" rel=\"noopener\">Dr. Martin Luther King, Jr.\u003c/a>.\u003c/p>\n\u003cp>Naatak co-founder, artistic director and playwright Sujit Saraf says, with \u003ca style=\"font-style: italic\" href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">Gandhi: A Grand Musical\u003c/a>\u003ci>, the \u003c/i>theater company presents an accessible yet nuanced picture for Indians steeped in Gandhi love — and hate — from childhood on.\u003c/p>\n\u003cp>“Gandhi has total ‘brand permeation’ in India. We grew up with Gandhi as our father. Some of us continue to adore him. Then there is a strain of — it’s hot in India — where you mock everything Gandhi did because he’s extremely easy to mock.” That includes some of the very things that helped establish Gandhi’s moral and political stature in the first place, like the humble loincloth, or dhoti, he wore, the vow of celibacy he held to for much of his adult life, and his campaign to change sanitation practices.\u003c/p>\n\u003cp>“A man who led 300 million people and had something to say, over a long public career, on every subject on earth necessarily said many silly things. I could come up with a hundred silly things that Gandhi said and none of those put together would paint a picture of the man. So, in our play, he does say those things, but not in an attempt to make fun of him; in an attempt to better understand what Gandhi meant to India, to the world, and to history.”\u003c/p>\n\u003cfigure id=\"attachment_13866385\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg\" alt='\"Gandhi: The Musical\" by Naatak runs September 14 - October 6 at Cubberley Theatre in Palo Alto.' width=\"1568\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1200x802.jpeg 1200w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">“Gandhi: A Grand Musical” by Naatak runs September 14 – October 6 at Cubberley Theatre in Palo Alto. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.naatak.com\" target=\"_blank\" rel=\"noopener\">Naatak\u003c/a> has been delivering Indian theatre to Silicon Valley for a quarter century now, everything from Western classics cast with Indian-American locals to original work, like what opens tonight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To write the play, Saraf dove deep into books about and recordings of the great man and come up with a sense of him as “stubborn, cruel, intelligent, and very very courageous.”\u003c/p>\n\u003cp>“The problem with most writings about Gandhi, including the big \u003ca href=\"https://www.youtube.com/watch?v=B7I6D3mSYTE\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> [directed by Richard Attenborough], is that they are too conscious of his star power. They are too aware that he is a world figure. He is the father of the nation. So the movie, for instance, is full of slow motion footage of Gandhi putting on glasses, Gandhi slipping his feet into sandals. He utters witticisms and white people’s jaws drop.”\u003c/p>\n\u003cp>“We are Indians. I don’t need to see Gandhi through Western eyes. Not only that, I’m able to represent him in his own language.” Three languages, in fact: Ghandi’s native tongue, Gujarati, as well as Hindi and English.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=bhLexs13cZU]Saraf says there was a distinct difference in the way Gandhi communicated, depending on who his audience was.\u003c/p>\n\u003cp>“When he spoke in Hindi, he spoke very mundanely. When he spoke in English, he was aiming it at a western audience, and the point five percent of Indians who could speak English then. His speeches acquired a slightly more poetic air. He wasn’t an orator on the level of MLK. I don’t have Gandhi making beautiful speeches in the musical because it just doesn’t make sense. ”\u003c/p>\n\u003cp>That said, Naatak feels freer to take poetic license with original music (composed by Nachiketa Yakkundi and dance (choreography by Soumya Agastya, Shwetha Subraya and Nisha Natraj). “So many of Gandhi’s ideas and campaigns are presented in the play as lovely dance and music,” Saraf says. The musical also includes songs familiar from Gandhi’s life and the Indian independence movement.\u003c/p>\n\u003ch2>Resistance as Spiritual Practice\u003c/h2>\n\u003cp>Gandhi’s deeply rooted spiritual practice was central to his political practice, his philosophy of non-violent resistance to oppression. Political campaigns for him were a means to a larger end. He felt he was an instrument of divine will.\u003c/p>\n\u003cp>“He arrived at what he thought were some simple truths,” says Saraf. “Everything he did was an attempt to test those truths and his laboratory kept getting larger and larger. He really was a very personal man living as a public figure, testing out deeply held beliefs and theories — on abstinence, on sanitation, on humility. They took a political form, but the political life was not what he was talking about, and in a strange way, he never made a secret of it. He often talked about how independence from the British meant nothing [to him].”\u003c/p>\n\u003cp>What did mean something to Gandhi? “A life of dignity, harmony between Hindus and Muslims, and self-sufficiency. To him, these were the important aims and goals of life, and independence from British rule was merely a means of achieving these.”\u003c/p>\n\u003cfigure id=\"attachment_13866387\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01284.jpg\" alt='Original music and dance feature prominently in \"Gandhi: The Musical\" put on by Silicon Valley-based Naatak.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1200x802.jpg 1200w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Original music and dance feature prominently in “Gandhi: A Grand Musical” put on by Silicon Valley-based Naatak. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Gandhi succeeded in shaming the British out of India, he was completely unsuccessful in establishing a country free of religious and class divisions, and of politicians who stoke the fires of those divisions to get into and stay in power. Naked materialism is in vogue now, as much in India as any place else on earth.\u003c/p>\n\u003cp>“He would not be pleased if he came back,” muses Saraf. “I think he would go on a fast unto death, and sadly, I don’t know if anybody would care.”\u003c/p>\n\u003cp>Heady stuff to tackle on stage — and timely, given that October 2nd marks the 150th anniversary of Gandhi’s birth.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>Gandhi: A Grand Musical\u003c/strong> runs Sept. 14-Oct. 6 at Cubberley Theatre in Palo Alto. For more information, click \u003ca href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an epic story; everything from Mahatma Gandhi’s early days in law school to his campaigns in South Africa, to the civil disobedience movement he led against British colonial rule in India that inspired people all over the world, including \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/gandhi-mohandas-k\" target=\"_blank\" rel=\"noopener\">Dr. Martin Luther King, Jr.\u003c/a>.\u003c/p>\n\u003cp>Naatak co-founder, artistic director and playwright Sujit Saraf says, with \u003ca style=\"font-style: italic\" href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">Gandhi: A Grand Musical\u003c/a>\u003ci>, the \u003c/i>theater company presents an accessible yet nuanced picture for Indians steeped in Gandhi love — and hate — from childhood on.\u003c/p>\n\u003cp>“Gandhi has total ‘brand permeation’ in India. We grew up with Gandhi as our father. Some of us continue to adore him. Then there is a strain of — it’s hot in India — where you mock everything Gandhi did because he’s extremely easy to mock.” That includes some of the very things that helped establish Gandhi’s moral and political stature in the first place, like the humble loincloth, or dhoti, he wore, the vow of celibacy he held to for much of his adult life, and his campaign to change sanitation practices.\u003c/p>\n\u003cp>“A man who led 300 million people and had something to say, over a long public career, on every subject on earth necessarily said many silly things. I could come up with a hundred silly things that Gandhi said and none of those put together would paint a picture of the man. So, in our play, he does say those things, but not in an attempt to make fun of him; in an attempt to better understand what Gandhi meant to India, to the world, and to history.”\u003c/p>\n\u003cfigure id=\"attachment_13866385\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg\" alt='\"Gandhi: The Musical\" by Naatak runs September 14 - October 6 at Cubberley Theatre in Palo Alto.' width=\"1568\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1200x802.jpeg 1200w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">“Gandhi: A Grand Musical” by Naatak runs September 14 – October 6 at Cubberley Theatre in Palo Alto. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.naatak.com\" target=\"_blank\" rel=\"noopener\">Naatak\u003c/a> has been delivering Indian theatre to Silicon Valley for a quarter century now, everything from Western classics cast with Indian-American locals to original work, like what opens tonight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To write the play, Saraf dove deep into books about and recordings of the great man and come up with a sense of him as “stubborn, cruel, intelligent, and very very courageous.”\u003c/p>\n\u003cp>“The problem with most writings about Gandhi, including the big \u003ca href=\"https://www.youtube.com/watch?v=B7I6D3mSYTE\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> [directed by Richard Attenborough], is that they are too conscious of his star power. They are too aware that he is a world figure. He is the father of the nation. So the movie, for instance, is full of slow motion footage of Gandhi putting on glasses, Gandhi slipping his feet into sandals. He utters witticisms and white people’s jaws drop.”