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"content": "\u003cp>It’s a week before opening night when, during a break in rehearsal, dancer-choreographer Yayoi Kambara reminisces about the 2011 ceremony at Oakland’s glamorous Paramount Theater in which she became a naturalized U.S. citizen. “I was really moved,” she recalls. “We were such a large group of people of so many languages, colors and hopes.”\u003c/p>\n\u003cp>The memory is ever more meaningful to her current work. When we talk, Kambara is in preparations for her new dance work titled \u003ca href=\"http://www.kambaraplus.org/work/\" target=\"_blank\" rel=\"noopener\">\u003cem>IKKAI: Once\u003c/em>\u003c/a>, running Jan. 19–20 at ODC Theater, which reflects on the \u003ca href=\"http://densho.org/core-story/\" target=\"_blank\" rel=\"noopener\">internment of Japanese Americans\u003c/a> during World War II. As Kambara guides the fledgling ensemble of eight, formally known as \u003ca href=\"http://www.kambaraplus.org\" target=\"_blank\" rel=\"noopener\">KAMBARA + DANCERS\u003c/a>, through intriguing formations and alternately tender and menacing interactions in a studio at the ODC Dance Commons, I note their striking individuality.\u003c/p>\n\u003cp>“I do like having dancers of different colors and shapes,” Kambara declares. “I think they like to work with me because we have a mutual understanding about being ‘other’ in this country. We all speak different languages — some are biracial, genderqueer, gay, coffee-colored, chocolate-colored, tan.”\u003c/p>\n\u003cfigure id=\"attachment_13819203\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0665-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Kung with Amy Foley, Leesha Zieber, Wailana Simcock, Edisnel Rodriguez, Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance marks the \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">inaugural home season\u003c/a> for KAMBARA + DANCERS at the ODC Theater. As it turns out, the idea of ‘home’ is a fluid one for Kambara. Born in Japan, her family moved to the U.S. when she was six, and also lived for a time in England. She says that issues around citizenship have increasingly preoccupied her as she witnesses the ugly confrontations around immigration in this country, and she worries about the future that awaits her young bi-racial daughters. “Though I feel we’re safe in San Francisco,” she adds, though her expression remains quizzical, as if she isn’t entirely sure.\u003c/p>\n\u003cp>Her own extended family, mostly in Japan, were not caught up in the American internments. But Kambara rightly notes that many Americans, especially outside California, are unfamiliar with this infamous episode in World War II history, which capped a long surge in anti-Japanese sentiment. And she shares growing fear over the demonization of immigrant communities, of the ‘other,’ in the era of Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says, lately, she has seen more about the wartime internments in the Japanese press. Japan is spooked by unstable leaders in both North Korea and the U.S. Thus, she believes “the fear of war and nuclear holocaust is on our collective minds. So, I think we feel the urge to revisit history.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/240263314\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the Bay Area, Kambara has been a compelling presence onstage not just with her 12-year stint with ODC Dance but as a freelance artist with other area troupes. As a \u003ca href=\"http://www.sfgate.com/art/article/After-decade-growing-up-with-ODC-a-dancer-moves-6119018.php\" target=\"_blank\" rel=\"noopener\">performer\u003c/a>, she enjoys a devoted following, many of whom eagerly support her \u003ca href=\"http://dancersgroup.org/2018/01/speak-5/\" target=\"_blank\" rel=\"noopener\">new endeavors\u003c/a> in choreography.\u003c/p>\n\u003cp>One such piece is \u003ca href=\"http://www.dailyserving.com/2017/05/who-do-you-trust-at-the-asian-art-museum/\" target=\"_blank\" rel=\"noopener\">\u003cem>On Trust\u003c/em>\u003c/a>, an interactive performance piece created last year at the Asian Art Museum. (It will be restaged for this upcoming season.) Danced to a soundtrack incorporating audio clips of people describing, often haltingly, what trust means to them, it was performed at the museum repeatedly within the span of two hours, as people walked through the performance exhibit space. Between the formal performances, the dancers wandered around the museum asking attendees to cut a piece of their costume away and write the name of someone they trusted on the strip. They collected the ragged strips and used them like confetti in their dance.