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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 23-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/21/the-new-orleans-and-bluegrass-mashup-of-bumper-jacksons/\" target=\"_blank\" rel=\"noopener\">Bumper Jacksons mix New Orleans jazz and bluegrass into a lively sound\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 24 and Feb. 26\u003c/strong>:\u003ca href=\"http://www.gogolbordello.com/\" target=\"_blank\" rel=\"noopener\"> The pro-immigration politics and gypsy punk of Gogol Bordello\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13825236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-800x418.jpg\" alt=\"On the Do List this week, KQED's Cy Musiker and Nina Thorsen preview the glamour and substance at Cinequest in San Jose, a chance to see five new operas by West Coast Composers, and the gypsy punk of Gogol Bordello\" width=\"800\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-1020x533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-1180x616.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-960x501.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-375x196.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-520x272.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479.jpg 1587w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the Do List this week, KQED’s Cy Musiker and Nina Thorsen preview the glamour and substance at Cinequest in San Jose, a chance to see five new operas by West Coast Composers, and the gypsy punk of Gogol Bordello. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We talked a few weeks ago on The Do List about the rich dance scene in the Bay Area — and Robert Moses Kin is one of the best.\u003c/p>\n\u003cp>For his 23rd home season, Moses has created a dance out of an unlikely pair of influences: interviews with foster youth in the dance company’s arts training and mentorship program, and interactions with street musicians in San Francisco. The piece is called \u003cem>Bootstrap Tales\u003c/em>, and I met up with him recently with this week’s Do List co-host, KQED Producer Nina Thorsen.\u003c/p>\n\u003cp>“The very idea has motion,” Moses said, “you pull yourself up by your bootstraps. The core of the idea is motion, the core of the idea is the spirit soaring in some way, even if it starts on the ground.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13825177\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342.jpg 1191w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nina and I couldn’t help but be impressed with the respect Moses shows for the street musicians he worked with. “If I spend too much time talking to them,” Moses told us, “and don’t compensate them in the moment, then I’m impinging on their ability to do their job and make a living.” Which is why Moses kept a wad of fives and twenties in his pocket as he walked the streets of San Francisco, paying the musicians for their time along the way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The one thing street musicians hate the most, Moses said, are “zombies”: people who watch and listen, and don’t offer money, a smile, or a thank you. We think audiences for his new dance premiering Feb. 23-25 at the Yerba Buena Center for the Arts will definitely applaud. Details\u003ca href=\"https://www.robertmoseskin.org/performances\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NVqhtPvjDCQ\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We talked a few weeks ago on The Do List about the rich dance scene in the Bay Area — and Robert Moses Kin is one of the best.\u003c/p>\n\u003cp>For his 23rd home season, Moses has created a dance out of an unlikely pair of influences: interviews with foster youth in the dance company’s arts training and mentorship program, and interactions with street musicians in San Francisco. The piece is called \u003cem>Bootstrap Tales\u003c/em>, and I met up with him recently with this week’s Do List co-host, KQED Producer Nina Thorsen.\u003c/p>\n\u003cp>“The very idea has motion,” Moses said, “you pull yourself up by your bootstraps. The core of the idea is motion, the core of the idea is the spirit soaring in some way, even if it starts on the ground.