\u003c/p>\n\u003cp>“We are Indians. I don’t need to see Gandhi through Western eyes. Not only that, I’m able to represent him in his own language.” Three languages, in fact: Ghandi’s native tongue, Gujarati, as well as Hindi and English.\u003c/p>\n\u003cp>\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/bhLexs13cZU'\n title='//www.youtube.com/embed/bhLexs13cZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Saraf says there was a distinct difference in the way Gandhi communicated, depending on who his audience was.\u003c/p>\n\u003cp>“When he spoke in Hindi, he spoke very mundanely. When he spoke in English, he was aiming it at a western audience, and the point five percent of Indians who could speak English then. His speeches acquired a slightly more poetic air. He wasn’t an orator on the level of MLK. I don’t have Gandhi making beautiful speeches in the musical because it just doesn’t make sense. ”\u003c/p>\n\u003cp>That said, Naatak feels freer to take poetic license with original music (composed by Nachiketa Yakkundi and dance (choreography by Soumya Agastya, Shwetha Subraya and Nisha Natraj). “So many of Gandhi’s ideas and campaigns are presented in the play as lovely dance and music,” Saraf says. The musical also includes songs familiar from Gandhi’s life and the Indian independence movement.\u003c/p>\n\u003ch2>Resistance as Spiritual Practice\u003c/h2>\n\u003cp>Gandhi’s deeply rooted spiritual practice was central to his political practice, his philosophy of non-violent resistance to oppression. Political campaigns for him were a means to a larger end. He felt he was an instrument of divine will.\u003c/p>\n\u003cp>“He arrived at what he thought were some simple truths,” says Saraf. “Everything he did was an attempt to test those truths and his laboratory kept getting larger and larger. He really was a very personal man living as a public figure, testing out deeply held beliefs and theories — on abstinence, on sanitation, on humility. They took a political form, but the political life was not what he was talking about, and in a strange way, he never made a secret of it. He often talked about how independence from the British meant nothing [to him].”\u003c/p>\n\u003cp>What did mean something to Gandhi? “A life of dignity, harmony between Hindus and Muslims, and self-sufficiency. To him, these were the important aims and goals of life, and independence from British rule was merely a means of achieving these.”\u003c/p>\n\u003cfigure id=\"attachment_13866387\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01284.jpg\" alt='Original music and dance feature prominently in \"Gandhi: The Musical\" put on by Silicon Valley-based Naatak.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1200x802.jpg 1200w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Original music and dance feature prominently in “Gandhi: A Grand Musical” put on by Silicon Valley-based Naatak. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Gandhi succeeded in shaming the British out of India, he was completely unsuccessful in establishing a country free of religious and class divisions, and of politicians who stoke the fires of those divisions to get into and stay in power. Naked materialism is in vogue now, as much in India as any place else on earth.\u003c/p>\n\u003cp>“He would not be pleased if he came back,” muses Saraf. “I think he would go on a fast unto death, and sadly, I don’t know if anybody would care.”\u003c/p>\n\u003cp>Heady stuff to tackle on stage — and timely, given that October 2nd marks the 150th anniversary of Gandhi’s birth.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>Gandhi: A Grand Musical\u003c/strong> runs Sept. 14-Oct. 6 at Cubberley Theatre in Palo Alto. For more information, click \u003ca href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=296&v=Kk9NkwFmDN4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\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/Kk9NkwFmDN4'\n title='//www.youtube.com/embed/Kk9NkwFmDN4'\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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"title": "The Do List: Listen to Our Weekend Picks for Sept. 6–8",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">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>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "merce-cunningham-artist-residency-celebrates-challenges-dance-luminary",
"title": "Merce Cunningham Artist Residency Celebrates, Challenges Dance Luminary",
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"content": "\u003cp>On a recent afternoon, a dozen artists stood along the wall in a Mission District dance studio. One by one, they briskly spiraled around the dancefloor’s perimeter before making several tight, purposeful turns in the center and then stepping away. The complicated pattern resolved, prompting relieved sighs. Silas Riener, the instructor, applauded and then pulled someone aside. “When you change directions, you’re treating it as its own movement,” Riener explained. “But it’s not.”\u003c/p>\n\u003cp>Fewer than half of the artists had formally studied dance, let alone this pretzeling choreography by Merce Cunningham. Riener and Rashaun Mitchell, both formerly of Cunningham’s company, were teaching the late modern dance titan’s technique and philosophy to poets and musicians, filmmakers and conceptual artists. Now the multidisciplinary cast is creating new works in response, which debut alongside Cunningham repertory excerpts at \u003ca href=\"http://odc.dance/\">ODC Theater\u003c/a> in November.\u003c/p>\n\u003cp>\u003ca href=\"http://odc.dance/merce\">\u003cem>Signals From the West: Bay Area Artists in Conversation with Merce Cunningham\u003c/em>\u003c/a>, presented by Hope Mohr Dance’s Bridge Project, is part of an international centennial celebration of the dance figure roundly vaunted for his abiding ingenuity in creative methods and movement vocabulary. But instead of a reverent restaging, the residency program encourages a critical, probing engagement with Cunningham, one befitting the artist’s own restless disposition.\u003c/p>\n\u003cfigure id=\"attachment_13864892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0409-800x450.jpg\" alt=\"Silas Riener (L) and Rashaun Mitchell (R), both formerly Cunningham company dancers, taught the late artists's technique and philosophy to dancers and non-dancers alike.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Silas Riener (L) and Rashaun Mitchell (R), both formerly Cunningham company dancers, taught the late artists’s technique and philosophy to dancers and non-dancers alike. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When someone’s anointed part of the canon, what was vibrant and uneasy can become codified, it can calcify,” said Claudia La Rocco, editorial director at the San Francisco Museum of Modern Art’s interdisciplinary commissioning platform \u003ca href=\"https://openspace.sfmoma.org/\">Open Space\u003c/a>, who helped select ten artists who weren’t necessarily familiar with Cunningham, or who held seemingly contrary views. (Full disclosure: This writer was an Open Space columnist-in-residence in 2018.)\u003c/p>\n\u003cp>“The sense I got from being there was a bunch of smart individuals poking something, flipping it over, looking at it upside down—and not just recreating a piece,” she said. “It’s an experiment.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the artists are eager to challenge the “presumed neutrality of abstract white male art,” said Mohr, who’s presenting the program with the \u003ca href=\"https://www.mercecunningham.org/\">Merce Cunningham Trust\u003c/a>, ODC Theater and SFMOMA’s Open Space. “So they’re exploring how their identities collide with these methods.” The organizers tried to cultivate a “sense of permission to ask big questions,” Mohr explained. “The obvious ones being—why is Cunningham relevant? Can he still be relevant? Why bother?”\u003c/p>\n\u003cfigure id=\"attachment_13864896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0736-800x485.jpg\" alt=\"Julie Moon, second from left, is one of ten artists in residence as a part of 'Signals From the West.' \" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Moon, second from left, is one of ten artists in residence as a part of ‘Signals From the West.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On my visit, during the first of two weeks of training, the artists spent part of the afternoon sitting on the ground. Riener described Cunningham’s creative relationships with the composer-philosopher John Cage, with whom he shared an affinity for indeterminacy; and the artists Robert Rauschenberg and Jasper Johns. Sofía Córdova, the East Bay interdisciplinary artist, clapped on each syllable as she asked about the tension within this circle: “The people want the tell-all.”\u003c/p>\n\u003cp>Riener, a Cunningham dancer between 2007-2011, elegantly demurred. He mentioned that most of the original costumes and set pieces were acquired by the Walker Art Center, and that insurance makes them very expensive to rent. Then he reflected on the lack of documentation of certain eras, and said Cunningham only reluctantly revived popular legacy works. “But of course, he’d start changing things, fixing things,” Riener said. “So what version was real?”