\u003c/p>\n\u003cp>“It was an homage of sorts to Yoko Ono,” says Kambara, referring to Ono’s 1964 \u003ca href=\"https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964\" target=\"_blank\" rel=\"noopener\">\u003cem>Cut Piece\u003c/em>\u003c/a>. “Some people were excited to use scissors so near the dancers’ skin, while others were nervous.”\u003c/p>\n\u003cp>It’s this kind of visceral curiosity, coupled with an impishness and generosity of spirit, that has infused Kambara’s work to date.\u003c/p>\n\u003cfigure id=\"attachment_13819204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0697-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wailana Simcock and Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>IKKAI:Once\u003c/em> may be her most ambitious. For this, she mined the \u003ca href=\"http://densho.org/archives/\" target=\"_blank\" rel=\"noopener\">Densho Archives\u003c/a> and interviewed survivors of the internment camps – third-generation Japanese-Americans including poet and activist \u003ca href=\"https://theculturetrip.com/north-america/usa/california/articles/what-you-didnt-know-about-janice-mirikitani/\" target=\"_blank\" rel=\"noopener\">Janice Mirikitani,\u003c/a> \u003ca href=\"http://www.pbs.org/childofcamp/project/index.html\" target=\"_blank\" rel=\"noopener\">Dr. Satsuki Ina\u003c/a>, and Norman Fumiyo Ikeda. The interview clips reveal in poignant and stark detail the humiliations, the dislocations and deprivations suffered by the camp detainees. And, in the aftermath, the culture of silence, the desperate need to “not make a fuss,” the pressure to become model citizens. First names were changed and eyelids were scotch-taped – all in the struggle to fit in with white society. A track from spoken word artist and rapper \u003ca href=\"http://colinresponse.tumblr.com/senbei\" target=\"_blank\" rel=\"noopener\">Colin Masashi “Senbei” Ehara\u003c/a> further drives home some scathing truths.\u003c/p>\n\u003cp>The performance’s mood, at least in rehearsal, is far from tragic. A vein of optimism shines through the darker material, and Kambara’s wit is evident in many intimate encounters between the dancers, as well as their manipulation of visual artist Dana Kawano’s eye-catching oil-paper umbrellas. Whether these elements coalesce onstage to serve as the wake-up call Kambara intends, the program as a whole – which includes the reprise of two very different pieces, \u003cem>Near and Dear\u003c/em> and \u003cem>To.Get.Her\u003c/em> – gives San Francisco audiences a look at the protean inventiveness of a young choreographic mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on KAMBARA + DANCERS’ inaugural home season, running Jan. 19–20 at the ODC Theater in San Francisco, see \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Yayoi Kambara's latest work is also her most ambitious and personal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a week before opening night when, during a break in rehearsal, dancer-choreographer Yayoi Kambara reminisces about the 2011 ceremony at Oakland’s glamorous Paramount Theater in which she became a naturalized U.S. citizen. “I was really moved,” she recalls. “We were such a large group of people of so many languages, colors and hopes.”\u003c/p>\n\u003cp>The memory is ever more meaningful to her current work. When we talk, Kambara is in preparations for her new dance work titled \u003ca href=\"http://www.kambaraplus.org/work/\" target=\"_blank\" rel=\"noopener\">\u003cem>IKKAI: Once\u003c/em>\u003c/a>, running Jan. 19–20 at ODC Theater, which reflects on the \u003ca href=\"http://densho.org/core-story/\" target=\"_blank\" rel=\"noopener\">internment of Japanese Americans\u003c/a> during World War II. As Kambara guides the fledgling ensemble of eight, formally known as \u003ca href=\"http://www.kambaraplus.org\" target=\"_blank\" rel=\"noopener\">KAMBARA + DANCERS\u003c/a>, through intriguing formations and alternately tender and menacing interactions in a studio at the ODC Dance Commons, I note their striking individuality.\u003c/p>\n\u003cp>“I do like having dancers of different colors and shapes,” Kambara declares. “I think they like to work with me because we have a mutual understanding about being ‘other’ in this country. We all speak different languages — some are biracial, genderqueer, gay, coffee-colored, chocolate-colored, tan.”