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13825177\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Vincent-Chavez-and-Crystaldawn-Bell-in-RMK27s-Bootstrap-Tales-photo-by-Steven-Disenhof-e1519248413342.jpg 1191w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nina and I couldn’t help but be impressed with the respect Moses shows for the street musicians he worked with. “If I spend too much time talking to them,” Moses told us, “and don’t compensate them in the moment, then I’m impinging on their ability to do their job and make a living.” Which is why Moses kept a wad of fives and twenties in his pocket as he walked the streets of San Francisco, paying the musicians for their time along the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=tLna7S-iF7U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tLna7S-iF7U'\n title='//www.youtube.com/embed/tLna7S-iF7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joby Talbot’s gorgeous choral work \u003cem>Path of Miracles \u003c/em>(2005) is about the Camino de Santiago, the pilgrimage route in Northern Spain dating back to medieval times. Some friends of ODC/Dance Co-Director KT Nelson introduced her to Talbot’s work a few years ago, and Nelson walked the route with her husband. Now she’s set a dance about her experiences to the music. \u003c/p>\n\u003cp>“And I am not religious,” Nelson told me before a rehearsal a few days ago. “But having taken the pilgrimage I got a sense of what the score meant.” \u003c/p>\n\u003cp>Nelson says her work traces the emotional stages that most pilgrims experience. “The first movement is about enthusiasm,” she says. “The second movement is hitting a wall emotionally. The third movement is about acts of kindness, and the fourth is a celebration of finishing and connecting with the community of other pilgrims.”\u003c/p>\n\u003cfigure id=\"attachment_13823371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823371\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg\" alt=\"ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acts of kindness were like subtle miracles. “Somewhere, out of nowhere, someone would help you find a place to stay, or bandage your foot, or tell you where to go to eat,” Nelson says. “And when you’re in the middle of nowhere, and you don’t speak the language, that is pretty wonderful.”\u003c/p>\n\u003cp>The choral group Volti, led by Robert Geary, will sing \u003cem>Path of Miracles\u003c/em> for the two performances of Nelson’s new work at Grace Cathedral on Feb. 9 and 10. Details \u003ca href=\"https://www.odc.dance/Miracles\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And ODC Presents it’s home season at the Yerba Buena Center for the Arts March 15-18. Details \u003ca href=\"https://www.odc.dance/news\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13823365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg\" alt=\"Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson's Path of Miracles\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson’s Path of Miracles \u003ccite>(Photo: Robbie Sweeney/ODC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joby Talbot’s gorgeous choral work \u003cem>Path of Miracles \u003c/em>(2005) is about the Camino de Santiago, the pilgrimage route in Northern Spain dating back to medieval times. Some friends of ODC/Dance Co-Director KT Nelson introduced her to Talbot’s work a few years ago, and Nelson walked the route with her husband. Now she’s set a dance about her experiences to the music. \u003c/p>\n\u003cp>“And I am not religious,” Nelson told me before a rehearsal a few days ago. “But having taken the pilgrimage I got a sense of what the score meant.” \u003c/p>\n\u003cp>Nelson says her work traces the emotional stages that most pilgrims experience. “The first movement is about enthusiasm,” she says. “The second movement is hitting a wall emotionally. The third movement is about acts of kindness, and the fourth is a celebration of finishing and connecting with the community of other pilgrims.”\u003c/p>\n\u003cfigure id=\"attachment_13823371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823371\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg\" alt=\"ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acts of kindness were like subtle miracles. “Somewhere, out of nowhere, someone would help you find a place to stay, or bandage your foot, or tell you where to go to eat,” Nelson says. “And when you’re in the middle of nowhere, and you don’t speak the language, that is pretty wonderful.”\u003c/p>\n\u003cp>The choral group Volti, led by Robert Geary, will sing \u003cem>Path of Miracles\u003c/em> for the two performances of Nelson’s new work at Grace Cathedral on Feb. 9 and 10. Details \u003ca href=\"https://www.odc.dance/Miracles\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And ODC Presents it’s home season at the Yerba Buena Center for the Arts March 15-18. Details \u003ca href=\"https://www.odc.dance/news\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13823365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg\" alt=\"Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson's Path of Miracles\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson’s Path of Miracles \u003ccite>(Photo: Robbie Sweeney/ODC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "How One Company Navigates the Messy Ballet World",
"headTitle": "How One Company Navigates the Messy Ballet World | KQED",