\u003c/p>\n\u003cp>Mitchell, a company member between 2004-2012, in the background led four trained dancers through an excerpt from “Fluid Canvas” (2002), one of three pieces they’ll perform in between the residency results. He chose the excerpt to represent Cunningham’s later, less often staged period of developing choreography with computer programs; the dancers’ torsos and limbs moved with unnerving independence. But mainly Mitchell taught the piece “because it’s in my body,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13864894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0698-800x533.jpg\" alt=\"'Signals From the West' presenter Hope Mohr (R) tried to cultivate a 'sense of permission to ask big questions.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Signals From the West’ presenter Hope Mohr (R) tried to cultivate a ‘sense of permission to ask big questions.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two days later at ODC Theater, a couple dozen people attended an afternoon preview of the resident artists’ works in progress. But first the trained dancers—Emily Hansel, Stacey Yuen, Sarah Bukowski and Traci Finch—performed the excerpt from “Fluid Canvas,” and Riener smiled to note it ran six seconds long. “So, a little slow,” he said. “I’m serious—that’s how he worked.” Next came solo excerpts from Cunningham’s “Scramble” (1967) and “Biped” (1999).\u003c/p>\n\u003cp>Nicole Peisl and Christy Funsch, both dancers and choreographers, explained that they appropriated movement descriptions from Cunningham’s notebooks, and then rolled dice to assign roles to different joints of the body. The result, involving call-and-response foot twitching and angular poses, had a playful, enigmatic air. Jenny Odell, the artist and author of \u003cem>How to Do Nothing\u003c/em>, also used dice to find words in a book, which she passed to Bukowski for interpretation.\u003c/p>\n\u003cp>“This is a video I made a couple hours ago,” Odell said, adding she’d been observing how strangers walk. In it, Bukowski adopts a different demeanor in each of nine videos tiled on one screen. Later Odell told me that feeding information to Bukowski for translation felt akin to writing in computer language. “One of the words was ‘seems,’” she said. “I don’t know how to make a move out of that, but [Bukowski] did, and I was surprised that her move looks the way the word sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13864890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0340-800x450.jpg\" alt=\"Resident artists' new works will premiere alongside Cunningham repertory excerpts in November at ODC Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resident artists’ new works will premiere alongside Cunningham repertory excerpts in November at ODC Theater. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Odell was also intrigued by Cunningham’s emphasis on “simultaneity” in collaboration. He often withheld choreographic details from artists making music or costumes; sometimes dancers didn’t hear scores until the premiere. The multipanel video, Odell said, similarly explores “what happens when things aren’t coordinated except by coincidence or serendipity.”\u003c/p>\n\u003cp>Although most of the artists used chance operations for their germinal works, they complicated the method during the discussion with audience members. Sophia Wang, the movement-based San Francisco artist, said she was surprised to learn that someone with such an “authoritative reputation” stressed distributing power through chance operations. Alex Escalante said he struggled to cede control, admitting he devised a system to arrive at a predetermined decision.\u003c/p>\n\u003cp>Riener quipped, “We know the Libras in the room were excited by not having to make choices.”\u003c/p>\n\u003cp>Córdova, though, doubted that Cunningham ever really erased himself or suppressed his agency. “I don’t believe in neutrality,” she said. “Nobody is without politics.” Danishta Rivero, an experimental musician known from Las Sucias and Voicehandler, continued the thought by saying the choices between sound and silence, motion and stillness, reflects lived experience. “To say something is pure chance, without history, is naive and disingenuous,” Rivero said.\u003c/p>\n\u003cp>(The other artists in residence are Julie Moon, Maxe Crandall and Dazaun Soleyn.)\u003c/p>\n\u003cp>Later, Rivero widened her eyes incredulously when asked about Cunningham’s uncoupling of dance and music. She’s scoring the repertory excerpts in November, and said she plans to let the dancers preview the music during at least one rehearsal. Still, Rivero entertained some curiosity about Cunningham’s deliberate distance between motion and sound, and seemed to warm to his principle of simultaneity. “I mean, they definitely won’t get recordings beforehand.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Signals From the West’ includes a free artist talk Nov. 7 followed by performances Nov. 8-9, 8pm at ODC Theater. \u003ca href=\"http://odc.dance/merce\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent afternoon, a dozen artists stood along the wall in a Mission District dance studio. One by one, they briskly spiraled around the dancefloor’s perimeter before making several tight, purposeful turns in the center and then stepping away. The complicated pattern resolved, prompting relieved sighs. Silas Riener, the instructor, applauded and then pulled someone aside. “When you change directions, you’re treating it as its own movement,” Riener explained. “But it’s not.”\u003c/p>\n\u003cp>Fewer than half of the artists had formally studied dance, let alone this pretzeling choreography by Merce Cunningham. Riener and Rashaun Mitchell, both formerly of Cunningham’s company, were teaching the late modern dance titan’s technique and philosophy to poets and musicians, filmmakers and conceptual artists. Now the multidisciplinary cast is creating new works in response, which debut alongside Cunningham repertory excerpts at \u003ca href=\"http://odc.dance/\">ODC Theater\u003c/a> in November.\u003c/p>\n\u003cp>\u003ca href=\"http://odc.dance/merce\">\u003cem>Signals From the West: Bay Area Artists in Conversation with Merce Cunningham\u003c/em>\u003c/a>, presented by Hope Mohr Dance’s Bridge Project, is part of an international centennial celebration of the dance figure roundly vaunted for his abiding ingenuity in creative methods and movement vocabulary. But instead of a reverent restaging, the residency program encourages a critical, probing engagement with Cunningham, one befitting the artist’s own restless disposition.\u003c/p>\n\u003cfigure id=\"attachment_13864892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0409-800x450.jpg\" alt=\"Silas Riener (L) and Rashaun Mitchell (R), both formerly Cunningham company dancers, taught the late artists's technique and philosophy to dancers and non-dancers alike.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Silas Riener (L) and Rashaun Mitchell (R), both formerly Cunningham company dancers, taught the late artists’s technique and philosophy to dancers and non-dancers alike. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When someone’s anointed part of the canon, what was vibrant and uneasy can become codified, it can calcify,” said Claudia La Rocco, editorial director at the San Francisco Museum of Modern Art’s interdisciplinary commissioning platform \u003ca href=\"https://openspace.sfmoma.org/\">Open Space\u003c/a>, who helped select ten artists who weren’t necessarily familiar with Cunningham, or who held seemingly contrary views. (Full disclosure: This writer was an Open Space columnist-in-residence in 2018.)\u003c/p>\n\u003cp>“The sense I got from being there was a bunch of smart individuals poking something, flipping it over, looking at it upside down—and not just recreating a piece,” she said. “It’s an experiment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the artists are eager to challenge the “presumed neutrality of abstract white male art,” said Mohr, who’s presenting the program with the \u003ca href=\"https://www.mercecunningham.org/\">Merce Cunningham Trust\u003c/a>, ODC Theater and SFMOMA’s Open Space. “So they’re exploring how their identities collide with these methods.” The organizers tried to cultivate a “sense of permission to ask big questions,” Mohr explained. “The obvious ones being—why is Cunningham relevant? Can he still be relevant? Why bother?”\u003c/p>\n\u003cfigure id=\"attachment_13864896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0736-800x485.jpg\" alt=\"Julie Moon, second from left, is one of ten artists in residence as a part of 'Signals From the West.' \" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0736.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Moon, second from left, is one of ten artists in residence as a part of ‘Signals From the West.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On my visit, during the first of two weeks of training, the artists spent part of the afternoon sitting on the ground. Riener described Cunningham’s creative relationships with the composer-philosopher John Cage, with whom he shared an affinity for indeterminacy; and the artists Robert Rauschenberg and Jasper Johns. Sofía Córdova, the East Bay interdisciplinary artist, clapped on each syllable as she asked about the tension within this circle: “The people want the tell-all.”\u003c/p>\n\u003cp>Riener, a Cunningham dancer between 2007-2011, elegantly demurred. He mentioned that most of the original costumes and set pieces were acquired by the Walker Art Center, and that insurance makes them very expensive to rent. Then he reflected on the lack of documentation of certain eras, and said Cunningham only reluctantly revived popular legacy works. “But of course, he’d start changing things, fixing things,” Riener said. “So what version was real?”