\u003c/p>\n\u003cfigure id=\"attachment_13819203\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0665-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Kung with Amy Foley, Leesha Zieber, Wailana Simcock, Edisnel Rodriguez, Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance marks the \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">inaugural home season\u003c/a> for KAMBARA + DANCERS at the ODC Theater. As it turns out, the idea of ‘home’ is a fluid one for Kambara. Born in Japan, her family moved to the U.S. when she was six, and also lived for a time in England. She says that issues around citizenship have increasingly preoccupied her as she witnesses the ugly confrontations around immigration in this country, and she worries about the future that awaits her young bi-racial daughters. “Though I feel we’re safe in San Francisco,” she adds, though her expression remains quizzical, as if she isn’t entirely sure.\u003c/p>\n\u003cp>Her own extended family, mostly in Japan, were not caught up in the American internments. But Kambara rightly notes that many Americans, especially outside California, are unfamiliar with this infamous episode in World War II history, which capped a long surge in anti-Japanese sentiment. And she shares growing fear over the demonization of immigrant communities, of the ‘other,’ in the era of Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says, lately, she has seen more about the wartime internments in the Japanese press. Japan is spooked by unstable leaders in both North Korea and the U.S. Thus, she believes “the fear of war and nuclear holocaust is on our collective minds. So, I think we feel the urge to revisit history.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/240263314\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the Bay Area, Kambara has been a compelling presence onstage not just with her 12-year stint with ODC Dance but as a freelance artist with other area troupes. As a \u003ca href=\"http://www.sfgate.com/art/article/After-decade-growing-up-with-ODC-a-dancer-moves-6119018.php\" target=\"_blank\" rel=\"noopener\">performer\u003c/a>, she enjoys a devoted following, many of whom eagerly support her \u003ca href=\"http://dancersgroup.org/2018/01/speak-5/\" target=\"_blank\" rel=\"noopener\">new endeavors\u003c/a> in choreography.\u003c/p>\n\u003cp>One such piece is \u003ca href=\"http://www.dailyserving.com/2017/05/who-do-you-trust-at-the-asian-art-museum/\" target=\"_blank\" rel=\"noopener\">\u003cem>On Trust\u003c/em>\u003c/a>, an interactive performance piece created last year at the Asian Art Museum. (It will be restaged for this upcoming season.) Danced to a soundtrack incorporating audio clips of people describing, often haltingly, what trust means to them, it was performed at the museum repeatedly within the span of two hours, as people walked through the performance exhibit space. Between the formal performances, the dancers wandered around the museum asking attendees to cut a piece of their costume away and write the name of someone they trusted on the strip. They collected the ragged strips and used them like confetti in their dance.\u003c/p>\n\u003cp>“It was an homage of sorts to Yoko Ono,” says Kambara, referring to Ono’s 1964 \u003ca href=\"https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964\" target=\"_blank\" rel=\"noopener\">\u003cem>Cut Piece\u003c/em>\u003c/a>. “Some people were excited to use scissors so near the dancers’ skin, while others were nervous.”\u003c/p>\n\u003cp>It’s this kind of visceral curiosity, coupled with an impishness and generosity of spirit, that has infused Kambara’s work to date.\u003c/p>\n\u003cfigure id=\"attachment_13819204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0697-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wailana Simcock and Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>IKKAI:Once\u003c/em> may be her most ambitious. For this, she mined the \u003ca href=\"http://densho.org/archives/\" target=\"_blank\" rel=\"noopener\">Densho Archives\u003c/a> and interviewed survivors of the internment camps – third-generation Japanese-Americans including poet and activist \u003ca href=\"https://theculturetrip.com/north-america/usa/california/articles/what-you-didnt-know-about-janice-mirikitani/\" target=\"_blank\" rel=\"noopener\">Janice Mirikitani,\u003c/a> \u003ca href=\"http://www.pbs.org/childofcamp/project/index.html\" target=\"_blank\" rel=\"noopener\">Dr. Satsuki Ina\u003c/a>, and Norman Fumiyo Ikeda. The interview clips reveal in poignant and stark detail the humiliations, the dislocations and deprivations suffered by the camp detainees. And, in the aftermath, the culture of silence, the desperate need to “not make a fuss,” the pressure to become model citizens. First names were changed and eyelids were scotch-taped – all in the struggle to fit in with white society. A track from spoken word artist and rapper \u003ca href=\"http://colinresponse.tumblr.com/senbei\" target=\"_blank\" rel=\"noopener\">Colin Masashi “Senbei” Ehara\u003c/a> further drives home some scathing truths.