"content": "\u003cp>Onstage, ballet appears to be a refined and noble art, yet offstage it has weathered myriad \u003ca href=\"https://www.newyorker.com/magazine/2013/03/18/danse-macabre\" target=\"_blank\" rel=\"noopener\">sordid\u003c/a> \u003ca href=\"https://www.theglobeandmail.com/arts/books-and-media/book-reviews/inside-the-hard-sad-and-beautiful-world-of-the-ballet-dancer/article4574273/\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a> through the centuries. Today, a handful of the standard-bearing companies around the world are reeling from allegations of \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/dance/peter-martins-ballet-harassment.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a>, \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/dance/no-more-gang-rape-scenes-in-ballets-please.html\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a>, \u003ca href=\"http://www.theartsdesk.com/dance/bolshois-controversial-nureyev-ballet-opens-%E2%80%93-ovations-and-bans\" target=\"_blank\" rel=\"noopener\">homophobia\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>. Dancers have long \u003ca href=\"http://www.nytimes.com/1986/11/15/arts/books-out-of-pain.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> the peculiarly \u003ca href=\"http://www.dancemagazine.com/wilhelmina-frankfurt-peter-martins-investigation-2516966253.html\" target=\"_blank\" rel=\"noopener\">autocratic regimes\u003c/a> in the ballet world, but there’s been little impetus for change in an industry where careers are fleeting, competition is brutal, and ancient traditions are revered.\u003c/p>\n\u003cp>The ballet world is highly stratified, however, and there are small companies that quietly thrive — as if occupying a separate ecosystem. On the threshold of the 24th season of \u003ca href=\"https://diabloballet.org\" target=\"_blank\" rel=\"noopener\">Diablo Ballet\u003c/a>, I spoke with co-founder and artistic director Lauren Jonas about the phenomenon.\u003c/p>\n\u003cp>“When I hear these stories, they feel so foreign to me now,” she muses. “I did experience some of that authoritarianism when I was dancing professionally… I knew when I started Diablo Ballet, I wanted to provide an atmosphere that was different.”\u003c/p>\n\u003cfigure id=\"attachment_13820239\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Farris and Christian Squires in ‘Hamlet and Ophelia’ by Val Caniparoli. (Photo by Bilha Sperlin)\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas points out: “Larger companies may have struggles with a director, but when the director is producing successful work, with strong ticket sales, the board may be reluctant to do anything. But I think there are definitely going to be changes in how some companies are run, not just who’s running them… This is a new movement. It’s fantastic that dancers have felt comfortable to come out and express their feelings.”\u003c/p>\n\u003cp>With just 10 dancers, Diablo presents top-flight classical and contemporary work at venues both large and intimate in Walnut Creek and farther afield. The company has survived a few economic downturns; today, grants from the California Arts Council and from private foundations and individuals augment ticket sales to the tune of about $780,000. (In comparison, mid-sized companies operate typically in the $5–$10 million range; the largest companies are pushing $50 million and up.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On this modest budget, Diablo continues to nurture young choreographers, as well as stage revivals of classic pieces by renowned choreographers like George Balanchine and Val Caniparoli. Performances consistently employ live music — an imperative that many larger companies jettison when money gets tight. And for the past 23 years it has run \u003ca href=\"https://diabloballet.org/peek-outreach/\" target=\"_blank\" rel=\"noopener\">outreach programs\u003c/a> at underserved schools and at juvenile hall.\u003c/p>\n\u003cfigure id=\"attachment_13820242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio-.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Jonas in the Diablo Ballet studio, rehearsing dancers Jordan Tilton and Felipe Leon (Photo courtesy Diablo Ballet).\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Jonas, I looked for insight into how Jonas has steered her company.\u003c/p>\n\u003cp>\u003cstrong>Your dancers have all had experience at larger, established companies, including San Francisco Ballet, Atlanta Ballet, Oregon Ballet Theatre. What do you look for when you hire? \u003c/strong>\u003c/p>\n\u003cp>I’ve always wanted our dancers to look different and to come from different backgrounds — that was my aspiration from the beginning. In a larger company, you often get niched into certain types of ballets, like classical or contemporary, whereas at Diablo you have to dance everything.