\u003c/p>\n\u003cp>Mitchell, a company member between 2004-2012, in the background led four trained dancers through an excerpt from “Fluid Canvas” (2002), one of three pieces they’ll perform in between the residency results. He chose the excerpt to represent Cunningham’s later, less often staged period of developing choreography with computer programs; the dancers’ torsos and limbs moved with unnerving independence. But mainly Mitchell taught the piece “because it’s in my body,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13864894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0698-800x533.jpg\" alt=\"'Signals From the West' presenter Hope Mohr (R) tried to cultivate a 'sense of permission to ask big questions.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0698.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Signals From the West’ presenter Hope Mohr (R) tried to cultivate a ‘sense of permission to ask big questions.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two days later at ODC Theater, a couple dozen people attended an afternoon preview of the resident artists’ works in progress. But first the trained dancers—Emily Hansel, Stacey Yuen, Sarah Bukowski and Traci Finch—performed the excerpt from “Fluid Canvas,” and Riener smiled to note it ran six seconds long. “So, a little slow,” he said. “I’m serious—that’s how he worked.” Next came solo excerpts from Cunningham’s “Scramble” (1967) and “Biped” (1999).\u003c/p>\n\u003cp>Nicole Peisl and Christy Funsch, both dancers and choreographers, explained that they appropriated movement descriptions from Cunningham’s notebooks, and then rolled dice to assign roles to different joints of the body. The result, involving call-and-response foot twitching and angular poses, had a playful, enigmatic air. Jenny Odell, the artist and author of \u003cem>How to Do Nothing\u003c/em>, also used dice to find words in a book, which she passed to Bukowski for interpretation.\u003c/p>\n\u003cp>“This is a video I made a couple hours ago,” Odell said, adding she’d been observing how strangers walk. In it, Bukowski adopts a different demeanor in each of nine videos tiled on one screen. Later Odell told me that feeding information to Bukowski for translation felt akin to writing in computer language. “One of the words was ‘seems,’” she said. “I don’t know how to make a move out of that, but [Bukowski] did, and I was surprised that her move looks the way the word sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13864890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/M6A0340-800x450.jpg\" alt=\"Resident artists' new works will premiere alongside Cunningham repertory excerpts in November at ODC Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/M6A0340.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resident artists’ new works will premiere alongside Cunningham repertory excerpts in November at ODC Theater. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Odell was also intrigued by Cunningham’s emphasis on “simultaneity” in collaboration. He often withheld choreographic details from artists making music or costumes; sometimes dancers didn’t hear scores until the premiere. The multipanel video, Odell said, similarly explores “what happens when things aren’t coordinated except by coincidence or serendipity.”\u003c/p>\n\u003cp>Although most of the artists used chance operations for their germinal works, they complicated the method during the discussion with audience members. Sophia Wang, the movement-based San Francisco artist, said she was surprised to learn that someone with such an “authoritative reputation” stressed distributing power through chance operations. Alex Escalante said he struggled to cede control, admitting he devised a system to arrive at a predetermined decision.\u003c/p>\n\u003cp>Riener quipped, “We know the Libras in the room were excited by not having to make choices.”\u003c/p>\n\u003cp>Córdova, though, doubted that Cunningham ever really erased himself or suppressed his agency. “I don’t believe in neutrality,” she said. “Nobody is without politics.” Danishta Rivero, an experimental musician known from Las Sucias and Voicehandler, continued the thought by saying the choices between sound and silence, motion and stillness, reflects lived experience. “To say something is pure chance, without history, is naive and disingenuous,” Rivero said.\u003c/p>\n\u003cp>(The other artists in residence are Julie Moon, Maxe Crandall and Dazaun Soleyn.)\u003c/p>\n\u003cp>Later, Rivero widened her eyes incredulously when asked about Cunningham’s uncoupling of dance and music. She’s scoring the repertory excerpts in November, and said she plans to let the dancers preview the music during at least one rehearsal. Still, Rivero entertained some curiosity about Cunningham’s deliberate distance between motion and sound, and seemed to warm to his principle of simultaneity. “I mean, they definitely won’t get recordings beforehand.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Signals From the West’ includes a free artist talk Nov. 7 followed by performances Nov. 8-9, 8pm at ODC Theater. \u003ca href=\"http://odc.dance/merce\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" 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>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I get to the Fort Mason Fire House early on a Sunday evening in June, the wind is already rolling off the bay and buffeting my bicycle like a bumper car.\u003c/p>\n\u003cp>I’m here to take a preshow haptic tour of Deborah Slater’s \u003cem>Solos Lost and Found\u003c/em>, a choreographed work that’s part of the San Francisco International Arts Festival. It’s a revival of some of Slater’s classic pieces, celebrating her company’s 30-year anniversary, but what draws me to this particular performance is a \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\">new audio description service\u003c/a> by Jess Curtis/Gravity, an experiential dance company with a history of accessibility activism and programming,\u003c/p>\n\u003cp>While audio description for the visually impaired is not a wholly unknown service in the Bay Area (a San Jose-based organization, AudioVision, frequently describes shows for both SHN and the Curran Theatres in San Francisco), it hasn’t much penetrated the strata of smaller and more experimental theater and dance companies. Jess Curtis wants to change that.\u003c/p>\n\u003ch2>‘Standard Practice’\u003c/h2>\n\u003cp>Over the years, Curtis has created much of his work with an emphasis on access and accessibility. But even he hadn’t wholly considered the importance of audio description for the visually impaired until working with disabled dancer Claire Cunningham on their collaborative \u003cem>The Way You Look (at me) Tonight\u003c/em> in the UK.\u003c/p>\n\u003cfigure id=\"attachment_13862807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis perform in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the UK it’s standard practice,” Curtis mentions to me, speaking from Berlin via Skype. “Almost any publicly funded theater there will have audio description, and sign language interpretation, and what they call ‘relaxed’ performances—a whole range of accommodation.” He attributes these standard practices to his observation that disability rights activism in the UK appears to be a “lot more advanced” than in other places, including the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13862808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham performs in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a body-based artist, Curtis’ exploration of the relationship between artist and audience bodies is a fundamental part of his practice. So for him, describing said bodies so that the visually impaired can follow the action is a logical continuation of his work. In the piece he’s currently creating in Berlin, \u003cem>(in)Visible\u003c/em>, he incorporates audio description into the piece organically, with input from visually impaired performers and consultants such as UC Berkeley’s Georgina Kleege and nationally recognized access activist Tiffany Taylor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kleege points to Curtis’ emphases on multi-sensory perception and accommodation as one of her main motivations for consulting on the project, as well as his performances. Through Gravity, she hopes to help foster a growing awareness of accessibility for all—and not just in the larger theaters. In fact, with a grant from the Haas Foundation, Curtis’ company can offer other Bay Area companies the opportunity to host audio description services at their shows for a reduced cost through the end of 2019. \u003c/p>\n\u003cfigure id=\"attachment_13862804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Mehling featured as “Grace” in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Solos Lost and Found\u003c/em>, we huddle onstage together; describers, describees, and described—to. A haptic tour is a multisensory experience; the performers are all careful to describe themselves to us in detail—haircolor, skin color, body build, and attire. We’re then invited to touch and manipulate a pile of woolen blankets, a small, fabric coated, wedge-shaped tabletop, a long wooden staff, and performer Hien Huynh, as he does an armless headstand on the tabletop. Finally, we’re all fitted with headsets through which we’ll get our audio description during the show.\u003c/p>\n\u003cfigure id=\"attachment_13862806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862806\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audio Description headsets used by Jess Curtis/Gravity. \u003ccite>(Courtesy of Jess Curtis/Gravity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How Does it Work?