\u003c/p>\n\u003cp>The performance’s mood, at least in rehearsal, is far from tragic. A vein of optimism shines through the darker material, and Kambara’s wit is evident in many intimate encounters between the dancers, as well as their manipulation of visual artist Dana Kawano’s eye-catching oil-paper umbrellas. Whether these elements coalesce onstage to serve as the wake-up call Kambara intends, the program as a whole – which includes the reprise of two very different pieces, \u003cem>Near and Dear\u003c/em> and \u003cem>To.Get.Her\u003c/em> – gives San Francisco audiences a look at the protean inventiveness of a young choreographic mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on KAMBARA + DANCERS’ inaugural home season, running Jan. 19–20 at the ODC Theater in San Francisco, see \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=J4CIO4uPpMw]\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J4CIO4uPpMw'\n title='//www.youtube.com/embed/J4CIO4uPpMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details 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/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\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>It was a year of small gains and unrelenting setbacks, but the Bay Area held strong in 2017: making inspired art, expressing ourselves and leading the national resistance. Against a backdrop of often-overwhelming crises, individual artists showed us how to keep moving forward.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/05/03/salma-al-aasal-t%E2%80%A6\" target=\"_blank\" rel=\"noopener\">A day after the presidential inauguration\u003c/a>, an estimated 300,000 people linked arms and merged voices in women’s marches across the Bay Area, joining nearly 5 million marchers worldwide. Distributed at many of these marches were copies of \u003cem>Resist\u003c/em>, a 40-page newspaper featuring political cartoons and graphics capturing “women’s voices” in response to the new administration. Among those voices was work by \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">14-year-old political cartoonist and Oakland 8th-grader Quinn Nelson\u003c/a>.\u003c/p>\n\u003cp>In answer to the president’s attempts at initiating a travel ban on citizens from seven Muslim-majority nations, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/03/salma-al-aasal-t%E2%80%A6\" target=\"_blank\" rel=\"noopener\">Sudanese singer Salma Al Aasal \u003c/a>joined Aswat Ensemble and other guests at Oakland’s Islamic Cultural Center of Northern California to perform \u003cem>Notes Against the Ban\u003c/em>, music from Libya, Yemen, Iran, Syria, Somalia, Sudan and Iraq.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/soltron-a-new-musical-message-of-resistance/\" target=\"_blank\" rel=\"noopener\">Mission-based band Soltron\u003c/a> brought their Afro-Cuban sound to the streets of San Francisco, challenging local gentrification and national politics with horns, drums and snappy beats.\u003c/p>\n\u003cp>Throughout the year, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/26/video-dancers-and-artists-stand-up-to-bigotry-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Bay Area met hate and prejudice\u003c/a> with song, dance and celebration. In this video, we highlight some of the many artists who helped us navigate the heartbreaks and disappointments, and celebrate the moments when the Bay Area’s creativity, resilience, and collective strength shined bright.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With cinematography by Claudia Escobar, Kelly Whalen, Elie Khadra, Benjamin Michel, Peter Ruocco, Mike Seely, Omid Zoufonoun, Armando Aparicio, and Manjula Varghese, editing by Kelly Whalen, and music by UC Berkeley alumna \u003ca href=\"http://milckmusic.com\" target=\"_blank\" rel=\"noopener\">Connie Lim, aka MILCK\u003c/a>, and \u003ca href=\"https://www.youtube.com/watch?v=Tl_Qfj8780M\" target=\"_blank\" rel=\"noopener\">her breathtaking song \u003cem>Quiet\u003c/em>\u003c/a>, we close out 2017 remembering we can’t and won’t be quiet. – Text \u003cem>by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a year of small gains and unrelenting setbacks, but the Bay Area held strong in 2017: making inspired art, expressing ourselves and leading the national resistance. Against a backdrop of often-overwhelming crises, individual artists showed us how to keep moving forward.