\u003c/p>\n\u003cp>I have always looked for mature, experienced dancers. With young dancers, you have more training to do… You still have to train these dancers, but it’s not emotional training.\u003c/p>\n\u003cp>Most important, I want a positive working environment with absolutely no drama in the studio. With only four weeks to put on a performance, I’m asking a lot of people! We’ve had a few situations many years ago where one person has brought that tension, and it was hard.\u003c/p>\n\u003cfigure id=\"attachment_13820244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers of Diablo Ballet in ‘Happy Ending’ by Robert Dekkers. (Photo by Bilha Sperling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You went from being a dancer to a company founder. Did you have any role models?\u003c/strong>\u003c/p>\n\u003cp>I’d always had role models as a dancer, but not as a director. Our co-founder Ashraf Habibullah was really my mentor. He’s an industry giant in the field of earthquake engineering and founded a major international company. He not only gave me a business education, he also taught me how to get the most out of people and inspire them.\u003c/p>\n\u003cp>We raised funds and put everything in place step by step; we didn’t rush it. You have to really get to know your community. We don’t have a school, and we need to be a part of the community, so the arts education piece is extremely important. It’s not just about performing; with the educational outreach, you are becoming an investment in the community. When I hire dancers, I make sure that is something that is important to them as well.\u003c/p>\n\u003cfigure id=\"attachment_13820246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820246\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-240x334.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-520x723.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Christian Squires in ‘Tears from Above’ by Val Caniparoli. (Photo by Bilha Sterling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is particularly exciting to you about this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>I’m passionate about supporting the work of young choreographers, like Robert Dekkers, whose \u003cem>Red Shoes\u003c/em> premieres May 4.\u003c/p>\n\u003cp>While Robert in many ways represents our present and our future, I always try to bring back something from the past, and in March, I’m thrilled that Marina Eglevsky will return to the company to stage \u003cem>Solas\u003c/em> by Salvadore Aiello. It’s a solo, about a woman who has just had a major loss; it’s set to “Bachianas Brasileiras” No. 5, a haunting score by Villalobos, which will be performed live. Marina had coached me when I performed it in 1998. This time, she will set it on Rosselyn Ramirez.\u003c/p>\n\u003cp>When I danced this solo, I had just lost my grandfather. He and my parents together had raised me. You see the story evolve in this solo – it’s chilling. Marina’s process as a dancer and as a coach was so inspiring to me; she is very clear in every intention.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/252829391\u003cbr>\n\u003c/aside>\n\u003cp>\n\u003cstrong>The Bay Area has not been immune to ballet company woes. For instance, the messy \u003ca href=\"https://www.mercurynews.com/2016/03/08/silicon-valley-ballet-shutdown-the-writing-was-on-the-wall/\" target=\"_blank\" rel=\"noopener\">demise\u003c/a> of Silicon Valley Ballet — perhaps best known in its previous incarnation as Ballet San Jose and often considered the South Bay’s answer to San Francisco Ballet.\u003c/strong>\u003c/p>\n\u003cp>The loss of Ballet San Jose was devastating. I feel like, if it could happen to them, it could happen to anybody. For San Jose to not have a company is really sad — all that talent!\u003c/p>\n\u003cp>It’s tricky in San Jose because the tech industry is strong but I don’t know how interested they are in dance. Again, it ultimately comes down to knowing your community and what they want. And at the same time, trying to educate and develop audience tastes further, so you gain new audiences without losing the old.\u003c/p>\n\u003cp>\u003cstrong>Have you thought about your own succession at Diablo?\u003c/strong>\u003c/p>\n\u003cp>I think about succession all the time, in terms of management, artistic direction, and our outreach. An organization shouldn’t be dependent on one person, and it was always my desire from the beginning that the company continue beyond me. I’m trying to put the right people in the right seats – though of course it may not be my decision when the time comes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Diablo Ballet’s 24th season kicks off Feb. 2 at the Del Valle Theatre in Walnut Creek. For more information, click \u003ca href=\"https://diabloballet.org/harmonious-beauty/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Diablo Ballet's artistic director Lauren Jonas explains how, amidst scandals and harassment charges in the dance world, she keeps her company thriving.