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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Many often label the rich history of Richmond’s WWII-era days as the city’s long-ago “renaissance.” The population swelled with tens of thousands of shipyard workers—many of them African American—recruited from throughout the United States. Legendary blues clubs proliferated in North Richmond, and the downtown grew.\u003c/p>\n\u003cp>But for the members of the emerging hip-hop dance troupe R.O.O.T.S. (Rising Out of the System) The Movement, Richmond’s heyday isn’t resigned to the history books.\u003c/p>\n\u003cp>There’s beauty within present-day Richmond, R.O.O.T.S. The Movement dancer Deontae Watkins says—a beauty that inspires his movements. “People who came from the South in the 1940s, they came with so much spunk to make these ships for the war,” says fellow dancer Kabreshiona Tiyteea La’Shae Smith. “That just fuels my fire to continue to go hard for our city.”\u003c/p>\n\u003cp>R.O.O.T.S. The Movement members, all born and raised in Richmond, came up through the RYSE Youth Center and the East Bay Center for the Performing Arts, known as “The Center.” For the dance troupe, who perform a mixture of styles influenced by krumping, hip-hop moves, African dance and modern ballet, their approach to collaborative choreography is crucial to their mission. “We like to see everyone shine and grow at the same time,” says Aziza Thomas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>KQED Arts’ series\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\"> \u003cem>If Cities Could Dance\u003c/em>\u003c/a> is officially nominated in the 23rd Annual Webby Awards—the Oscars of the Internet. \u003ca href=\"https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\">Voting is live now\u003c/a>, which determines who wins the Webby for Public Media and Arts & Culture.\u003c/p>\n\u003cp>Enjoyed what you’ve seen with \u003cem>If Cities Could Dance\u003c/em>? Then \u003ca href=\"https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\">cast your vote\u003c/a> before Thursday, April 18.\u003c/p>\n\u003cp>\u003ca href=\"https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\">https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\u003c/a>\u003c/p>\n\u003cp>\u003cem>If Cities Could Dance\u003c/em> is KQED Arts’ acclaimed video series, inviting viewers to step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance.\u003c/p>\n\u003cp>In the first season, dancers from \u003ca href=\"https://www.kqed.org/arts/13829047/if-cities-could-dance-san-francisco-the-house-of-love\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13829674/reclamation-in-detroit-with-dancer-erika-big-red-stowall\" target=\"_blank\" rel=\"noopener\">Detroit\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13830289/jubilation-fills-the-streets-on-new-orleans-second-line\" target=\"_blank\" rel=\"noopener\">New Orleans\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13830842/dancers-spin-through-a-los-angeles-rarely-seen-on-the-silver-screen\" target=\"_blank\" rel=\"noopener\">Los Angeles\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13831597/breaking-open-the-big-tent-portlands-queer-circus-performers-defy-gender-roles\" target=\"_blank\" rel=\"noopener\">Portland\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13832350/baltimore-club-dancers-do-the-crazy-legs-all-over-town\" target=\"_blank\" rel=\"noopener\">Baltimore\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\" target=\"_blank\" rel=\"noopener\">San Jose\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833738/frankie-lee-peterson-iii-offers-a-praise-dance-for-the-town\" target=\"_blank\" rel=\"noopener\">Oakland, \u003c/a>reclaim their space—and their neighborhoods—through dance. Watch a trailer for \u003cem>If Cities Could Dance \u003c/em>below, and \u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">all episodes here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/playlist?list=PLeGdTT0%E2%80%938KhUSuHQoSqi98uz_rWEp9Pz\">http://www.youtube.com/playlist?list=PLeGdTT0–8KhUSuHQoSqi98uz_rWEp9Pz\u003c/a>\u003c/p>\n\u003cdiv class=\"post-body\">\n\u003chr>\n\u003cp>Series Creators: \u003ca href=\"https://www.kqed.org/author/cescobar\" target=\"_blank\" rel=\"noopener\">Claudia Escobar\u003c/a> and \u003ca href=\"https://www.kqed.org/author/kwhalen\" target=\"_blank\" rel=\"noopener\">Kelly Whalen\u003c/a>\u003c/p>\n\u003cp>Producers & Editors: \u003ca href=\"https://www.kqed.org/author/cescobar\" target=\"_blank\" rel=\"noopener\">Claudia Escobar\u003c/a>, \u003ca href=\"http://www.jonesica.com/about\">Jessica Jones\u003c/a>, \u003ca href=\"https://www.kqed.org/author/kwhalen\" target=\"_blank\" rel=\"noopener\">Kelly Whalen\u003c/a>\u003c/p>\n\u003cp>Cinematography: \u003ca href=\"https://www.kqed.org/author/cescobar\" target=\"_blank\" rel=\"noopener\">Claudia Escobar\u003c/a> , \u003ca href=\"https://www.paavohanninen.com/\" target=\"_blank\" rel=\"noopener\">Paavo Hanninen\u003c/a>, Daniel Jarvis, \u003ca href=\"http://www.eliekhadra.com/\" target=\"_blank\" rel=\"noopener\">Elie Khadra\u003c/a>, Seiyoung Lee, M. Holden Warren, \u003ca href=\"https://www.kqed.org/author/kwhalen\" target=\"_blank\" rel=\"noopener\">Kelly Whalen\u003c/a>\u003c/p>\n\u003cp>Associate Producers and Assistant Editors: Creo Noveno, Isara Krieger, and Mary Mendoza\u003c/p>\n\u003cp>Contributors: \u003ca href=\"https://www.kqed.org/author/shotchkiss\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss\u003c/a>, \u003ca href=\"https://www.kqed.org/author/gmeline\" target=\"_blank\" rel=\"noopener\">Gabe Meline\u003c/a>, \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya, \u003c/a>\u003c/p>\n\u003cp>Distribution: \u003ca href=\"https://www.kqed.org/author/soki\" target=\"_blank\" rel=\"noopener\">Siouxsie Oki\u003c/a>, \u003ca href=\"https://www.kqed.org/author/lblanco\" target=\"_blank\" rel=\"noopener\">Lina Blanco\u003c/a>\u003c/p>\n\u003cp>Series Producer: \u003ca href=\"https://www.kqed.org/author/kwhalen\" target=\"_blank\" rel=\"noopener\">Kelly Whalen\u003c/a>\u003c/p>\n\u003cp>Executive Producer: \u003ca href=\"https://www.kqed.org/author/dmarcus\" target=\"_blank\" rel=\"noopener\">David Markus\u003c/a>\u003c/p>\n\u003chr>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Arts’ series\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\"> \u003cem>If Cities Could Dance\u003c/em>\u003c/a> is officially nominated in the 23rd Annual Webby Awards—the Oscars of the Internet. \u003ca href=\"https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\">Voting is live now\u003c/a>, which determines who wins the Webby for Public Media and Arts & Culture.\u003c/p>\n\u003cp>Enjoyed what you’ve seen with \u003cem>If Cities Could Dance\u003c/em>? Then \u003ca href=\"https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\">cast your vote\u003c/a> before Thursday, April 18.\u003c/p>\n\u003cp>\u003ca href=\"https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\">https://vote.webbyawards.com/PublicVoting#/2019/social/social-video/arts-entertainment\u003c/a>\u003c/p>\n\u003cp>\u003cem>If Cities Could Dance\u003c/em> is KQED Arts’ acclaimed video series, inviting viewers to step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance.\u003c/p>\n\u003cp>In the first season, dancers from \u003ca href=\"https://www.kqed.org/arts/13829047/if-cities-could-dance-san-francisco-the-house-of-love\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13829674/reclamation-in-detroit-with-dancer-erika-big-red-stowall\" target=\"_blank\" rel=\"noopener\">Detroit\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13830289/jubilation-fills-the-streets-on-new-orleans-second-line\" target=\"_blank\" rel=\"noopener\">New Orleans\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13830842/dancers-spin-through-a-los-angeles-rarely-seen-on-the-silver-screen\" target=\"_blank\" rel=\"noopener\">Los Angeles\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13831597/breaking-open-the-big-tent-portlands-queer-circus-performers-defy-gender-roles\" target=\"_blank\" rel=\"noopener\">Portland\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13832350/baltimore-club-dancers-do-the-crazy-legs-all-over-town\" target=\"_blank\" rel=\"noopener\">Baltimore\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\" target=\"_blank\" rel=\"noopener\">San Jose\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833738/frankie-lee-peterson-iii-offers-a-praise-dance-for-the-town\" target=\"_blank\" rel=\"noopener\">Oakland, \u003c/a>reclaim their space—and their neighborhoods—through dance. Watch a trailer for \u003cem>If Cities Could Dance \u003c/em>below, and \u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">all episodes here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>If your eyes aren’t fast enough to keep up with Chicago footwork, don’t be alarmed. As the backbone of street dance battles, the lightning-speed dance style pioneered on Chicago’s South and West Sides is meant to dazzle and discombobulate in equal measure.\u003c/p>\n\u003cp>For many, footwork is more than just rapid moves, it’s a way to express an alternative to violence and other effects of poverty—the results of decades of disinvestment and the city’s legacy of segregation.\u003c/p>\n\u003cp>“Footwork is a form of resistance against oppressive living conditions,” says dancer Christopher “Maddog” Thomas, a member of Creation Global Battle Clique, who grew up in public housing on Chicago’s South Side. “You could take a thousand classes, and you would never perform at the scale of any footworker that’s from Chicago performs, because you’re not from that struggle.”\u003c/p>\n\u003cp>Over the last decade, Chicago has spent billions to improve infrastructure and modernize the city. Neighborhoods in the South Side are becoming gentrified. And Chicago’s African American population, once the city’s largest demographic, dropped 24 percent between 2000 and 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the city’s race to “Build A New Chicago,” footworkers and other artists continue their fight for support and belonging. Get to know a handful of Chicago’s brightest footwork dancers, soundtracked by modern footwork legends DJ Taye and DJ Diamond. \u003cem>–Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>If your eyes aren’t fast enough to keep up with Chicago footwork, don’t be alarmed. As the backbone of street dance battles, the lightning-speed dance style pioneered on Chicago’s South and West Sides is meant to dazzle and discombobulate in equal measure.