\u003c/h2>\n\u003cp>Much of Slater’s work is scored with spoken text as well as music, which means that the describer—in this case \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" rel=\"noopener\" target=\"_blank\">Stephanie Hewett\u003c/a>—can’t talk over the description. For a dance piece, having to wait long seconds, even minutes, between a description of the action, gives the description a disjointed feel. Fortunately, the spoken text of Slater’s piece is sufficiently evocative of mood that I get a feeling for the storyline and emotion, even with my eyes closed. Ultimately though, as a fully sighted person, I’m aware that I can only guess at the overall efficacy of the description. Fortunately, there are also two folks with low vision in attendance, and after the performance, we convene with Hewett, and program director India Davis, to offer our feedback.\u003c/p>\n\u003cp>The two visually impaired folks auditioning the audio description service at \u003cem>Solos Lost and Found\u003c/em> are Mike Berger and Alicia Connor. Mike, who happens to be Slater’s husband, has seen the work before while fully sighted, so for him the frustrations with the description lay in the details. What expressions did the performers make? Why did the audience laugh at a certain moment? Could there have been a way to make the description more interpretive without placing value judgments on the piece?\u003c/p>\n\u003cp>The second descriptee, Alicia Conner, a nutritionist and an advocate for the LightHouse for the Blind and Visually Impaired, described herself as low-vision, but still very visual. The description didn’t always work, she says, but she felt having it helped to enhance her experience overall. She, too, was frustrated at having missed the same motivation for laughter that Mike had, but they both expressed optimism for the development of the service. Everyone’s conclusion is that it’s a program we’re eager to see continue developing.\u003c/p>\n\u003cfigure id=\"attachment_13862803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862803\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1200x806.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1920x1289.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meegan Hertensteiner dances in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Slater, the process of working with the audio description component was completely new, and while she, too, feels there are still things that could be improved about the service—more time for the describers to familiarize themselves with the piece, more ways to describe the emotional rather than the strictly physical content—she’s hopeful that in the future it might help Mike, and others, experience new works of hers that he isn’t already familiar with.\u003c/p>\n\u003cp>“It’s really cool that Jess is taking this on,” she emphasizes. “It’s an art form in itself, to transform what you’re seeing into meaningful text.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gravity Audio Description Services will be available next at \u003cem>Into the Woods\u003c/em>, presented at the Woodminster Ampitheatre in Oakland, \u003ca href=\"https://bayareaaccessibleperformances.org/events\">Sept. 5.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>(in)Visible\u003c/em>\u003cem> will receive its U.S. Premiere at CounterPulse in San Francisco, runnning \u003ca href=\"http://counterpulse.org/event/invisible/\">Oct. 3-13\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"title": "Telling While Showing: New Audio Description Services from Jess Curtis/Gravity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I get to the Fort Mason Fire House early on a Sunday evening in June, the wind is already rolling off the bay and buffeting my bicycle like a bumper car.\u003c/p>\n\u003cp>I’m here to take a preshow haptic tour of Deborah Slater’s \u003cem>Solos Lost and Found\u003c/em>, a choreographed work that’s part of the San Francisco International Arts Festival. It’s a revival of some of Slater’s classic pieces, celebrating her company’s 30-year anniversary, but what draws me to this particular performance is a \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\">new audio description service\u003c/a> by Jess Curtis/Gravity, an experiential dance company with a history of accessibility activism and programming,\u003c/p>\n\u003cp>While audio description for the visually impaired is not a wholly unknown service in the Bay Area (a San Jose-based organization, AudioVision, frequently describes shows for both SHN and the Curran Theatres in San Francisco), it hasn’t much penetrated the strata of smaller and more experimental theater and dance companies. Jess Curtis wants to change that.\u003c/p>\n\u003ch2>‘Standard Practice’\u003c/h2>\n\u003cp>Over the years, Curtis has created much of his work with an emphasis on access and accessibility. But even he hadn’t wholly considered the importance of audio description for the visually impaired until working with disabled dancer Claire Cunningham on their collaborative \u003cem>The Way You Look (at me) Tonight\u003c/em> in the UK.\u003c/p>\n\u003cfigure id=\"attachment_13862807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis perform in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the UK it’s standard practice,” Curtis mentions to me, speaking from Berlin via Skype. “Almost any publicly funded theater there will have audio description, and sign language interpretation, and what they call ‘relaxed’ performances—a whole range of accommodation.” He attributes these standard practices to his observation that disability rights activism in the UK appears to be a “lot more advanced” than in other places, including the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13862808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham performs in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a body-based artist, Curtis’ exploration of the relationship between artist and audience bodies is a fundamental part of his practice. So for him, describing said bodies so that the visually impaired can follow the action is a logical continuation of his work. In the piece he’s currently creating in Berlin, \u003cem>(in)Visible\u003c/em>, he incorporates audio description into the piece organically, with input from visually impaired performers and consultants such as UC Berkeley’s Georgina Kleege and nationally recognized access activist Tiffany Taylor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kleege points to Curtis’ emphases on multi-sensory perception and accommodation as one of her main motivations for consulting on the project, as well as his performances. Through Gravity, she hopes to help foster a growing awareness of accessibility for all—and not just in the larger theaters. In fact, with a grant from the Haas Foundation, Curtis’ company can offer other Bay Area companies the opportunity to host audio description services at their shows for a reduced cost through the end of 2019. \u003c/p>\n\u003cfigure id=\"attachment_13862804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Mehling featured as “Grace” in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Solos Lost and Found\u003c/em>, we huddle onstage together; describers, describees, and described—to. A haptic tour is a multisensory experience; the performers are all careful to describe themselves to us in detail—haircolor, skin color, body build, and attire. We’re then invited to touch and manipulate a pile of woolen blankets, a small, fabric coated, wedge-shaped tabletop, a long wooden staff, and performer Hien Huynh, as he does an armless headstand on the tabletop. Finally, we’re all fitted with headsets through which we’ll get our audio description during the show.\u003c/p>\n\u003cfigure id=\"attachment_13862806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862806\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audio Description headsets used by Jess Curtis/Gravity. \u003ccite>(Courtesy of Jess Curtis/Gravity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How Does it Work?\u003c/h2>\n\u003cp>Much of Slater’s work is scored with spoken text as well as music, which means that the describer—in this case \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" rel=\"noopener\" target=\"_blank\">Stephanie Hewett\u003c/a>—can’t talk over the description. For a dance piece, having to wait long seconds, even minutes, between a description of the action, gives the description a disjointed feel. Fortunately, the spoken text of Slater’s piece is sufficiently evocative of mood that I get a feeling for the storyline and emotion, even with my eyes closed. Ultimately though, as a fully sighted person, I’m aware that I can only guess at the overall efficacy of the description. Fortunately, there are also two folks with low vision in attendance, and after the performance, we convene with Hewett, and program director India Davis, to offer our feedback.\u003c/p>\n\u003cp>The two visually impaired folks auditioning the audio description service at \u003cem>Solos Lost and Found\u003c/em> are Mike Berger and Alicia Connor. Mike, who happens to be Slater’s husband, has seen the work before while fully sighted, so for him the frustrations with the description lay in the details. What expressions did the performers make? Why did the audience laugh at a certain moment? Could there have been a way to make the description more interpretive without placing value judgments on the piece?\u003c/p>\n\u003cp>The second descriptee, Alicia Conner, a nutritionist and an advocate for the LightHouse for the Blind and Visually Impaired, described herself as low-vision, but still very visual. The description didn’t always work, she says, but she felt having it helped to enhance her experience overall. She, too, was frustrated at having missed the same motivation for laughter that Mike had, but they both expressed optimism for the development of the service. Everyone’s conclusion is that it’s a program we’re eager to see continue developing.