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Onstage, ballet appears to be a refined and noble art, yet offstage it has weathered myriad \u003ca href=\"https://www.newyorker.com/magazine/2013/03/18/danse-macabre\" target=\"_blank\" rel=\"noopener\">sordid\u003c/a> \u003ca href=\"https://www.theglobeandmail.com/arts/books-and-media/book-reviews/inside-the-hard-sad-and-beautiful-world-of-the-ballet-dancer/article4574273/\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a> through the centuries. Today, a handful of the standard-bearing companies around the world are reeling from allegations of \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/dance/peter-martins-ballet-harassment.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a>, \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/dance/no-more-gang-rape-scenes-in-ballets-please.html\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a>, \u003ca href=\"http://www.theartsdesk.com/dance/bolshois-controversial-nureyev-ballet-opens-%E2%80%93-ovations-and-bans\" target=\"_blank\" rel=\"noopener\">homophobia\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>. Dancers have long \u003ca href=\"http://www.nytimes.com/1986/11/15/arts/books-out-of-pain.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> the peculiarly \u003ca href=\"http://www.dancemagazine.com/wilhelmina-frankfurt-peter-martins-investigation-2516966253.html\" target=\"_blank\" rel=\"noopener\">autocratic regimes\u003c/a> in the ballet world, but there’s been little impetus for change in an industry where careers are fleeting, competition is brutal, and ancient traditions are revered.\u003c/p>\n\u003cp>The ballet world is highly stratified, however, and there are small companies that quietly thrive — as if occupying a separate ecosystem. On the threshold of the 24th season of \u003ca href=\"https://diabloballet.org\" target=\"_blank\" rel=\"noopener\">Diablo Ballet\u003c/a>, I spoke with co-founder and artistic director Lauren Jonas about the phenomenon.\u003c/p>\n\u003cp>“When I hear these stories, they feel so foreign to me now,” she muses. “I did experience some of that authoritarianism when I was dancing professionally… I knew when I started Diablo Ballet, I wanted to provide an atmosphere that was different.”\u003c/p>\n\u003cfigure id=\"attachment_13820239\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Farris and Christian Squires in ‘Hamlet and Ophelia’ by Val Caniparoli. (Photo by Bilha Sperlin)\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas points out: “Larger companies may have struggles with a director, but when the director is producing successful work, with strong ticket sales, the board may be reluctant to do anything. But I think there are definitely going to be changes in how some companies are run, not just who’s running them… This is a new movement. It’s fantastic that dancers have felt comfortable to come out and express their feelings.”\u003c/p>\n\u003cp>With just 10 dancers, Diablo presents top-flight classical and contemporary work at venues both large and intimate in Walnut Creek and farther afield. The company has survived a few economic downturns; today, grants from the California Arts Council and from private foundations and individuals augment ticket sales to the tune of about $780,000. (In comparison, mid-sized companies operate typically in the $5–$10 million range; the largest companies are pushing $50 million and up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On this modest budget, Diablo continues to nurture young choreographers, as well as stage revivals of classic pieces by renowned choreographers like George Balanchine and Val Caniparoli. Performances consistently employ live music — an imperative that many larger companies jettison when money gets tight. And for the past 23 years it has run \u003ca href=\"https://diabloballet.org/peek-outreach/\" target=\"_blank\" rel=\"noopener\">outreach programs\u003c/a> at underserved schools and at juvenile hall.\u003c/p>\n\u003cfigure id=\"attachment_13820242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio-.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Jonas in the Diablo Ballet studio, rehearsing dancers Jordan Tilton and Felipe Leon (Photo courtesy Diablo Ballet).\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Jonas, I looked for insight into how Jonas has steered her company.\u003c/p>\n\u003cp>\u003cstrong>Your dancers have all had experience at larger, established companies, including San Francisco Ballet, Atlanta Ballet, Oregon Ballet Theatre. What do you look for when you hire? \u003c/strong>\u003c/p>\n\u003cp>I’ve always wanted our dancers to look different and to come from different backgrounds — that was my aspiration from the beginning. In a larger company, you often get niched into certain types of ballets, like classical or contemporary, whereas at Diablo you have to dance everything.