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/05/03/salma-al-aasal-t%E2%80%A6\" target=\"_blank\" rel=\"noopener\">A day after the presidential inauguration\u003c/a>, an estimated 300,000 people linked arms and merged voices in women’s marches across the Bay Area, joining nearly 5 million marchers worldwide. Distributed at many of these marches were copies of \u003cem>Resist\u003c/em>, a 40-page newspaper featuring political cartoons and graphics capturing “women’s voices” in response to the new administration. Among those voices was work by \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">14-year-old political cartoonist and Oakland 8th-grader Quinn Nelson\u003c/a>.\u003c/p>\n\u003cp>In answer to the president’s attempts at initiating a travel ban on citizens from seven Muslim-majority nations, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/03/salma-al-aasal-t%E2%80%A6\" target=\"_blank\" rel=\"noopener\">Sudanese singer Salma Al Aasal \u003c/a>joined Aswat Ensemble and other guests at Oakland’s Islamic Cultural Center of Northern California to perform \u003cem>Notes Against the Ban\u003c/em>, music from Libya, Yemen, Iran, Syria, Somalia, Sudan and Iraq.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/soltron-a-new-musical-message-of-resistance/\" target=\"_blank\" rel=\"noopener\">Mission-based band Soltron\u003c/a> brought their Afro-Cuban sound to the streets of San Francisco, challenging local gentrification and national politics with horns, drums and snappy beats.\u003c/p>\n\u003cp>Throughout the year, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/26/video-dancers-and-artists-stand-up-to-bigotry-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Bay Area met hate and prejudice\u003c/a> with song, dance and celebration. In this video, we highlight some of the many artists who helped us navigate the heartbreaks and disappointments, and celebrate the moments when the Bay Area’s creativity, resilience, and collective strength shined bright.\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>With cinematography by Claudia Escobar, Kelly Whalen, Elie Khadra, Benjamin Michel, Peter Ruocco, Mike Seely, Omid Zoufonoun, Armando Aparicio, and Manjula Varghese, editing by Kelly Whalen, and music by UC Berkeley alumna \u003ca href=\"http://milckmusic.com\" target=\"_blank\" rel=\"noopener\">Connie Lim, aka MILCK\u003c/a>, and \u003ca href=\"https://www.youtube.com/watch?v=Tl_Qfj8780M\" target=\"_blank\" rel=\"noopener\">her breathtaking song \u003cem>Quiet\u003c/em>\u003c/a>, we close out 2017 remembering we can’t and won’t be quiet. – Text \u003cem>by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://counterpulse.org\">CounterPulse\u003c/a>’s residency programs cover a lot of conceptual ground. In 2017, they’ve produced the “edge,” the “combustible,” and now the “diaspora” residencies, where two different artists or groups give us an evening of performance often form-fitted to the company’s Tenderloin space. Despite the thematic overlay, what you get always feels idiosyncratic, human, and alive to a vast variety of experiences.\u003c/p>\n\u003cp>In many ways the series is a sly and casual inversion of what we’ve come to understand as the epic. There are no superheroes or villains, no cities under threat of alien invasion, no CGI of worlds at war and vast armies. Instead, there’s a simple understanding that to experience the epic, we have to identify with its opposite — the lost traveller (Odysseus), the scared child (Huckleberry Finn), the harried bureaucrat (Joseph K.), anyone who feels the vastness of our everyday world and is at its mercy.\u003c/p>\n\u003cp>And so \u003cem>Performing Diaspora 2017\u003c/em> offers to great effect two delicate heroes — the son, and specifically the idea of the son, in Javier Stell-Frésquez, Ivan “Ivy” Monteiro, and Davia Spain’s \u003cem>Mother The Verb\u003c/em>, and a lonely witness to atrocity in choreographer Randy Reyes’ \u003cem>Lxs Desaparecidxs\u003c/em>.