\u003c/p>\n\u003cp>For many, footwork is more than just rapid moves, it’s a way to express an alternative to violence and other effects of poverty—the results of decades of disinvestment and the city’s legacy of segregation.\u003c/p>\n\u003cp>“Footwork is a form of resistance against oppressive living conditions,” says dancer Christopher “Maddog” Thomas, a member of Creation Global Battle Clique, who grew up in public housing on Chicago’s South Side. “You could take a thousand classes, and you would never perform at the scale of any footworker that’s from Chicago performs, because you’re not from that struggle.”\u003c/p>\n\u003cp>Over the last decade, Chicago has spent billions to improve infrastructure and modernize the city. Neighborhoods in the South Side are becoming gentrified. And Chicago’s African American population, once the city’s largest demographic, dropped 24 percent between 2000 and 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Every City Has Its Rhythm, Every Dancer Their Street.\u003c/em>\u003c/p>\n\u003cp>On April 17 in Oakland, meet dancers and choreographers from across the country who dare to imagine what it would look like if their cities could dance. Join KQED for a night of film, conversation, music and performance, featuring artists from the series \u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003ca href=\"https://instagram.com/r.o.o.t.sthemovement?utm_source=ig_profile_share&igshid=h5lw31ydil8u\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">ROOTS the Movement \u003c/a>(Richmond)\u003cbr>\n\u003ca href=\"https://instagram.com/gnerd901?utm_source=ig_profile_share&igshid=w5wcpqj5ln1w\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">G-Nerd\u003c/a> (Memphis)\u003cbr>\n\u003ca href=\"https://instagram.com/m00nyeka?utm_source=ig_profile_share&igshid=rirj1nvf3o7n\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Moonyeka\u003c/a> (Seattle)\u003cbr>\n\u003ca href=\"https://instagram.com/yungphil_?utm_source=ig_profile_share&igshid=nsl7vvs8hns5\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Yung Phil\u003c/a> (Oakland)\u003cbr>\n\u003ca href=\"https://www.instagram.com/zeusdadunka/?hl=en\" target=\"_blank\" rel=\"noopener\">Zeus\u003c/a> of \u003ca href=\"https://www.youthuprising.org/\" target=\"_blank\" rel=\"noopener\">YouthUpRising\u003c/a> (Oakland)\u003c/p>\n\u003cp>Hosting the festivities is \u003ca href=\"https://www.facebook.com/TheEclecticOther\" target=\"_blank\" rel=\"noopener\">Shireen Rahimi\u003c/a>—vogue dancer, choreographer, community leader, and \u003ca href=\"https://www.kqed.org/arts/13829047/if-cities-could-dance-san-francisco-the-house-of-love\" target=\"_blank\" rel=\"noopener\">\u003cem>If Cities Could Dance\u003c/em> alum 2018\u003c/a>. Music by \u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener\">DJ Nastia\u003c/a>.\u003c/p>\n\u003ch3>If Cities Could Dance 2019: Live in Oakland\u003c/h3>\n\u003cp>Wednesday, April 17, 2019\u003cbr>\nDoors at 6:45pm | Show at 7:30pm\u003c/p>\n\u003cp>\u003ca href=\"https://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Impact Hub Oakland\u003c/strong>\u003c/a>\u003cbr>\n2323 Broadway\u003cbr>\nOakland, CA 94612\u003c/p>\n\u003cp>$7 — \u003ca href=\"https://ifcitiescoulddance2019.eventbrite.com\" target=\"_blank\" rel=\"noopener\">BUY TICKETS HERE\u003c/a>.\u003c/p>\n\u003cp>Food and beverages will be available for purchase at Impact Hub Oakland. This venue has limited seating- please arrive early if you need to secure a seat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>About the series\u003c/strong>: \u003cem>Dance Magazine\u003c/em> calls \u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> “a stunner” and a “turbo shot of serious inspiration.” For Season Two, we’ve raised the bar, meeting Minneapolis-based Native American hoop dancers who put a new spin on an art form thousands of years old, and women poppers in Seattle who carve out a safe space for girls in a male-dominated streetstyle scene. Chicago footwork dancers transfer turbulent emotions into lightning-speed steps, and the modern dancers of Miami’s all-female dance troupe slow things down with sensual, sex-positive moves.\u003c/p>\n\u003cp>Step into the shoes of these dancers and celebrate artists who dare to imagine what it would look like if their city could dance. Don’t miss eight new episodes every Tuesday starting March 26, featuring performers in \u003ca href=\"https://www.kqed.org/arts/13853759/if-cities-could-dance-minneapolis\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Minneapolis\u003c/a>, Chicago, Richmond (CA), Memphis, Seattle, Fresno, Oakland and Miami.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Every City Has Its Rhythm, Every Dancer Their Street.\u003c/em>\u003c/p>\n\u003cp>On April 17 in Oakland, meet dancers and choreographers from across the country who dare to imagine what it would look like if their cities could dance. Join KQED for a night of film, conversation, music and performance, featuring artists from the series \u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003ca href=\"https://instagram.com/r.o.o.t.sthemovement?utm_source=ig_profile_share&igshid=h5lw31ydil8u\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">ROOTS the Movement \u003c/a>(Richmond)\u003cbr>\n\u003ca href=\"https://instagram.com/gnerd901?utm_source=ig_profile_share&igshid=w5wcpqj5ln1w\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">G-Nerd\u003c/a> (Memphis)\u003cbr>\n\u003ca href=\"https://instagram.com/m00nyeka?utm_source=ig_profile_share&igshid=rirj1nvf3o7n\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Moonyeka\u003c/a> (Seattle)\u003cbr>\n\u003ca href=\"https://instagram.com/yungphil_?utm_source=ig_profile_share&igshid=nsl7vvs8hns5\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Yung Phil\u003c/a> (Oakland)\u003cbr>\n\u003ca href=\"https://www.instagram.com/zeusdadunka/?hl=en\" target=\"_blank\" rel=\"noopener\">Zeus\u003c/a> of \u003ca href=\"https://www.youthuprising.org/\" target=\"_blank\" rel=\"noopener\">YouthUpRising\u003c/a> (Oakland)\u003c/p>\n\u003cp>Hosting the festivities is \u003ca href=\"https://www.facebook.com/TheEclecticOther\" target=\"_blank\" rel=\"noopener\">Shireen Rahimi\u003c/a>—vogue dancer, choreographer, community leader, and \u003ca href=\"https://www.kqed.org/arts/13829047/if-cities-could-dance-san-francisco-the-house-of-love\" target=\"_blank\" rel=\"noopener\">\u003cem>If Cities Could Dance\u003c/em> alum 2018\u003c/a>. Music by \u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener\">DJ Nastia\u003c/a>.\u003c/p>\n\u003ch3>If Cities Could Dance 2019: Live in Oakland\u003c/h3>\n\u003cp>Wednesday, April 17, 2019\u003cbr>\nDoors at 6:45pm | Show at 7:30pm\u003c/p>\n\u003cp>\u003ca href=\"https://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Impact Hub Oakland\u003c/strong>\u003c/a>\u003cbr>\n2323 Broadway\u003cbr>\nOakland, CA 94612\u003c/p>\n\u003cp>$7 — \u003ca href=\"https://ifcitiescoulddance2019.eventbrite.com\" target=\"_blank\" rel=\"noopener\">BUY TICKETS HERE\u003c/a>.\u003c/p>\n\u003cp>Food and beverages will be available for purchase at Impact Hub Oakland. This venue has limited seating- please arrive early if you need to secure a seat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>In hoop dance lore, every time dancers pass through their hoops, they get younger and younger. “So you’ve got to be careful,” Lumhe “Micco” Sampson jokes. “When you do that too much you’ll end up back in first grade and with really tiny limbs.”\u003c/p>\n\u003cp>Micco and his older brother Samsoche (Seneca and Muscogee Creek), who perform together as \u003ca href=\"https://sampsonbrosarts.com\" target=\"_blank\" rel=\"noopener noreferrer\">the Sampson Brothers\u003c/a> are well known on powwow grounds and beyond for their impressive hoop dance routines. They’ve performed at dance and music festivals in more than half a dozen countries, and made appearances at hundreds of schools and universities.\u003c/p>\n\u003cp>“To have an opportunity to exercise it, to me, is an act of sovereignty, of resistance,” says Micco. “I’m still here. I’m still dancing.”\u003c/p>\n\u003cp>It takes years of practice to master hoop dance, and the intricate footwork and high-level coordination necessary to manipulate sometimes as many as 42 hoops at a time. Hoop dancers interlock the rings to mimic majestic animals, small insects or celestial orbs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Sampson Brothers add another layer of difficulty to the traditional movements—they dance in synchronization, often to the beat of Native hip-hop, bridging the past and future in their coordinated steps.\u003c/p>\n\u003cp>Their mother, an acclaimed fancy shawl dancer, had them taking dance lessons from an early age. They spent their childhoods in Los Angeles, where their late father, Will Sampson, was establishing himself as a Native American actor in mainstream cinema (he played Chief Bromden in \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>).\u003c/p>\n\u003cp>Today, after years spent living and dancing all over the country, the brothers are based in Minneapolis with their families. This, too, is about a connection between the past and future: The city was a starting ground for the American Indian Movement, which in turn, “was a call to action for a lot of urban indigenous people to reclaim their culture and their identities,” says Samsoche.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the Sampson Brothers perform traditional hoop dance formations and reenact an Iroquois creation story in front of Minneapolis’ American Indian Center, on the Mississippi’s Stone Arch Bridge and underneath the Hennepin Avenue overpass, as well as teach the next generation of Native youth the art of the hoop. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Oakland creative collective \u003ca href=\"http://thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">the House of Malico\u003c/a>—helmed by rapper and filmmaker Queens D.Light (a.k.a. Charmaine Davis) and photographer Sasha Kelley—puts on events that don’t fit neatly into one category. Once you arrive, feel the sense of community and witness the joyous creative expressions of artists, wellness practitioners and activists, it all makes sense.\u003c/p>\n\u003cp>That goes for the House of Malico’s \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">Alignment Festival\u003c/a>, a celebration of Women’s Month kicking off on March 1. The event features 30 days of programming, including an art exhibit at Qulture Collective, a potluck at Betti Ono Gallery, a creativity-as-healing workshop led by singer Emily McLean and a writing workshop for writers of color with Shah Noor Hussein and Fatima Nasyr. [contextly_sidebar id=”Totg9tbCjJHrAZ2E8Qmt182pUuwM3wDO”]\u003c/p>\n\u003cp>The centerpiece of the Alignment Festival, which centers women and LGBTQ+ people of color, is Twerk 4 Mother Earth on March 16, an annual House of Malico dance party that invites event-goers to let loose and shake it off in a safe space. The goal, Queens D.Light and Sasha Kelley told me ahead of the \u003ca href=\"https://www.eastbayexpress.com/oakland/shake-it-without-shame-at-twerk-4-mother-earth/Content?oid=4940383\" target=\"_blank\" rel=\"noopener\">first T4ME in 2016\u003c/a>, is to promote a consent-based culture of healing through music and dance. [contextly_sidebar id=”X7acCGHVZnQA18tXs83ZP97jpKNELWD1″]\u003c/p>\n\u003cp>“This concept of dance reaffirming your life and being a form of replenishment is something that’s not new,” Queens D. Light said at the time. “It’s something that’s deeply rooted into African culture.”\u003c/p>\n\u003cp>\u003cem>Details on the House of Malico’s Alignment Festival can be found \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/dcTq6gxcLT4\u003c/p>\n\n",
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"content": "\u003cp>“Is this your whip?”\u003c/p>\n\u003cp>Andrew Pulkrabek was on the dancefloor of his neighbor Bri Crabtree’s loft at the Vulcan, a sprawling live-work community of some 200 residents in East Oakland, inspecting a hot-pink whip. Mirrors lined a wall near the storage nook known as “clown corner,” all beneath the vaulted ceilings that accommodate Crabtree’s weekly juggling club. Confidently, Pulkrabek cracked the whip. “Not my first rodeo,” he said.\u003c/p>\n\u003cp>Pulkrabek is a musician and a stuntman, a juggler and a roller-skater—an “entertainer,” he said—whose residence in the Vulcan, a onetime foundry in the Fruitvale district, provides necessary space for his multi-hyphenate circus arts practice. At his kitchen table, overlooking another mirror-lined dancefloor, Pulkrabek stressed the significance of the Vulcan to Burning Man-associated artists internationally.\u003c/p>\n\u003cp>“It’s probably the largest concentration of circus performers living and working under one roof,” he said, adding that there’s “without a doubt” more jugglers in residence than anywhere.\u003c/p>\n\u003cp>Lately, though, Pulkrabek has met plenty of his non-Burner neighbors. He’s an organizer of the Vulcan Tenants Union, which formed after the property, owned by politically connected developer Madison Park Financial, hit the market last year for $16,250,000. Now, the union, representing approximately 100 tenants, is working with attorneys and a private investigator to acquire rent-control protections. They say dozens of homes and workspaces are on the line.\u003c/p>\n\u003cfigure id=\"attachment_13850955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg\" alt=\"Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time of skyhigh housing costs and intense competition for performing arts-appropriate space in Oakland, the tenants union hopes to preserve a longtime live-work community for artists and craftspeople dependent on its relative affordability, high ceilings and communal ambiance. Sale to a commercial investor, they say, means near-certain displacement, and they point to Madison Park’s own marketing materials as proof.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Madison Park’s offering memorandum for investors, acquired by KQED, advertises the Vulcan property as “Rent Control Exempt: A rare opportunity in Oakland.” The pitch goes on to explain that, by increasing rent 15 percent and passing more utilities costs on to tenants, a buyer could nearly double the Vulcan’s current gross profit annually.\u003c/p>\n\u003cp>“That’s part of what brokers do,” said Simon Chen, Madison Park’s chief operating officer. “I don’t think you’ll find an offering memo that doesn’t have that kind of sales approach.”\u003c/p>\n\u003cp>The tenants also worry they’ll absorb the cost of necessary repairs. Chen said Madison Park has invested in life-safety improvements, including fire sprinklers, but conceded that the place needs work. “It was converted in 1987, and even brand new buildings from 1987 have been renovated,” he said.\u003c/p>\n\u003cp>At $16.2 million, the Vulcan isn’t for a buyer who wants to keep it as it is. The push for rent control, Pulkrabek explained, is about effectively lowering the sale price in order to attract a nonprofit developer—a buyer motivated by stewardship instead of speculation. To that end, live-work advocacy organization Safer DIY Spaces helped the tenants retain attorneys to challenge the property’s rent control exemption before the city’s Rent Adjustment Program board.\u003c/p>\n\u003cp>In Oakland, new construction or residential conversions completed after 1983 are generally exempt from rent control protections. Though the Vulcan’s live-work conversion occurred in 1987, argued the tenants’ attorney, Leah Hess, the exemption is invalid because people were actually living there previously. The rent board will consider the 27 petitions in April.\u003c/p>\n\u003cp>“A negative ruling will put people out of their homes,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13850954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg\" alt=\"Outside at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Chen, the 1987 certificates of occupancy settle the matter. An earlier group of Vulcan tenants unsuccessfully petitioned the rent board on similar grounds in 2005, he said, and an appeals court upheld the denial. According to Hess, this time is different. “The thrust of the petitions back then was a lack of certificates of occupancy,” she said. “We’re saying the rent control exemption was issued through mistake or fraud.”\u003c/p>\n\u003cp>Lia Walker moved into the Vulcan in 2006, and in 2011 the photographer started working as on-site manager for Madison Park. The company is owned and operated by John Protopappas, who’s served as a campaign fundraiser for Oakland Mayor Libby Schaaf, and it has overseen several live-work conversions and new market-rate construction projects in the city. The company also managed an artists’ live-work complex at 1919 Market St. before officials deemed it uninhabitable, resulting in the displacement of dozens.\u003c/p>\n\u003cp>For years, Walker said, Madison Park and the Vulcan tenants got along well, but relations worsened as the real estate market improved. The rent started increasing, sometimes dramatically; Madison Park hiked the cost of her darkroom, housed in a separate workspace, by 55 percent, she said. After clashing with a new supervisor, Walker was fired in 2014. “We didn’t share a philosophy or sense of fairness anymore,” she said.\u003c/p>\n\u003cp>Drea Lusion, who lives at the Vulcan in a unit with six people, said Madison Park’s decision last year to ban the “free zone,” a hallway area where tenants left art supplies and household goods for communal sharing, also helped inspire the tenants to organize. It was around the time of 7- to 10-percent rent increases for many units, she said. Prospective buyers were regularly touring the property; Madison Park called the free pile a fire hazard. “That was galvanizing,” she said. “Like, what will they take next?”\u003c/p>\n\u003cfigure id=\"attachment_13850952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg\" alt=\"A tenants' shrine to the "Free Zone" at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tenants’ shrine to the “Free Zone” at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, there is no sale pending for the Vulcan. But it seems clear that, at $16.2 million, the property is out of reach to anyone but a commercial investor. Last year, the Community Arts Stabilization Trust, which develops property for arts uses, partnered with affordable housing developer East Bay Asian Local Development Corporation to explore purchasing the property, but EBALDC said in a statement that they “did not have the resources.”\u003c/p>\n\u003cp>Kelley Kahn, Oakland’s policy director for art spaces, helped bring EBALDC and CAST to the table with Madison Park, and she said the real estate company has been cooperative and open to considering nonprofit buyers. As an industrial live-work space, though, Kahn said the project doesn’t align neatly with the traditional financing models for affordable housing.\u003c/p>\n\u003cp>“The project requires identifying both innovative funding sources and creative development partners with expertise in preserving arts and culture spaces—ideally with a pathway for the tenants themselves to become owners,” she said. “This work remains ongoing.”\u003c/p>\n\u003cfigure id=\"attachment_13850956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg\" alt=\"Andrew Pulkrabek and TKTKTK in the courtyard at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek and Drea Lusion in a courtyard at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan of Safer DIY Spaces, the organization funding the Vulcan’s petition effort, said overturning the rent-control exemption would set a significant precedent. Other multiunit buildings formalized as live-work after 1983 were previously used residentially in the common tradition of artists living in warehouses, and the rent board could open the door for them to seek rent control protections. “It’s going to have a ripple effect,” he said.