\u003c/p>\n\u003cp>I have always looked for mature, experienced dancers. With young dancers, you have more training to do… You still have to train these dancers, but it’s not emotional training.\u003c/p>\n\u003cp>Most important, I want a positive working environment with absolutely no drama in the studio. With only four weeks to put on a performance, I’m asking a lot of people! We’ve had a few situations many years ago where one person has brought that tension, and it was hard.\u003c/p>\n\u003cfigure id=\"attachment_13820244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers of Diablo Ballet in ‘Happy Ending’ by Robert Dekkers. (Photo by Bilha Sperling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You went from being a dancer to a company founder. Did you have any role models?\u003c/strong>\u003c/p>\n\u003cp>I’d always had role models as a dancer, but not as a director. Our co-founder Ashraf Habibullah was really my mentor. He’s an industry giant in the field of earthquake engineering and founded a major international company. He not only gave me a business education, he also taught me how to get the most out of people and inspire them.\u003c/p>\n\u003cp>We raised funds and put everything in place step by step; we didn’t rush it. You have to really get to know your community. We don’t have a school, and we need to be a part of the community, so the arts education piece is extremely important. It’s not just about performing; with the educational outreach, you are becoming an investment in the community. When I hire dancers, I make sure that is something that is important to them as well.\u003c/p>\n\u003cfigure id=\"attachment_13820246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820246\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-240x334.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-520x723.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Christian Squires in ‘Tears from Above’ by Val Caniparoli. (Photo by Bilha Sterling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is particularly exciting to you about this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>I’m passionate about supporting the work of young choreographers, like Robert Dekkers, whose \u003cem>Red Shoes\u003c/em> premieres May 4.\u003c/p>\n\u003cp>While Robert in many ways represents our present and our future, I always try to bring back something from the past, and in March, I’m thrilled that Marina Eglevsky will return to the company to stage \u003cem>Solas\u003c/em> by Salvadore Aiello. It’s a solo, about a woman who has just had a major loss; it’s set to “Bachianas Brasileiras” No. 5, a haunting score by Villalobos, which will be performed live. Marina had coached me when I performed it in 1998. This time, she will set it on Rosselyn Ramirez.\u003c/p>\n\u003cp>When I danced this solo, I had just lost my grandfather. He and my parents together had raised me. You see the story evolve in this solo – it’s chilling. Marina’s process as a dancer and as a coach was so inspiring to me; she is very clear in every intention.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/252829391\u003cbr>\n\u003c/aside>\n\u003cp>\n\u003cstrong>The Bay Area has not been immune to ballet company woes. For instance, the messy \u003ca href=\"https://www.mercurynews.com/2016/03/08/silicon-valley-ballet-shutdown-the-writing-was-on-the-wall/\" target=\"_blank\" rel=\"noopener\">demise\u003c/a> of Silicon Valley Ballet — perhaps best known in its previous incarnation as Ballet San Jose and often considered the South Bay’s answer to San Francisco Ballet.\u003c/strong>\u003c/p>\n\u003cp>The loss of Ballet San Jose was devastating. I feel like, if it could happen to them, it could happen to anybody. For San Jose to not have a company is really sad — all that talent!\u003c/p>\n\u003cp>It’s tricky in San Jose because the tech industry is strong but I don’t know how interested they are in dance. Again, it ultimately comes down to knowing your community and what they want. And at the same time, trying to educate and develop audience tastes further, so you gain new audiences without losing the old.\u003c/p>\n\u003cp>\u003cstrong>Have you thought about your own succession at Diablo?\u003c/strong>\u003c/p>\n\u003cp>I think about succession all the time, in terms of management, artistic direction, and our outreach. An organization shouldn’t be dependent on one person, and it was always my desire from the beginning that the company continue beyond me. I’m trying to put the right people in the right seats – though of course it may not be my decision when the time comes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Diablo Ballet’s 24th season kicks off Feb. 2 at the Del Valle Theatre in Walnut Creek. For more information, click \u003ca href=\"https://diabloballet.org/harmonious-beauty/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A New Dance Show About Ray and Charles Eames",