\u003c/p>\n\u003ch2>‘Mother the Verb\u003c/h2>\n\u003cfigure id=\"attachment_13817220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817220 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-800x450.jpg\" alt=\"Javier Stell-Frésquez searches for his mother in the distance in 'Mother The Verb' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Stell-Frésquez searches for his mother in the distance in ‘Mother The Verb’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first, \u003cem>Mother The Verb\u003c/em> has the feel of a performance art stunt. Stell-Frésquez stands next to a coatrack in the CounterPulse lobby with a sign that says, “Dress Me As My Authentic Self.” Let’s just say he has quite a roving eye for the clothing of random audience members. Escape that trap and you’ll find yourself face-to-face with Monteiro (camped out on the theater’s risers) in a massive wig of wavy black hair and two plastic spray cans taped to his chest, spouting lines seemingly swiped from any number of nightmare mother plays — “I’m done trying to make you comfortable, fit in!”\u003c/p>\n\u003cp>In an audience discussion afterwards, the performers were vaguely surprised that everyone seemed a little wary during the prologue. They might underestimate the intensity of their personas, the way their commitment to the moment verges on what feels like a brutal psychic break with the world. Nothing that follows would dispel that notion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The conflict is archetypal: the hectoring mother and the son seeking escape. Stell-Frésquez’s long flowing hair and Monteiro’s nutty wig give them the look of mismatched twins. The first time they approach each other is more than a little disconcerting, and as the piece continues there are times where they are impossible to tell apart. Or, better put, their performances are so tightly bound that it’s easy to lose sight of the one for the other, as they seem to switch roles and flip back again in an instance.\u003c/p>\n\u003cfigure id=\"attachment_13817214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-800x451.jpg\" alt=\"Javier Stell-Frésquez and Ivan “Ivy” Monteiro dance a strange duet in 'Mother The Verb' at CounterPulse.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Stell-Frésquez and Ivan “Ivy” Monteiro dance a strange duet in ‘Mother The Verb’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stell-Frésquez is a graceful and fluid dancer. You can feel the joy and precision of ballet in his movements, whereas Monteiro’s body is powerful and earthbound. To see them tied together by a swatch of red cloth as they try to negotiate a series of complex flips and turns is to see two people who can’t quite be free with or without each other. The contrast is shocking in its precision and the failure of their duet a crucial part of the tense beauty on show here.\u003c/p>\n\u003cp>It’s as if the dance is dedicated to confounding and succumbing to all the failures of motherhood, both as a debt and an endless source of creative inspiration. So, true to its title, \u003cem>Mother The Verb\u003c/em> is constantly acting out and searching for new ways of being. When Stell-Frésquez lets loose a huge sheet of clear plastic over the stage, the child’s desires and the world suddenly become enormous. And in a touching end, it is that sense of a limitless imagination that proves too much for the mother to survive.\u003c/p>\n\u003ch2>‘Lxs Desaparecidxs’\u003c/h2>\n\u003cfigure id=\"attachment_13817212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-800x440.jpg\" alt=\"(L to R) Dancers Felix (Sol) Linck Frenz, Emilia Martinez Brumbaugh, Jose Abad, Randy Reyes, Stephanie Hewett and Bariel Christian feel the presence of the missing in 'Lxs Desaparecidxs' at CounterPulse.\" width=\"800\" height=\"440\" class=\"size-medium wp-image-13817212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-520x286.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Dancers Felix (Sol) Linck Frenz, Emilia Martinez Brumbaugh, Jose Abad, Randy Reyes, Stephanie Hewett and Bariel Christian feel the presence of the missing in ‘Lxs Desaparecidxs’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lxs Desaparecidxs\u003c/em> really begins before it begins. As we return from the lobby to the theater, the dancers are huddled together off to the side of the risers. At a glance it feels like nothing more than a brief glimpse of a backstage get-together, and yet a more careful appraisal would have caught the religious overtones — bowed heads and an altar — and a sense that something or someone is missing.\u003c/p>\n\u003cp>But you unconsciously forget that as the dancers file onto the stage one after the other. And then they stand there. And then one person falls and gets up. And another. And another. Over and over again.