\u003c/p>\n\u003cp>However, Keenan said, Safer DIY Spaces can’t afford to underwrite the petitions for much longer, so the Vulcan Tenants Union recently launched a $50,000 fundraiser. The figure covers the work of two attorneys, two paralegals and a private investigator, according to Pulkrabek. They have anecdotal evidence of residential use at the Vulcan before 1987, but more research will bolster their case.\u003c/p>\n\u003cp>Lusion and Pulkrabek walked through the maze-like hallways of the Vulcan, pointing out murals by friends, and a plant-laden courtyard. Behind one building was a small park lined with broken pianos. The tenants once tended to atomize along subcultural lines, they explained, the circus artists mingling little with, say, the musicians—until the tenants union. “If anything, this has brought us together,” Lusion said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Added Pulkrabek, “It’s reminded us of what we’re trying to preserve.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Is this your whip?”\u003c/p>\n\u003cp>Andrew Pulkrabek was on the dancefloor of his neighbor Bri Crabtree’s loft at the Vulcan, a sprawling live-work community of some 200 residents in East Oakland, inspecting a hot-pink whip. Mirrors lined a wall near the storage nook known as “clown corner,” all beneath the vaulted ceilings that accommodate Crabtree’s weekly juggling club. Confidently, Pulkrabek cracked the whip. “Not my first rodeo,” he said.\u003c/p>\n\u003cp>Pulkrabek is a musician and a stuntman, a juggler and a roller-skater—an “entertainer,” he said—whose residence in the Vulcan, a onetime foundry in the Fruitvale district, provides necessary space for his multi-hyphenate circus arts practice. At his kitchen table, overlooking another mirror-lined dancefloor, Pulkrabek stressed the significance of the Vulcan to Burning Man-associated artists internationally.\u003c/p>\n\u003cp>“It’s probably the largest concentration of circus performers living and working under one roof,” he said, adding that there’s “without a doubt” more jugglers in residence than anywhere.\u003c/p>\n\u003cp>Lately, though, Pulkrabek has met plenty of his non-Burner neighbors. He’s an organizer of the Vulcan Tenants Union, which formed after the property, owned by politically connected developer Madison Park Financial, hit the market last year for $16,250,000. Now, the union, representing approximately 100 tenants, is working with attorneys and a private investigator to acquire rent-control protections. They say dozens of homes and workspaces are on the line.\u003c/p>\n\u003cfigure id=\"attachment_13850955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg\" alt=\"Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time of skyhigh housing costs and intense competition for performing arts-appropriate space in Oakland, the tenants union hopes to preserve a longtime live-work community for artists and craftspeople dependent on its relative affordability, high ceilings and communal ambiance. Sale to a commercial investor, they say, means near-certain displacement, and they point to Madison Park’s own marketing materials as proof.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Madison Park’s offering memorandum for investors, acquired by KQED, advertises the Vulcan property as “Rent Control Exempt: A rare opportunity in Oakland.” The pitch goes on to explain that, by increasing rent 15 percent and passing more utilities costs on to tenants, a buyer could nearly double the Vulcan’s current gross profit annually.\u003c/p>\n\u003cp>“That’s part of what brokers do,” said Simon Chen, Madison Park’s chief operating officer. “I don’t think you’ll find an offering memo that doesn’t have that kind of sales approach.”\u003c/p>\n\u003cp>The tenants also worry they’ll absorb the cost of necessary repairs. Chen said Madison Park has invested in life-safety improvements, including fire sprinklers, but conceded that the place needs work. “It was converted in 1987, and even brand new buildings from 1987 have been renovated,” he said.\u003c/p>\n\u003cp>At $16.2 million, the Vulcan isn’t for a buyer who wants to keep it as it is. The push for rent control, Pulkrabek explained, is about effectively lowering the sale price in order to attract a nonprofit developer—a buyer motivated by stewardship instead of speculation. To that end, live-work advocacy organization Safer DIY Spaces helped the tenants retain attorneys to challenge the property’s rent control exemption before the city’s Rent Adjustment Program board.\u003c/p>\n\u003cp>In Oakland, new construction or residential conversions completed after 1983 are generally exempt from rent control protections. Though the Vulcan’s live-work conversion occurred in 1987, argued the tenants’ attorney, Leah Hess, the exemption is invalid because people were actually living there previously. The rent board will consider the 27 petitions in April.\u003c/p>\n\u003cp>“A negative ruling will put people out of their homes,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13850954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg\" alt=\"Outside at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Chen, the 1987 certificates of occupancy settle the matter. An earlier group of Vulcan tenants unsuccessfully petitioned the rent board on similar grounds in 2005, he said, and an appeals court upheld the denial. According to Hess, this time is different. “The thrust of the petitions back then was a lack of certificates of occupancy,” she said. “We’re saying the rent control exemption was issued through mistake or fraud.”\u003c/p>\n\u003cp>Lia Walker moved into the Vulcan in 2006, and in 2011 the photographer started working as on-site manager for Madison Park. The company is owned and operated by John Protopappas, who’s served as a campaign fundraiser for Oakland Mayor Libby Schaaf, and it has overseen several live-work conversions and new market-rate construction projects in the city. The company also managed an artists’ live-work complex at 1919 Market St. before officials deemed it uninhabitable, resulting in the displacement of dozens.\u003c/p>\n\u003cp>For years, Walker said, Madison Park and the Vulcan tenants got along well, but relations worsened as the real estate market improved. The rent started increasing, sometimes dramatically; Madison Park hiked the cost of her darkroom, housed in a separate workspace, by 55 percent, she said. After clashing with a new supervisor, Walker was fired in 2014. “We didn’t share a philosophy or sense of fairness anymore,” she said.\u003c/p>\n\u003cp>Drea Lusion, who lives at the Vulcan in a unit with six people, said Madison Park’s decision last year to ban the “free zone,” a hallway area where tenants left art supplies and household goods for communal sharing, also helped inspire the tenants to organize. It was around the time of 7- to 10-percent rent increases for many units, she said. Prospective buyers were regularly touring the property; Madison Park called the free pile a fire hazard. “That was galvanizing,” she said. “Like, what will they take next?”\u003c/p>\n\u003cfigure id=\"attachment_13850952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg\" alt=\"A tenants' shrine to the "Free Zone" at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tenants’ shrine to the “Free Zone” at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, there is no sale pending for the Vulcan. But it seems clear that, at $16.2 million, the property is out of reach to anyone but a commercial investor. Last year, the Community Arts Stabilization Trust, which develops property for arts uses, partnered with affordable housing developer East Bay Asian Local Development Corporation to explore purchasing the property, but EBALDC said in a statement that they “did not have the resources.”\u003c/p>\n\u003cp>Kelley Kahn, Oakland’s policy director for art spaces, helped bring EBALDC and CAST to the table with Madison Park, and she said the real estate company has been cooperative and open to considering nonprofit buyers. As an industrial live-work space, though, Kahn said the project doesn’t align neatly with the traditional financing models for affordable housing.\u003c/p>\n\u003cp>“The project requires identifying both innovative funding sources and creative development partners with expertise in preserving arts and culture spaces—ideally with a pathway for the tenants themselves to become owners,” she said. “This work remains ongoing.”\u003c/p>\n\u003cfigure id=\"attachment_13850956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg\" alt=\"Andrew Pulkrabek and TKTKTK in the courtyard at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek and Drea Lusion in a courtyard at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan of Safer DIY Spaces, the organization funding the Vulcan’s petition effort, said overturning the rent-control exemption would set a significant precedent. Other multiunit buildings formalized as live-work after 1983 were previously used residentially in the common tradition of artists living in warehouses, and the rent board could open the door for them to seek rent control protections. “It’s going to have a ripple effect,” he said.\u003c/p>\n\u003cp>However, Keenan said, Safer DIY Spaces can’t afford to underwrite the petitions for much longer, so the Vulcan Tenants Union recently launched a $50,000 fundraiser. The figure covers the work of two attorneys, two paralegals and a private investigator, according to Pulkrabek. They have anecdotal evidence of residential use at the Vulcan before 1987, but more research will bolster their case.