\u003c/p>\n\u003cfigure id=\"attachment_13862803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862803\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1200x806.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1920x1289.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meegan Hertensteiner dances in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Slater, the process of working with the audio description component was completely new, and while she, too, feels there are still things that could be improved about the service—more time for the describers to familiarize themselves with the piece, more ways to describe the emotional rather than the strictly physical content—she’s hopeful that in the future it might help Mike, and others, experience new works of hers that he isn’t already familiar with.\u003c/p>\n\u003cp>“It’s really cool that Jess is taking this on,” she emphasizes. “It’s an art form in itself, to transform what you’re seeing into meaningful text.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gravity Audio Description Services will be available next at \u003cem>Into the Woods\u003c/em>, presented at the Woodminster Ampitheatre in Oakland, \u003ca href=\"https://bayareaaccessibleperformances.org/events\">Sept. 5.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(in)Visible\u003c/em>\u003cem> will receive its U.S. Premiere at CounterPulse in San Francisco, runnning \u003ca href=\"http://counterpulse.org/event/invisible/\">Oct. 3-13\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.stephanie-hewett.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Stephanie Hewett\u003c/a>’s story is a classic Bay Area artist experience of constant hustles, side gigs, long rides on public transportation—and finally, her body telling her to slow down.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $600/month\u003c/li>\n\u003cli>Day job: $33,000/year\u003c/li>\n\u003cli>Dance work: $300–$1,000/month\u003c/li>\n\u003cli>Car insurance: $100/month\u003c/li>\n\u003cli>School loans: $250/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>In order to shorten her commute from Oakland to the College of San Mateo, where Hewett worked in 2018 as adjunct faculty in the dance department, filling in for a teacher on parental leave, the performer and choreographer needed a car. But in order to buy a car, she needed to work seven days a week for six months to save up the money. And before she bought that car, she had to find the time to learn to drive.\u003c/p>\n\u003cp>Growing up in the Bronx, driving wasn’t a skill Hewett needed until she graduated from Mills with her MFA in dance and found herself teaching 40 miles away from her Oakland home.\u003c/p>\n\u003cp>So for three months after she started teaching, and before she bought her own wheels, Hewett commuted almost two hours each way, Monday through Friday, to San Mateo. “I would have to take a bus to the Coliseum BART, then BART to Hayward, then take a bus from Hayward to Foster City, and then take a bus from Foster City to San Mateo,” she says. “It was rough.”\u003c/p>\n\u003ch2>Paying the price of not slowing down\u003c/h2>\n\u003cp>For many recent graduates of an MFA program, landing a full-time (though temporary) gig teaching pilates, yoga and ballet at a Bay Area community college might sound like a dream fulfilled. But Hewett says the schedule—even after she cut her commute in half by driving—proved grueling. \u003c/p>\n\u003cp>Ultimately, what prevented Hewett from maintaining her untenable regimen of teaching, performing and commuting was her very own body. She sprained her ankle while performing at YBCA in June 2018, then continued to dance on it while rehearsing for a November performance in San Francisco’s City Hall, \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener noreferrer\" target=\"_blank\">an event\u003c/a> with Oakland artist Sofía Córdova. \u003c/p>\n\u003cfigure id=\"attachment_13860992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg\" alt=\"Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By sheer luck, as Hewett was struggling to maintain her schedule while injured, the Mills dance department reached out offering her a full-time job as an administrative assistant. Even teaching five days a week, her adjunct position at College of San Mateo meant she didn’t have any health insurance. “I didn’t have security,” she says. “All my money was from teaching.”\u003c/p>\n\u003cp>Hewett accepted Mills’ offer. “I never imagined myself doing that,” she remembers, “but the timing was kind of perfect because I was hurting myself by not stopping and not slowing down.”\u003c/p>\n\u003ch2>Finding support in the Bay Area dance scene\u003c/h2>\n\u003cp>Now, Hewett makes about $33,000 a year at Mills—and has health insurance. In addition to that steady income, she brings in anywhere between $300 and $1,000 a month from her practice. This includes performing in collaboration with visual artists (like the City Hall event) or independently at events, and teaching workshops.\u003c/p>\n\u003cp>Most recently, Hewett has done audio describing work for audience members with visual impairments, through the dance company \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\" rel=\"noopener noreferrer\" target=\"_blank\">Jess Curtis/Gravity\u003c/a>. Hewett describes actions, costumes, setting, gestures, facial expressions and objects into a muffled microphone for audience members wearing wireless headsets.\u003c/p>\n\u003cp>“This is something that not a lot of dance companies or performance and theater companies are doing,” Hewett says. “So Jess is really hoping that folks will take these services seriously and provide them for their audiences.”\u003c/p>\n\u003cfigure id=\"attachment_13860991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg\" alt=\"Hewett's laptop.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett’s laptop. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her own practice, Hewett is part of the Bay Area collective Lxs Dxs (pronounced “lex dex”), a six-person group of emerging movement artists and choreographers (jose e abad, Gabriel Christian, Felix Sol Linck-Frenz, Hewett, Emelia Martínez Brumbaugh and randy reyes) who met during CounterPulse’s \u003ca href=\"http://counterpulse.org/event/performing-diaspora-residency-2017-2-2/\" rel=\"noopener noreferrer\" target=\"_blank\">Performing Diaspora residency\u003c/a> in December 2017. \u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>“We all have our different practices that we bring together,” she says. “Some people are more interested in storytelling, some people are more interested in video work or ritual practice or drag.” The group has performed together several times since forming, thanks to residencies at Rancho 2y2 in Veracruz, Mexico, and at CSU San Marcos (the artists were able to pay for about half of their travel costs with money earned from past residencies and performances; the rest they paid out of pocket). Most recently, Lxs Dxs was invited to perform as part of CounterPulse’s May fundraising gala, receiving a $300 honorarium they split six ways. \u003c/p>\n\u003cp>Creating new work is only possible, Hewett notes, if Lxs Dxs can access free rehearsal space—as they did when preparing for CounterPulse’s gala. “It’s hard to meet weekly when we don’t have our own space,” she says. And at this point, it’s just not a financial possibility for the collaborative: “That would require us paying for space and then not being able to pay ourselves for the time.” Bay Area rehearsal spaces cost about $15 to $20 an hour. \u003c/p>\n\u003cp>The support of organizations like CounterPulse has been a major part of Hewett’s Bay Area career. In addition to collaborating with Reyes during his Performing Diaspora residency, Hewett was awarded the Edge residency, CounterPulse’s commissioning program for contemporary choreographers. That residency culminated in her production \u003ci>\u003ca href=\"http://counterpulse.org/event/edge2019/\" rel=\"noopener noreferrer\" target=\"_blank\">/soft/c/\u003c/a>\u003c/i> in April 2019, for which Hewett received a $700 co-production grant from the dance company \u003ca href=\"http://factsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">FACT/SF\u003c/a>. Charles Slender-White, FACT/SF’s artistic director, later invited her to join his nascent fiscal sponsorship program. \u003c/p>\n\u003cfigure id=\"attachment_13860994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg\" alt=\"Hewett at home in Oakland.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett at home in Oakland. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With fiscal sponsorship, Hewett is eligible to apply for funds only available to nonprofits. In the future, if Hewett receives grants through FACT/SF, the organization will take five percent of all awarded money as an administrative fee. (Other local fiscal sponsorship programs, like \u003ca href=\"https://dancersgroup.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancers’ Group\u003c/a> and \u003ca href=\"https://theintersection.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Intersection for the Arts\u003c/a>, take ten percent.) \u003c/p>\n\u003cp>[pullquote size='medium' citation='Stephanie Hewett']‘I refuse to have collaborators and not pay them.’[/pullquote]\u003c/p>\n\u003cp>Hewett is one of just two initial recipients of FACT/SF’s fiscal sponsorship program. “I see her work as having a lot of promise,” says Slender-White of Hewett. “I think her voice and aesthetic in the region is unique and interesting. She also seems to approach craft with a level of rigor that I personally find very satisfying.”