\u003c/p>\n\u003cp>The opening has all the qualities of an exercise or game, a bit of contact improv, though each dancer does hit the ground with a nice, hollow thud. It’s the type of thud that makes you think a soul has departed; that is, if it weren’t for the way their eyes flutter while on the ground, and the preternatural way they hop back up.\u003c/p>\n\u003cp>Gradually, falling turns into snuggling, and snuggling turns into strange, precise swipes at one and other. A wrestling match breaks out, and then music, and we’re at a disco. The dancing turns solitary and frenzied, yet you feel the presence of others. And what was a slight feeling — someone’s missing — becomes a conscious idea. You start to think that there’s some invisible force or world shaping every aspect of these people’s lives.\u003c/p>\n\u003cfigure id=\"attachment_13817222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-800x447.jpg\" alt=\"Reyes and his dancers start to strip off their clothes, though they never finish in 'Lxs Desaparecidxs' at CounterPulse.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-1020x569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-1920x1072.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-960x536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-520x290.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reyes and his dancers start to strip off their clothes, though they never finish in ‘Lxs Desaparecidxs’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes’ choreography is so fluid that you forget that anything is happening, and yet in the end the question of who is \u003cem>not\u003c/em> there is addressed, at least as it pertains to rituals and why we might have gathered at CounterPulse to begin with. We can at least say that there has been an offering to the unknown world around us, and that someone has kept a keen eye on the world of the missing.\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>‘Performing Diaspora 2017’ runs through Saturday, Dec. 16 at CounterPulse. For tickets and information \u003ca href=\"http://counterpulse.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Two invigorating pieces resonate for those who feel the vastness of our everyday world and are at its mercy.\r\n",
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"title": "Two Sly Inversions of the Epic at CounterPulse's 'Diaspora 2017' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://counterpulse.org\">CounterPulse\u003c/a>’s residency programs cover a lot of conceptual ground. In 2017, they’ve produced the “edge,” the “combustible,” and now the “diaspora” residencies, where two different artists or groups give us an evening of performance often form-fitted to the company’s Tenderloin space. Despite the thematic overlay, what you get always feels idiosyncratic, human, and alive to a vast variety of experiences.\u003c/p>\n\u003cp>In many ways the series is a sly and casual inversion of what we’ve come to understand as the epic. There are no superheroes or villains, no cities under threat of alien invasion, no CGI of worlds at war and vast armies. Instead, there’s a simple understanding that to experience the epic, we have to identify with its opposite — the lost traveller (Odysseus), the scared child (Huckleberry Finn), the harried bureaucrat (Joseph K.), anyone who feels the vastness of our everyday world and is at its mercy.\u003c/p>\n\u003cp>And so \u003cem>Performing Diaspora 2017\u003c/em> offers to great effect two delicate heroes — the son, and specifically the idea of the son, in Javier Stell-Frésquez, Ivan “Ivy” Monteiro, and Davia Spain’s \u003cem>Mother The Verb\u003c/em>, and a lonely witness to atrocity in choreographer Randy Reyes’ \u003cem>Lxs Desaparecidxs\u003c/em>.\u003c/p>\n\u003ch2>‘Mother the Verb\u003c/h2>\n\u003cfigure id=\"attachment_13817220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817220 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-800x450.jpg\" alt=\"Javier Stell-Frésquez searches for his mother in the distance in 'Mother The Verb' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP10-e1513068244566-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Stell-Frésquez searches for his mother in the distance in ‘Mother The Verb’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first, \u003cem>Mother The Verb\u003c/em> has the feel of a performance art stunt. Stell-Frésquez stands next to a coatrack in the CounterPulse lobby with a sign that says, “Dress Me As My Authentic Self.” Let’s just say he has quite a roving eye for the clothing of random audience members. Escape that trap and you’ll find yourself face-to-face with Monteiro (camped out on the theater’s risers) in a massive wig of wavy black hair and two plastic spray cans taped to his chest, spouting lines seemingly swiped from any number of nightmare mother plays — “I’m done trying to make you comfortable, fit in!”