\u003c/p>\n\u003cp>Lusion and Pulkrabek walked through the maze-like hallways of the Vulcan, pointing out murals by friends, and a plant-laden courtyard. Behind one building was a small park lined with broken pianos. The tenants once tended to atomize along subcultural lines, they explained, the circus artists mingling little with, say, the musicians—until the tenants union. “If anything, this has brought us together,” Lusion said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Worlds collide in\u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">\u003ci> Fury\u003c/i>\u003c/a>, a ballet that takes inspiration from the post-apocalyptic blockbuster \u003ca href=\"https://www.youtube.com/watch?v=hEJnMQG9ev8\" target=\"_blank\" rel=\"noopener\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>. The show comes to San Francisco’s August Hall on Feb. 1 and 2, and features an original score by North Bay art pop band Yassou, string arrangements by composer Kristina Dutton and immersive visuals by lighting designers Michael Straun, Luke Acret and Brandon McFarland. [contextly_sidebar id=”uxjZ1PBzSEgQapoMHIc5IRobRdn8RkZc”]\u003c/p>\n\u003cp>About a band of rogue adventurers fleeing an evil cult leader through a desert wasteland, \u003cem>Mad Max: Fury Road\u003c/em> received rave reviews upon its release in 2015 for its clever script, hair-raising action sequences and dark sense of humor. \u003cem>Fury\u003c/em> gives the concept a completely different spin, with choreography by Danielle Rowe and performances from top-tier dancers from \u003ca href=\"https://linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> (and special guests), including Adji Cissoko, Babatunji and Michael Montgomery.\u003c/p>\n\u003cp>August Hall, typically a standing-room music venue, is an unusual and intimate location for the performance, which aims to be more accessible than your typical ballet performance inside of a theater. The show sold out when it was previously presented at The Midway in September, but tickets are still available for this year’s rendition.\u003c/p>\n\u003cp>\u003cem>Details \u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://vimeo.com/301097555\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Worlds collide in\u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">\u003ci> Fury\u003c/i>\u003c/a>, a ballet that takes inspiration from the post-apocalyptic blockbuster \u003ca href=\"https://www.youtube.com/watch?v=hEJnMQG9ev8\" target=\"_blank\" rel=\"noopener\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>. The show comes to San Francisco’s August Hall on Feb. 1 and 2, and features an original score by North Bay art pop band Yassou, string arrangements by composer Kristina Dutton and immersive visuals by lighting designers Michael Straun, Luke Acret and Brandon McFarland. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>About a band of rogue adventurers fleeing an evil cult leader through a desert wasteland, \u003cem>Mad Max: Fury Road\u003c/em> received rave reviews upon its release in 2015 for its clever script, hair-raising action sequences and dark sense of humor. \u003cem>Fury\u003c/em> gives the concept a completely different spin, with choreography by Danielle Rowe and performances from top-tier dancers from \u003ca href=\"https://linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> (and special guests), including Adji Cissoko, Babatunji and Michael Montgomery.\u003c/p>\n\u003cp>August Hall, typically a standing-room music venue, is an unusual and intimate location for the performance, which aims to be more accessible than your typical ballet performance inside of a theater. The show sold out when it was previously presented at The Midway in September, but tickets are still available for this year’s rendition.\u003c/p>\n\u003cp>\u003cem>Details \u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"title": "Dancing About Architecture, Literally, in Kristin Damrow's IMPACT",
"headTitle": "Dancing About Architecture, Literally, in Kristin Damrow’s IMPACT | KQED",
"content": "\u003cp>Raw concrete was, in the mid-20th century, the material of the future. Structures built in the \u003ca href=\"https://www.theguardian.com/artanddesign/2014/feb/13/jonathan-meades-brutalism-a-z\" target=\"_blank\" rel=\"noopener\">Brutalist\u003c/a> style—stark, cyclopean, rough-hewn and rain-streaked, in shades of gunmetal—owed something to \u003ca href=\"https://timeline.com/hitlers-flak-towers-were-fortresses-of-nazi-military-might-b18b7627fe91\" target=\"_blank\" rel=\"noopener\">Nazi fortifications\u003c/a>. In a remarkable post-war adaptation, this grim military architecture was recast to serve \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-unrepeatable-architectural-moment-of-yugoslavias-concrete-utopia\" target=\"_blank\" rel=\"noopener\">utopian visions\u003c/a> of social housing and public spaces.\u003c/p>\n\u003cp>Tastes are fickle, however, and those buildings would later be decried as “\u003ca href=\"https://www.bbc.co.uk/programmes/articles/1CPtMYghnVMJVv1YphFrWDc/the-brutalist-divide-concrete-monsters-or-architectural-icons\" target=\"_blank\" rel=\"noopener\">concrete monstrosities\u003c/a>.” Yet Brutalism has acquired many 21st century fans, fueled by sharing platforms like \u003ca href=\"https://www.instagram.com/explore/tags/brutalism/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> and \u003ca href=\"http://fuckyeahbrutalism.tumblr.com\" target=\"_blank\" rel=\"noopener\">Tumblr\u003c/a>, and a hazy nostalgia for \u003ca href=\"https://www.jacobinmag.com/2018/10/brutalism-architecture-public-housing-urban-planning\" target=\"_blank\" rel=\"noopener\">vanishing socialist ideals\u003c/a>.\u003c/p>\n\u003cp>Concrete’s image at the moment is in urgent need of repair, thanks to the U.S. president’s obsession with a border wall. His dream \u003ca href=\"https://www.npr.org/2019/01/27/689121159/no-wall-after-all-the-partial-government-shutdown-is-over-for-now\" rel=\"noopener\" target=\"_blank\">may be shot down\u003c/a>, but concrete will recover; artists like \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow\u003c/a> are seeing to that. The spunky 32-year-old choreographer has drawn inspiration for her third evening-length work, titled \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">\u003cem>IMPACT\u003c/em>\u003c/a>, from Bay Area icons of Brutalist architecture such as the Glen Park BART Station, the Oakland Museum of California, and the original Berkeley Art Museum. Together with collaborator and composer \u003ca href=\"https://aaron-gold-kf2l.squarespace.com\" target=\"_blank\" rel=\"noopener\">Aaron M. Gold\u003c/a>, she has prowled their interiors, listening for sounds that pierce and echo in the soaring, airy spaces. These sounds resurface in the electronic compositions which Gold has created to guide her dancers through the work.\u003c/p>\n\u003cfigure id=\"attachment_13849590\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849590\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg\" alt=\"\" width=\"800\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x407.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1200x636.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x1017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allegra Bautista for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon, I planted myself in a corner of a rehearsal studio at the ODC Commons, where mysterious and enchanting sounds emanated from Gold’s laptop as Damrow ran her dancers through the piece. She is tiny; a live wire yet serene, with big expressive eyes, who occasionally sings out instructions in a deep-throated mezzo.\u003c/p>\n\u003cp>The ensemble of 10 coalesced into various structures—here an embankment, there an assembly line. At other times, they projected the vibe of a loyal army, or a menacing mob. As in Brutalist design, strict geometric patterns unexpectedly gave way to the improbable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five lead dancers entered into fraught territorial negotiations. And in one moving quartet, three women went to great lengths to rescue a man buffeted by unseen terrors. In this work, when dancers are called on to physically support each other, they are as likely to provide that support with their feet as they are with their hands, which made for some intriguing interactions. The score felt warm and organic, shot through with industrial and environmental sounds, like the whooshing of jets taking off into the ether, wind whipping through a canyon, the earth crackling under seismic pressure, the clanging of prison doors.\u003c/p>\n\u003cp>Even in the studio, without the added drama of stage lighting and sets, it seemed clear that events were unfolding on an epic scale. At the Yerba Buena Center for the Arts, as if to create a new Brutalist skyline, scenic designer Alice Malia will hang a series of Brutalist-inspired forms from the tension grid.\u003c/p>\n\u003cp>In post-rehearsal conversation, Damrow described her growing interest in architecture and design and “how that can be translated either through the body or through a narrative story line on stage.” Researching her last project, about mid-century designers \u003ca href=\"https://www.kqed.org/arts/13819418/a-new-dance-show-about-ray-and-charles-eames\" target=\"_blank\" rel=\"noopener\">Ray and Charles Eames\u003c/a>, she came across Brutalism, as their time frames overlapped. The stark differences between Modernism and Brutalism lit a spark.\u003c/p>\n\u003cp>Even before that, she recalls the time when \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow & Company\u003c/a> was just getting off the ground and she was scouting a location for an outdoor, site-specific work. She wanted a place that got plenty of foot traffic, and wandered by the old Berkeley Art Museum (which, like a number of older Brutalist buildings, is deemed seismically unsound and has been shuttered.)\u003c/p>\n\u003cp>“That backdrop was really stunning,” she noted. “So, one of our very first performances as a company was in front of a Brutalist building, though we didn’t know at the start what it was. I also traveled through Glen Park BART station a lot and the magnitude of that station always got me… Brutalist buildings have been in my dance life for quite a while.”\u003c/p>\n\u003cfigure id=\"attachment_13849589\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg\" alt=\"\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-958x1200.jpg 958w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x2404.