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"content": "\u003cp>Kristin Damrow and Company’s new dance show is sure to appeal to not only fans of modern dance, but fans mid-century modern design, too. \u003cem>Eames\u003c/em>, running at ODC Theater from Jan. 25–28, is the story of iconic designers Charles and Ray Eames told through choreography. Ray, a painter, and Charles, an architect, revolutionized the face of furniture design in the 1950s. But there is a lesser-known Eames story — the one about their relationship as husband and wife, and as collaborative business partners. In particular, how Ray’s struggle and courage helped pave the way for women designers and artists to be acknowledged for their work.\u003c/p>\n\u003cp>But… dancing about furniture design? How do you do that? I met up with Damrow to ask how — and she said although she gleaned some inspiration from the Eames’ designs, her show is really the story of Ray. “Not that many people knew she was a woman, they often thought they were male business partners,” Damrow says. “So, within the dance, a unique part of the story that I do highlight is that Charles was in the limelight a lot, and Ray was pushed back.”\u003c/p>\n\u003cfigure id=\"attachment_13819423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Eames.Allegra-800x765.jpg\" alt=\"Allegra Bautista in 'Eames.'\" width=\"800\" height=\"765\" class=\"size-medium wp-image-13819423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-768x734.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-520x497.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allegra Bautista in ‘Eames.’ \u003ccite>(George E. Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re a newcomer to the Eames, that’s OK — there’ll be a pop-up museum in the theater showing off their furniture and other designs. Just know that it wasn’t the work of two brothers. “I think it was quite unique,” Damrow says, “that there was this woman in the ’50s who really spearheaded all these new design ideas, and just now she’s getting recognized for what she did.”\u003c/p>\n\u003cp>Kristin Damrow & Company present \u003cem>Eames\u003c/em> at ODC in San Francisco Thursday through Sunday, January 25–28. \u003ca href=\"http://www.kdc-eames.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kristin Damrow and Company’s new dance show is sure to appeal to not only fans of modern dance, but fans mid-century modern design, too. \u003cem>Eames\u003c/em>, running at ODC Theater from Jan. 25–28, is the story of iconic designers Charles and Ray Eames told through choreography. Ray, a painter, and Charles, an architect, revolutionized the face of furniture design in the 1950s. But there is a lesser-known Eames story — the one about their relationship as husband and wife, and as collaborative business partners. In particular, how Ray’s struggle and courage helped pave the way for women designers and artists to be acknowledged for their work.\u003c/p>\n\u003cp>But… dancing about furniture design? How do you do that? I met up with Damrow to ask how — and she said although she gleaned some inspiration from the Eames’ designs, her show is really the story of Ray. “Not that many people knew she was a woman, they often thought they were male business partners,” Damrow says. “So, within the dance, a unique part of the story that I do highlight is that Charles was in the limelight a lot, and Ray was pushed back.”\u003c/p>\n\u003cfigure id=\"attachment_13819423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Eames.Allegra-800x765.jpg\" alt=\"Allegra Bautista in 'Eames.'\" width=\"800\" height=\"765\" class=\"size-medium wp-image-13819423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-768x734.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-520x497.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Eames.Allegra-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allegra Bautista in ‘Eames.’ \u003ccite>(George E. Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re a newcomer to the Eames, that’s OK — there’ll be a pop-up museum in the theater showing off their furniture and other designs. Just know that it wasn’t the work of two brothers. “I think it was quite unique,” Damrow says, “that there was this woman in the ’50s who really spearheaded all these new design ideas, and just now she’s getting recognized for what she did.”\u003c/p>\n\u003cp>Kristin Damrow & Company present \u003cem>Eames\u003c/em> at ODC in San Francisco Thursday through Sunday, January 25–28. \u003ca href=\"http://www.kdc-eames.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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