\u003c/p>\n\u003cp>Hewett says the financial realities of managing a dance company, getting fiscal sponsorship and making it all work in the Bay Area wasn’t the focus during her grad program at Mills: “You put a lot of money into it and you have all this space and time to experiment and decide what it is that you want to say and how to say it.” Which was great, Hewett says, but it means learning how to navigate the wider world of arts funding after grad school, through word of mouth and cohort networks. \u003c/p>\n\u003ch2>Expanding her practice\u003c/h2>\n\u003cp>Meanwhile, Hewett keeps her expenses fairly low. She has two roommates and pays $600 a month in rent. On top of that she spends $100 a month on car insurance and $250 a month on grad school loans. The only purchases she makes that could possibly be described as impulsive or extraneous are the props and materials she hoards for future projects.\u003c/p>\n\u003cp>Hewett says her relationship to money definitely impacts how often she produces shows and what kind of scale she’s able to attain in her work. “I can’t produce work all the time because I don’t have the resources to do that,” she says. “And I also refuse to have collaborators and not pay them. So most of the time I end up making a lot of solo work, which also requires money, but not as much money.”\u003c/p>\n\u003cfigure id=\"attachment_13860993\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg\" alt=\"An altar of mementos in Hewett's Oakland home.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An altar of mementos in Hewett’s Oakland home. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003ci>/soft/c/\u003c/i>, for example, Hewett paid two dancers to perform, hired an artist to create live projections during the show and commissioned new work from a composer. CounterPulse provides $1,500 in artist fees and $1,000 in production fees to recipients of the Edge residency; Hewett ended up paying $2,000 out of pocket to her dancers and collaborators.\u003c/p>\n\u003cp>For now, producing one major piece a year is finally feasible for Hewett. She has a slate of residencies and performances scheduled through October, and her practice is changing. Because of her injury, she’s exploring other mediums. “I’ve been dabbling in music composition, video projection, storytelling with voice. I would say I’m very much multidisciplinary,” she sums up. She’s learning how to mix music and DJ—another expenditure she’s now saving up for. \u003c/p>\n\u003cp>So far, Hewett’s been able to stay in the Bay Area, provided with the opportunities and support she hoped to find after grad school. “I really enjoy it here, especially in Oakland,” she says. “I love the communities that I’ve created and that I’m in. As long as I can keep making money or keep being awarded these grants, and people can believe in my work and pay me to make the work, I think it can happen.” \u003c/p>\n\u003cp>“But if anything shifts,” she adds, “I’m open to leaving.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In order to shorten her commute from Oakland to the College of San Mateo, where Hewett worked in 2018 as adjunct faculty in the dance department, filling in for a teacher on parental leave, the performer and choreographer needed a car. But in order to buy a car, she needed to work seven days a week for six months to save up the money. And before she bought that car, she had to find the time to learn to drive.\u003c/p>\n\u003cp>Growing up in the Bronx, driving wasn’t a skill Hewett needed until she graduated from Mills with her MFA in dance and found herself teaching 40 miles away from her Oakland home.\u003c/p>\n\u003cp>So for three months after she started teaching, and before she bought her own wheels, Hewett commuted almost two hours each way, Monday through Friday, to San Mateo. “I would have to take a bus to the Coliseum BART, then BART to Hayward, then take a bus from Hayward to Foster City, and then take a bus from Foster City to San Mateo,” she says. “It was rough.”\u003c/p>\n\u003ch2>Paying the price of not slowing down\u003c/h2>\n\u003cp>For many recent graduates of an MFA program, landing a full-time (though temporary) gig teaching pilates, yoga and ballet at a Bay Area community college might sound like a dream fulfilled. But Hewett says the schedule—even after she cut her commute in half by driving—proved grueling. \u003c/p>\n\u003cp>Ultimately, what prevented Hewett from maintaining her untenable regimen of teaching, performing and commuting was her very own body. She sprained her ankle while performing at YBCA in June 2018, then continued to dance on it while rehearsing for a November performance in San Francisco’s City Hall, \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener noreferrer\" target=\"_blank\">an event\u003c/a> with Oakland artist Sofía Córdova. \u003c/p>\n\u003cfigure id=\"attachment_13860992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg\" alt=\"Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By sheer luck, as Hewett was struggling to maintain her schedule while injured, the Mills dance department reached out offering her a full-time job as an administrative assistant. Even teaching five days a week, her adjunct position at College of San Mateo meant she didn’t have any health insurance. “I didn’t have security,” she says. “All my money was from teaching.”\u003c/p>\n\u003cp>Hewett accepted Mills’ offer. “I never imagined myself doing that,” she remembers, “but the timing was kind of perfect because I was hurting myself by not stopping and not slowing down.”\u003c/p>\n\u003ch2>Finding support in the Bay Area dance scene\u003c/h2>\n\u003cp>Now, Hewett makes about $33,000 a year at Mills—and has health insurance. In addition to that steady income, she brings in anywhere between $300 and $1,000 a month from her practice. This includes performing in collaboration with visual artists (like the City Hall event) or independently at events, and teaching workshops.\u003c/p>\n\u003cp>Most recently, Hewett has done audio describing work for audience members with visual impairments, through the dance company \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\" rel=\"noopener noreferrer\" target=\"_blank\">Jess Curtis/Gravity\u003c/a>. Hewett describes actions, costumes, setting, gestures, facial expressions and objects into a muffled microphone for audience members wearing wireless headsets.\u003c/p>\n\u003cp>“This is something that not a lot of dance companies or performance and theater companies are doing,” Hewett says. “So Jess is really hoping that folks will take these services seriously and provide them for their audiences.”\u003c/p>\n\u003cfigure id=\"attachment_13860991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg\" alt=\"Hewett's laptop.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett’s laptop. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her own practice, Hewett is part of the Bay Area collective Lxs Dxs (pronounced “lex dex”), a six-person group of emerging movement artists and choreographers (jose e abad, Gabriel Christian, Felix Sol Linck-Frenz, Hewett, Emelia Martínez Brumbaugh and randy reyes) who met during CounterPulse’s \u003ca href=\"http://counterpulse.org/event/performing-diaspora-residency-2017-2-2/\" rel=\"noopener noreferrer\" target=\"_blank\">Performing Diaspora residency\u003c/a> in December 2017. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We all have our different practices that we bring together,” she says. “Some people are more interested in storytelling, some people are more interested in video work or ritual practice or drag.” The group has performed together several times since forming, thanks to residencies at Rancho 2y2 in Veracruz, Mexico, and at CSU San Marcos (the artists were able to pay for about half of their travel costs with money earned from past residencies and performances; the rest they paid out of pocket). Most recently, Lxs Dxs was invited to perform as part of CounterPulse’s May fundraising gala, receiving a $300 honorarium they split six ways. \u003c/p>\n\u003cp>Creating new work is only possible, Hewett notes, if Lxs Dxs can access free rehearsal space—as they did when preparing for CounterPulse’s gala. “It’s hard to meet weekly when we don’t have our own space,” she says. And at this point, it’s just not a financial possibility for the collaborative: “That would require us paying for space and then not being able to pay ourselves for the time.” Bay Area rehearsal spaces cost about $15 to $20 an hour. \u003c/p>\n\u003cp>The support of organizations like CounterPulse has been a major part of Hewett’s Bay Area career. In addition to collaborating with Reyes during his Performing Diaspora residency, Hewett was awarded the Edge residency, CounterPulse’s commissioning program for contemporary choreographers. That residency culminated in her production \u003ci>\u003ca href=\"http://counterpulse.org/event/edge2019/\" rel=\"noopener noreferrer\" target=\"_blank\">/soft/c/\u003c/a>\u003c/i> in April 2019, for which Hewett received a $700 co-production grant from the dance company \u003ca href=\"http://factsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">FACT/SF\u003c/a>. Charles Slender-White, FACT/SF’s artistic director, later invited her to join his nascent fiscal sponsorship program. \u003c/p>\n\u003cfigure id=\"attachment_13860994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg\" alt=\"Hewett at home in Oakland.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett at home in Oakland. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With fiscal sponsorship, Hewett is eligible to apply for funds only available to nonprofits. In the future, if Hewett receives grants through FACT/SF, the organization will take five percent of all awarded money as an administrative fee. (Other local fiscal sponsorship programs, like \u003ca href=\"https://dancersgroup.