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 1636w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hien Huynh for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>She describes the setting of \u003cem>IMPACT \u003c/em>as dystopian, reminding us that “lots of Brutalist buildings have been seen in movies like \u003cem>Bladerunner\u003c/em> and \u003cem>A Clockwork Orange\u003c/em>, where the overall monolithic feel of these hulking structures gives this timeless visual sensation.” While the piece is largely abstract, there are tangible characters embodied by her lead dancers, whom she explains are “struggling through something that feels dystopian.”\u003c/p>\n\u003cp>But they also “represent different elements in this world more than just characters. In their movement style, how they interact with each other, I played a lot with different ways that we could perceive the buildings through movement—their expressionism, monolithic feel, their formlessness… Many times, what the architect was going for was this image where you can’t tell which end is up, smooth lines fold into a different place altogether, creating a visual play when you look at the building. We pulled that kind of inspiration from Brutalism and asked how can a character interpret different elements of Brutalism through our bodies.”\u003c/p>\n\u003cp>Choreographers have often been inspired by landscapes and architecture to make site-specific work, to tell very human stories centered historically on the sites. But it’s less common for a dance-maker to try and project onto her dancers the qualities of buildings and building materials themselves. With Brutalism in particular, the danger is that the dancing will be overwhelmed by the massive scale of the structures.\u003c/p>\n\u003cp>Damrow meets this challenge head-on. A striking film trailer for the live work she’s created feels like an integral and expansive element of the project rather than just a teaser.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zf_VdaQmf_s\u003c/p>\n\u003cp>“I do have hopes to continue this project,” she says, “filming around the U.S. and worldwide at Brutalist buildings. I feel like this project has life beyond this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘IMPACT’ runs from Jan. 31–Feb. 2 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Raw concrete was, in the mid-20th century, the material of the future. Structures built in the \u003ca href=\"https://www.theguardian.com/artanddesign/2014/feb/13/jonathan-meades-brutalism-a-z\" target=\"_blank\" rel=\"noopener\">Brutalist\u003c/a> style—stark, cyclopean, rough-hewn and rain-streaked, in shades of gunmetal—owed something to \u003ca href=\"https://timeline.com/hitlers-flak-towers-were-fortresses-of-nazi-military-might-b18b7627fe91\" target=\"_blank\" rel=\"noopener\">Nazi fortifications\u003c/a>. In a remarkable post-war adaptation, this grim military architecture was recast to serve \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-unrepeatable-architectural-moment-of-yugoslavias-concrete-utopia\" target=\"_blank\" rel=\"noopener\">utopian visions\u003c/a> of social housing and public spaces.\u003c/p>\n\u003cp>Tastes are fickle, however, and those buildings would later be decried as “\u003ca href=\"https://www.bbc.co.uk/programmes/articles/1CPtMYghnVMJVv1YphFrWDc/the-brutalist-divide-concrete-monsters-or-architectural-icons\" target=\"_blank\" rel=\"noopener\">concrete monstrosities\u003c/a>.” Yet Brutalism has acquired many 21st century fans, fueled by sharing platforms like \u003ca href=\"https://www.instagram.com/explore/tags/brutalism/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> and \u003ca href=\"http://fuckyeahbrutalism.tumblr.com\" target=\"_blank\" rel=\"noopener\">Tumblr\u003c/a>, and a hazy nostalgia for \u003ca href=\"https://www.jacobinmag.com/2018/10/brutalism-architecture-public-housing-urban-planning\" target=\"_blank\" rel=\"noopener\">vanishing socialist ideals\u003c/a>.\u003c/p>\n\u003cp>Concrete’s image at the moment is in urgent need of repair, thanks to the U.S. president’s obsession with a border wall. His dream \u003ca href=\"https://www.npr.org/2019/01/27/689121159/no-wall-after-all-the-partial-government-shutdown-is-over-for-now\" rel=\"noopener\" target=\"_blank\">may be shot down\u003c/a>, but concrete will recover; artists like \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow\u003c/a> are seeing to that. The spunky 32-year-old choreographer has drawn inspiration for her third evening-length work, titled \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">\u003cem>IMPACT\u003c/em>\u003c/a>, from Bay Area icons of Brutalist architecture such as the Glen Park BART Station, the Oakland Museum of California, and the original Berkeley Art Museum. Together with collaborator and composer \u003ca href=\"https://aaron-gold-kf2l.squarespace.com\" target=\"_blank\" rel=\"noopener\">Aaron M. Gold\u003c/a>, she has prowled their interiors, listening for sounds that pierce and echo in the soaring, airy spaces. These sounds resurface in the electronic compositions which Gold has created to guide her dancers through the work.\u003c/p>\n\u003cfigure id=\"attachment_13849590\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849590\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg\" alt=\"\" width=\"800\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x407.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1200x636.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x1017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allegra Bautista for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon, I planted myself in a corner of a rehearsal studio at the ODC Commons, where mysterious and enchanting sounds emanated from Gold’s laptop as Damrow ran her dancers through the piece. She is tiny; a live wire yet serene, with big expressive eyes, who occasionally sings out instructions in a deep-throated mezzo.\u003c/p>\n\u003cp>The ensemble of 10 coalesced into various structures—here an embankment, there an assembly line. At other times, they projected the vibe of a loyal army, or a menacing mob. As in Brutalist design, strict geometric patterns unexpectedly gave way to the improbable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five lead dancers entered into fraught territorial negotiations. And in one moving quartet, three women went to great lengths to rescue a man buffeted by unseen terrors. In this work, when dancers are called on to physically support each other, they are as likely to provide that support with their feet as they are with their hands, which made for some intriguing interactions. The score felt warm and organic, shot through with industrial and environmental sounds, like the whooshing of jets taking off into the ether, wind whipping through a canyon, the earth crackling under seismic pressure, the clanging of prison doors.\u003c/p>\n\u003cp>Even in the studio, without the added drama of stage lighting and sets, it seemed clear that events were unfolding on an epic scale. At the Yerba Buena Center for the Arts, as if to create a new Brutalist skyline, scenic designer Alice Malia will hang a series of Brutalist-inspired forms from the tension grid.\u003c/p>\n\u003cp>In post-rehearsal conversation, Damrow described her growing interest in architecture and design and “how that can be translated either through the body or through a narrative story line on stage.” Researching her last project, about mid-century designers \u003ca href=\"https://www.kqed.org/arts/13819418/a-new-dance-show-about-ray-and-charles-eames\" target=\"_blank\" rel=\"noopener\">Ray and Charles Eames\u003c/a>, she came across Brutalism, as their time frames overlapped. The stark differences between Modernism and Brutalism lit a spark.\u003c/p>\n\u003cp>Even before that, she recalls the time when \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow & Company\u003c/a> was just getting off the ground and she was scouting a location for an outdoor, site-specific work. She wanted a place that got plenty of foot traffic, and wandered by the old Berkeley Art Museum (which, like a number of older Brutalist buildings, is deemed seismically unsound and has been shuttered.)\u003c/p>\n\u003cp>“That backdrop was really stunning,” she noted. “So, one of our very first performances as a company was in front of a Brutalist building, though we didn’t know at the start what it was. I also traveled through Glen Park BART station a lot and the magnitude of that station always got me… Brutalist buildings have been in my dance life for quite a while.”\u003c/p>\n\u003cfigure id=\"attachment_13849589\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg\" alt=\"\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-958x1200.jpg 958w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x2404.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 1636w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hien Huynh for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>She describes the setting of \u003cem>IMPACT \u003c/em>as dystopian, reminding us that “lots of Brutalist buildings have been seen in movies like \u003cem>Bladerunner\u003c/em> and \u003cem>A Clockwork Orange\u003c/em>, where the overall monolithic feel of these hulking structures gives this timeless visual sensation.” While the piece is largely abstract, there are tangible characters embodied by her lead dancers, whom she explains are “struggling through something that feels dystopian.”\u003c/p>\n\u003cp>But they also “represent different elements in this world more than just characters. In their movement style, how they interact with each other, I played a lot with different ways that we could perceive the buildings through movement—their expressionism, monolithic feel, their formlessness… Many times, what the architect was going for was this image where you can’t tell which end is up, smooth lines fold into a different place altogether, creating a visual play when you look at the building. We pulled that kind of inspiration from Brutalism and asked how can a character interpret different elements of Brutalism through our bodies.”\u003c/p>\n\u003cp>Choreographers have often been inspired by landscapes and architecture to make site-specific work, to tell very human stories centered historically on the sites. But it’s less common for a dance-maker to try and project onto her dancers the qualities of buildings and building materials themselves. With Brutalism in particular, the danger is that the dancing will be overwhelmed by the massive scale of the structures.\u003c/p>\n\u003cp>Damrow meets this challenge head-on. A striking film trailer for the live work she’s created feels like an integral and expansive element of the project rather than just a teaser.\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/Zf_VdaQmf_s'\n title='//www.youtube.com/embed/Zf_VdaQmf_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I do have hopes to continue this project,” she says, “filming around the U.S. and worldwide at Brutalist buildings. I feel like this project has life beyond this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘IMPACT’ runs from Jan. 31–Feb. 2 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. [contextly_sidebar id=”lMkGTvdrj8ts7af1cj7TrD1mfaEpWMvL”]\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On November 1, a couple dozen artists, gallerists and nonprofit workers gathered to collaboratively envision an empty West Oakland building as a community art space.\u003c/p>\n\u003cp>There were speeches from property co-owner Shannon Jackson, a professor and the associate vice chancellor of arts and design at UC Berkeley, and employees of Community Arts Stabilization Trust (CAST), a nonprofit focused on the cultural sector. Attendees brainstormed in groups, responding to prompts such as, “What do you imagine being here?”\u003c/p>\n\u003cp>The event, hosted by CAST and Shannon and Jacqueline Jackson, was billed “Reimagining the Noodle Factory,” a reference to the property’s 2000s incarnation as a live-work complex and underground events space. But pieces of paper taped to the entrance obscured a sign for its tenant of the past six years, Skyhigh Odditorium. All night, the dance studio went conspicuously unmentioned.\u003c/p>\n\u003cfigure id=\"attachment_13847690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg\" alt=\"A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The omission troubled Thomas Dolan, a live-work architect and advocate who’d visited Skyhigh as a safety consultant early last year. During the event, he worried that he’d been asked to reimagine an art space built on the back of another’s displacement. So he approached Jackson to ask about Skyhigh. \u003c/p>\n\u003cp>“She just told me it didn’t work out,” he recalled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Skyhigh Odditorium had been displaced three months prior, after the Jacksons, who bought the building last year, declined to renew its lease. (Jacqueline Jackson, Shannon Jackson’s business partner, is a North Bay realtor.) Skyhigh founder Madamn Burnz said the Jacksons’ property managers explained to her that the new owners planned to create an art space.\u003c/p>\n\u003cp>“I was extremely confused,” Burnz said. “What did they think we’d been doing there for six years?”\u003c/p>\n\u003cp>Burnz and a handful of Skyhigh instructors \u003ca href=\"http://skyhighodditorium.com/classes/\" target=\"_blank\" rel=\"noopener noreferrer\">offered classes\u003c/a> such as aerial and pole dancing to more than 60 students weekly in addition to hosting public events. There were offices and prop and music studios as well as a performance space. Now Burnz teaches out of a shared studio nearby.\u003c/p>\n\u003cfigure id=\"attachment_13847680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg\" alt='San Francisco nonprofit Community Arts Stabilization Trust co-hosted \"Reimagining the Noodle Factory.\"' width=\"800\" height=\"567\" class=\"size-medium wp-image-13847680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory.jpg 1241w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco nonprofit Community Arts Stabilization Trust co-hosted “Reimagining the Noodle Factory.”\u003c/figcaption>\u003c/figure>\n\u003cp>Lease termination after a property transaction isn’t unusual, especially with the intense demand for commercial space in Oakland. But Jackson doesn’t have a real-estate speculator’s credentials: she’s an extensively published \u003ca href=\"http://tdps.berkeley.edu/people/shannon-jackson/\" target=\"_blank\" rel=\"noopener noreferrer\">scholar\u003c/a> of art and social change with \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">close ties\u003c/a> to culture funders such as the Kenneth Rainin Foundation, which supports CAST.\u003c/p>\n\u003cp>\u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAST\u003c/a> is known for developing property for arts uses. For example, the nonprofit offers subsidized rent with the option to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. CAST is also the City of Oakland’s partner in the grant initiative “Keeping Space,” and is currently working with officials to acquire property in Oakland for a multi-tenant arts and culture hub.\u003c/p>\n\u003cp>Burnz could understand being evicted by a baldly profit-seeking landlord. Instead she’s left wondering why a professional culture booster deemed her business undeserving of its longtime home. The reimagining event, with its cultural stabilization pretense, struck Burnz as a case of buzzwords belied by actions: Skyhigh Odditorium’s displacement involved some of the very same people now claiming to work for artists in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13847687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg\" alt=\"Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly. \u003ccite>(Courtesy Skyhigh Odditorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST toured Skyhigh the week Burnz learned her lease wouldn’t be renewed. But Owen Levin, the nonprofit’s director of finance and operations, said CAST wasn’t involved in Jackson’s decision to displace Skyhigh. “CAST is not interested in evicting any artist from any space, and we’re not interested in helping any artist get displaced,” Levin said.\u003c/p>\n\u003cp>CAST’s obligation to Jackson, he continued, was limited to the meeting, but Levin left open the possibility of helping her find new tenants going forward. \u003c/p>\n\u003cp>“It’s not clear to me that it’d be of greater benefit to anyone for us not to work with the landlord,” he said.\u003c/p>\n\u003cp>Shannon Jackson declined multiple interview requests for this article. “We purchased the property with a specific mission about how we planned to use the space,” she wrote in an email. “Our goals for the Noodle Factory partnerships are to support arts and culture in the neighborhood the region, while also adhering to codes for health, fire and safety.”\u003c/p>\n\u003cp>Previous owners of the two-story building at 26th and Union streets harbored similar ambitions.\u003c/p>\n\u003cfigure id=\"attachment_13847685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg\" alt=\"The Northern California Land Trust spent millions renovating the building.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions renovating the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dana Harrison, a financier-turned-Burning Man Project employee, bought the property in 1999, and it became a \u003ca href=\"https://www.eastbayexpress.com/oakland/noodling-around/Content?oid=1091408\">regular venue\u003c/a> for underground parties as well as a residence to as many as 30 people. Daunted by the task of bringing the 19,000 square foot building to code, though, she bequeathed it to the Northern California Land Trust in 2005.\u003c/p>\n\u003cp>The land trust spent millions renovating the building, converting it into 11 live-work condos in addition to the 2,000 square foot performance space with a mezzanine and offices. Using an affordable housing stewardship model, the land trust marketed the units to low-income artists who would benefit from the onsite rehearsal and performance space. [contextly_sidebar id=”oRkcEOpH9R82LCxTdkDbAJiHd0tcqnDt”]\u003c/p>\n\u003cp>But the development \u003ca href=\"https://www.eastbayexpress.com/oakland/regaining-trust/Content?oid=2959560\">unraveled\u003c/a> after the subprime mortgage crisis, and in 2010 the property went into foreclosure. The land trust filed for bankruptcy, and in 2011 it sold the building to San Francisco real-estate firm Urban Green Investments. When Burnz leased the performance and office unit for Skyhigh in 2012, it was a neglected storage area. \u003c/p>\n\u003cp>Burnz, 35, whose given name is Laiya Baraka, landed in the Bay Area after traveling with a fire-eating troupe, and launched Skyhigh to accommodate her business as an instructor in aerial dancing and other circus arts. Early on, she redid the dilapidated floors and discarded truckloads of garbage. Eventually she subleased workspace to other artists.\u003c/p>\n\u003cp>Burnz got along with Urban Green. After three years, she signed a new lease, and the landlord installed a new kitchen. After the Jacksons bought the property last January for $3,730,000, Burnz was at first heartened to learn Shannon is a performing arts scholar. But the two of them never met. In a Mar. 1, 2018 email, a Lapham Company property manager told Burnz that the owners “are not interested in renewing your lease.”\u003c/p>\n\u003cfigure id=\"attachment_13847689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg\" alt=\"Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burnz solicited dozens of letters of support for Skyhigh, but the owners weren’t persuaded. (The live-work tenants in other units weren’t affected by the transition.) She unsuccessfully tried to find a comparable, similarly affordable space for her business. As the end of her lease drew near, she sought an extension. Through a lawyer, Jackson offered an additional month—at twice the rent. Burnz declined, and moved out July 1.\u003c/p>\n\u003cp>CAST’s community engagement and real-estate development staff toured the building on Mar. 7, but Levin said they had misgivings about the situation, and told Jackson as well as Burnz that they weren’t going to be involved. “They needed to work it out,” he said.\u003c/p>\n\u003cp>But once Skyhigh was gone, he continued, CAST agreed to “consult on the imagining.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Burnz only learned CAST was once again working with Jackson the night of the reimagining event in November, when she drove by and saw nonprofit staff talking to her former property managers outside the building. “I saw a balloon, and I was actually excited that someone had rented it for a party,” she said. “And then my heart sunk.”\u003c/p>\n\n",