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancers’ Group\u003c/a> and \u003ca href=\"https://theintersection.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Intersection for the Arts\u003c/a>, take ten percent.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hewett is one of just two initial recipients of FACT/SF’s fiscal sponsorship program. “I see her work as having a lot of promise,” says Slender-White of Hewett. “I think her voice and aesthetic in the region is unique and interesting. She also seems to approach craft with a level of rigor that I personally find very satisfying.”\u003c/p>\n\u003cp>Hewett says the financial realities of managing a dance company, getting fiscal sponsorship and making it all work in the Bay Area wasn’t the focus during her grad program at Mills: “You put a lot of money into it and you have all this space and time to experiment and decide what it is that you want to say and how to say it.” Which was great, Hewett says, but it means learning how to navigate the wider world of arts funding after grad school, through word of mouth and cohort networks. \u003c/p>\n\u003ch2>Expanding her practice\u003c/h2>\n\u003cp>Meanwhile, Hewett keeps her expenses fairly low. She has two roommates and pays $600 a month in rent. On top of that she spends $100 a month on car insurance and $250 a month on grad school loans. The only purchases she makes that could possibly be described as impulsive or extraneous are the props and materials she hoards for future projects.\u003c/p>\n\u003cp>Hewett says her relationship to money definitely impacts how often she produces shows and what kind of scale she’s able to attain in her work. “I can’t produce work all the time because I don’t have the resources to do that,” she says. “And I also refuse to have collaborators and not pay them. So most of the time I end up making a lot of solo work, which also requires money, but not as much money.”\u003c/p>\n\u003cfigure id=\"attachment_13860993\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg\" alt=\"An altar of mementos in Hewett's Oakland home.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An altar of mementos in Hewett’s Oakland home. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003ci>/soft/c/\u003c/i>, for example, Hewett paid two dancers to perform, hired an artist to create live projections during the show and commissioned new work from a composer. CounterPulse provides $1,500 in artist fees and $1,000 in production fees to recipients of the Edge residency; Hewett ended up paying $2,000 out of pocket to her dancers and collaborators.\u003c/p>\n\u003cp>For now, producing one major piece a year is finally feasible for Hewett. She has a slate of residencies and performances scheduled through October, and her practice is changing. Because of her injury, she’s exploring other mediums. “I’ve been dabbling in music composition, video projection, storytelling with voice. I would say I’m very much multidisciplinary,” she sums up. She’s learning how to mix music and DJ—another expenditure she’s now saving up for. \u003c/p>\n\u003cp>So far, Hewett’s been able to stay in the Bay Area, provided with the opportunities and support she hoped to find after grad school. “I really enjoy it here, especially in Oakland,” she says. “I love the communities that I’ve created and that I’m in. As long as I can keep making money or keep being awarded these grants, and people can believe in my work and pay me to make the work, I think it can happen.” \u003c/p>\n\u003cp>“But if anything shifts,” she adds, “I’m open to leaving.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists",
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"content": "\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n",
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"title": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists | KQED",
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"headline": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Fam 1st Family Foundation isn’t your usual nonprofit—it’s led by famed professional football players Marshawn Lynch, Marcus Peters and Josh Johnson. And this week, they’re throwing a week’s worth of events for kids and families.\u003c/p>\n\u003cp>I recently talked to the foundation’s Executive Director, Brije Gammage, who says that Fam 1st’s \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">Family Celebrity Week\u003c/a> has been going on for about a dozen years. After its inaugural year as a football camp and barbecue, it’s evolved to be much more. \u003c/p>\n\u003cp>But even with its growth and success, it hasn’t lost its purpose. “It’s about having a week of community coming together,” says Gammage. “And it’s also a chance to have the people who are a part of the foundation give back, and also bring out celebrities and players, and have them give something back.”\u003c/p>\n\u003cp>Looking at the schedule, it seems like the stars and the community will be aligned.\u003c/p>\n\u003cp>On Monday and Tuesday, July 8 and 9, the foundation gives away free tickets to Six Flags Hurricane Harbor in Concord for folks under 18. The passes can be claimed at the \u003ca href=\"https://www.beastmodeonline.com/pages/locations\" rel=\"noopener\" target=\"_blank\">Beast Mode store in downtown Oakland\u003c/a>, or at the front desk of the \u003ca href=\"http://www.westoaklandyouthcenter.org/\" rel=\"noopener\" target=\"_blank\">West Oakland Youth Center\u003c/a>. Tickets are good for admission to the park on Wednesday, July 10, and are limited to the first 2,000 kids to claim them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Tuesday, July 9, Los Angeles Rams star cornerback Marcus Peters hosts his 4th annual “It Take A Village” carnival at his alma mater, \u003ca href=\"https://www.ousd.org/mcclymonds\" rel=\"noopener\" target=\"_blank\">McClymonds High School\u003c/a> in West Oakland, from 2pm-8pm. There’ll be food, games and music; everything is free.\u003c/p>\n\u003cp>On Thursday, July 11, a talent show gets underway at \u003ca href=\"https://oaklandtech.com/staff/about/overview/\" rel=\"noopener\" target=\"_blank\">Oakland Tech\u003c/a> for ages 4-18. The event runs 5pm-9pm, and costs $5 to attend. This first-place winner of the talent show pockets $1,500, with second- and third-place cash prizes as well.\u003c/p>\n\u003cp>Friday night, July 12, is bowling night at \u003ca href=\"http://www.thealbanybowl.com/\" rel=\"noopener\" target=\"_blank\">Albany Bowl\u003c/a>. General tickets are $10–$35, with presale tickets available \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>On Saturday, July 13, a dance camp for youth runs from 8am–noon for youth ages 6-12, and 1pm–4pm for ages 13-18. The free event is held at the Oakland Raiders Headquarters at \u003ca href=\"https://www.google.com/maps/place/1220+Harbor+Bay+Pkwy,+Alameda,+CA+94502/@37.7658055,-122.3061658,13z/data=!4m5!3m4!1s0x808f84453943be59:0x975160d8992a8afe!8m2!3d37.7250838!4d-122.2330381\" rel=\"noopener\" target=\"_blank\">1220 Harbor Bay Parkway in Alameda\u003c/a>.\u003c/p>\n\u003cp>At the same time and in the same place as the dance event, there’s a free youth football camp. For young people ages 6–12, the event runs from 8am–noon. And for folks ages 13–18, the event goes from 1pm–4pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the week’s events, check the \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener\">Fam 1st Foundation’s website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Tuesday, July 9, Los Angeles Rams star cornerback Marcus Peters hosts his 4th annual “It Take A Village” carnival at his alma mater, \u003ca href=\"https://www.ousd.org/mcclymonds\" rel=\"noopener\" target=\"_blank\">McClymonds High School\u003c/a> in West Oakland, from 2pm-8pm. There’ll be food, games and music; everything is free.\u003c/p>\n\u003cp>On Thursday, July 11, a talent show gets underway at \u003ca href=\"https://oaklandtech.com/staff/about/overview/\" rel=\"noopener\" target=\"_blank\">Oakland Tech\u003c/a> for ages 4-18. The event runs 5pm-9pm, and costs $5 to attend. This first-place winner of the talent show pockets $1,500, with second- and third-place cash prizes as well.\u003c/p>\n\u003cp>Friday night, July 12, is bowling night at \u003ca href=\"http://www.thealbanybowl.com/\" rel=\"noopener\" target=\"_blank\">Albany Bowl\u003c/a>. General tickets are $10–$35, with presale tickets available \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>On Saturday, July 13, a dance camp for youth runs from 8am–noon for youth ages 6-12, and 1pm–4pm for ages 13-18. The free event is held at the Oakland Raiders Headquarters at \u003ca href=\"https://www.google.com/maps/place/1220+Harbor+Bay+Pkwy,+Alameda,+CA+94502/@37.7658055,-122.3061658,13z/data=!4m5!3m4!1s0x808f84453943be59:0x975160d8992a8afe!8m2!3d37.7250838!4d-122.2330381\" rel=\"noopener\" target=\"_blank\">1220 Harbor Bay Parkway in Alameda\u003c/a>.\u003c/p>\n\u003cp>At the same time and in the same place as the dance event, there’s a free youth football camp. For young people ages 6–12, the event runs from 8am–noon. And for folks ages 13–18, the event goes from 1pm–4pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the week’s events, check the \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener\">Fam 1st Foundation’s website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"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",
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"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"onourwatch": {
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"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?",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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