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"title": "UC Berkeley Art Professor Displaces Dance Studio to Create New Art Space | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On November 1, a couple dozen artists, gallerists and nonprofit workers gathered to collaboratively envision an empty West Oakland building as a community art space.\u003c/p>\n\u003cp>There were speeches from property co-owner Shannon Jackson, a professor and the associate vice chancellor of arts and design at UC Berkeley, and employees of Community Arts Stabilization Trust (CAST), a nonprofit focused on the cultural sector. Attendees brainstormed in groups, responding to prompts such as, “What do you imagine being here?”\u003c/p>\n\u003cp>The event, hosted by CAST and Shannon and Jacqueline Jackson, was billed “Reimagining the Noodle Factory,” a reference to the property’s 2000s incarnation as a live-work complex and underground events space. But pieces of paper taped to the entrance obscured a sign for its tenant of the past six years, Skyhigh Odditorium. All night, the dance studio went conspicuously unmentioned.\u003c/p>\n\u003cfigure id=\"attachment_13847690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg\" alt=\"A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The omission troubled Thomas Dolan, a live-work architect and advocate who’d visited Skyhigh as a safety consultant early last year. During the event, he worried that he’d been asked to reimagine an art space built on the back of another’s displacement. So he approached Jackson to ask about Skyhigh. \u003c/p>\n\u003cp>“She just told me it didn’t work out,” he recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Skyhigh Odditorium had been displaced three months prior, after the Jacksons, who bought the building last year, declined to renew its lease. (Jacqueline Jackson, Shannon Jackson’s business partner, is a North Bay realtor.) Skyhigh founder Madamn Burnz said the Jacksons’ property managers explained to her that the new owners planned to create an art space.\u003c/p>\n\u003cp>“I was extremely confused,” Burnz said. “What did they think we’d been doing there for six years?”\u003c/p>\n\u003cp>Burnz and a handful of Skyhigh instructors \u003ca href=\"http://skyhighodditorium.com/classes/\" target=\"_blank\" rel=\"noopener noreferrer\">offered classes\u003c/a> such as aerial and pole dancing to more than 60 students weekly in addition to hosting public events. There were offices and prop and music studios as well as a performance space. Now Burnz teaches out of a shared studio nearby.\u003c/p>\n\u003cfigure id=\"attachment_13847680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg\" alt='San Francisco nonprofit Community Arts Stabilization Trust co-hosted \"Reimagining the Noodle Factory.\"' width=\"800\" height=\"567\" class=\"size-medium wp-image-13847680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory.jpg 1241w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco nonprofit Community Arts Stabilization Trust co-hosted “Reimagining the Noodle Factory.”\u003c/figcaption>\u003c/figure>\n\u003cp>Lease termination after a property transaction isn’t unusual, especially with the intense demand for commercial space in Oakland. But Jackson doesn’t have a real-estate speculator’s credentials: she’s an extensively published \u003ca href=\"http://tdps.berkeley.edu/people/shannon-jackson/\" target=\"_blank\" rel=\"noopener noreferrer\">scholar\u003c/a> of art and social change with \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">close ties\u003c/a> to culture funders such as the Kenneth Rainin Foundation, which supports CAST.\u003c/p>\n\u003cp>\u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAST\u003c/a> is known for developing property for arts uses. For example, the nonprofit offers subsidized rent with the option to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. CAST is also the City of Oakland’s partner in the grant initiative “Keeping Space,” and is currently working with officials to acquire property in Oakland for a multi-tenant arts and culture hub.\u003c/p>\n\u003cp>Burnz could understand being evicted by a baldly profit-seeking landlord. Instead she’s left wondering why a professional culture booster deemed her business undeserving of its longtime home. The reimagining event, with its cultural stabilization pretense, struck Burnz as a case of buzzwords belied by actions: Skyhigh Odditorium’s displacement involved some of the very same people now claiming to work for artists in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13847687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg\" alt=\"Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly. \u003ccite>(Courtesy Skyhigh Odditorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST toured Skyhigh the week Burnz learned her lease wouldn’t be renewed. But Owen Levin, the nonprofit’s director of finance and operations, said CAST wasn’t involved in Jackson’s decision to displace Skyhigh. “CAST is not interested in evicting any artist from any space, and we’re not interested in helping any artist get displaced,” Levin said.\u003c/p>\n\u003cp>CAST’s obligation to Jackson, he continued, was limited to the meeting, but Levin left open the possibility of helping her find new tenants going forward. \u003c/p>\n\u003cp>“It’s not clear to me that it’d be of greater benefit to anyone for us not to work with the landlord,” he said.\u003c/p>\n\u003cp>Shannon Jackson declined multiple interview requests for this article. “We purchased the property with a specific mission about how we planned to use the space,” she wrote in an email. “Our goals for the Noodle Factory partnerships are to support arts and culture in the neighborhood the region, while also adhering to codes for health, fire and safety.”\u003c/p>\n\u003cp>Previous owners of the two-story building at 26th and Union streets harbored similar ambitions.\u003c/p>\n\u003cfigure id=\"attachment_13847685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg\" alt=\"The Northern California Land Trust spent millions renovating the building.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions renovating the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dana Harrison, a financier-turned-Burning Man Project employee, bought the property in 1999, and it became a \u003ca href=\"https://www.eastbayexpress.com/oakland/noodling-around/Content?oid=1091408\">regular venue\u003c/a> for underground parties as well as a residence to as many as 30 people. Daunted by the task of bringing the 19,000 square foot building to code, though, she bequeathed it to the Northern California Land Trust in 2005.\u003c/p>\n\u003cp>The land trust spent millions renovating the building, converting it into 11 live-work condos in addition to the 2,000 square foot performance space with a mezzanine and offices. Using an affordable housing stewardship model, the land trust marketed the units to low-income artists who would benefit from the onsite rehearsal and performance space. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But the development \u003ca href=\"https://www.eastbayexpress.com/oakland/regaining-trust/Content?oid=2959560\">unraveled\u003c/a> after the subprime mortgage crisis, and in 2010 the property went into foreclosure. The land trust filed for bankruptcy, and in 2011 it sold the building to San Francisco real-estate firm Urban Green Investments. When Burnz leased the performance and office unit for Skyhigh in 2012, it was a neglected storage area. \u003c/p>\n\u003cp>Burnz, 35, whose given name is Laiya Baraka, landed in the Bay Area after traveling with a fire-eating troupe, and launched Skyhigh to accommodate her business as an instructor in aerial dancing and other circus arts. Early on, she redid the dilapidated floors and discarded truckloads of garbage. Eventually she subleased workspace to other artists.\u003c/p>\n\u003cp>Burnz got along with Urban Green. After three years, she signed a new lease, and the landlord installed a new kitchen. After the Jacksons bought the property last January for $3,730,000, Burnz was at first heartened to learn Shannon is a performing arts scholar. But the two of them never met. In a Mar. 1, 2018 email, a Lapham Company property manager told Burnz that the owners “are not interested in renewing your lease.”\u003c/p>\n\u003cfigure id=\"attachment_13847689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg\" alt=\"Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burnz solicited dozens of letters of support for Skyhigh, but the owners weren’t persuaded. (The live-work tenants in other units weren’t affected by the transition.) She unsuccessfully tried to find a comparable, similarly affordable space for her business. As the end of her lease drew near, she sought an extension. Through a lawyer, Jackson offered an additional month—at twice the rent. Burnz declined, and moved out July 1.\u003c/p>\n\u003cp>CAST’s community engagement and real-estate development staff toured the building on Mar. 7, but Levin said they had misgivings about the situation, and told Jackson as well as Burnz that they weren’t going to be involved. “They needed to work it out,” he said.\u003c/p>\n\u003cp>But once Skyhigh was gone, he continued, CAST agreed to “consult on the imagining.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burnz only learned CAST was once again working with Jackson the night of the reimagining event in November, when she drove by and saw nonprofit staff talking to her former property managers outside the building. “I saw a balloon, and I was actually excited that someone had rented it for a party,” she said. “And then my heart sunk.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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},
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},
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"isBot": true
}
}