\u003c/p>\n\u003cp>In an audience discussion afterwards, the performers were vaguely surprised that everyone seemed a little wary during the prologue. They might underestimate the intensity of their personas, the way their commitment to the moment verges on what feels like a brutal psychic break with the world. Nothing that follows would dispel that notion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The conflict is archetypal: the hectoring mother and the son seeking escape. Stell-Frésquez’s long flowing hair and Monteiro’s nutty wig give them the look of mismatched twins. The first time they approach each other is more than a little disconcerting, and as the piece continues there are times where they are impossible to tell apart. Or, better put, their performances are so tightly bound that it’s easy to lose sight of the one for the other, as they seem to switch roles and flip back again in an instance.\u003c/p>\n\u003cfigure id=\"attachment_13817214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-800x451.jpg\" alt=\"Javier Stell-Frésquez and Ivan “Ivy” Monteiro dance a strange duet in 'Mother The Verb' at CounterPulse.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP3-e1513066347983-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Stell-Frésquez and Ivan “Ivy” Monteiro dance a strange duet in ‘Mother The Verb’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stell-Frésquez is a graceful and fluid dancer. You can feel the joy and precision of ballet in his movements, whereas Monteiro’s body is powerful and earthbound. To see them tied together by a swatch of red cloth as they try to negotiate a series of complex flips and turns is to see two people who can’t quite be free with or without each other. The contrast is shocking in its precision and the failure of their duet a crucial part of the tense beauty on show here.\u003c/p>\n\u003cp>It’s as if the dance is dedicated to confounding and succumbing to all the failures of motherhood, both as a debt and an endless source of creative inspiration. So, true to its title, \u003cem>Mother The Verb\u003c/em> is constantly acting out and searching for new ways of being. When Stell-Frésquez lets loose a huge sheet of clear plastic over the stage, the child’s desires and the world suddenly become enormous. And in a touching end, it is that sense of a limitless imagination that proves too much for the mother to survive.\u003c/p>\n\u003ch2>‘Lxs Desaparecidxs’\u003c/h2>\n\u003cfigure id=\"attachment_13817212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-800x440.jpg\" alt=\"(L to R) Dancers Felix (Sol) Linck Frenz, Emilia Martinez Brumbaugh, Jose Abad, Randy Reyes, Stephanie Hewett and Bariel Christian feel the presence of the missing in 'Lxs Desaparecidxs' at CounterPulse.\" width=\"800\" height=\"440\" class=\"size-medium wp-image-13817212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP9-e1513065846194-520x286.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Dancers Felix (Sol) Linck Frenz, Emilia Martinez Brumbaugh, Jose Abad, Randy Reyes, Stephanie Hewett and Bariel Christian feel the presence of the missing in ‘Lxs Desaparecidxs’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lxs Desaparecidxs\u003c/em> really begins before it begins. As we return from the lobby to the theater, the dancers are huddled together off to the side of the risers. At a glance it feels like nothing more than a brief glimpse of a backstage get-together, and yet a more careful appraisal would have caught the religious overtones — bowed heads and an altar — and a sense that something or someone is missing.\u003c/p>\n\u003cp>But you unconsciously forget that as the dancers file onto the stage one after the other. And then they stand there. And then one person falls and gets up. And another. And another. Over and over again.\u003c/p>\n\u003cp>The opening has all the qualities of an exercise or game, a bit of contact improv, though each dancer does hit the ground with a nice, hollow thud. It’s the type of thud that makes you think a soul has departed; that is, if it weren’t for the way their eyes flutter while on the ground, and the preternatural way they hop back up.\u003c/p>\n\u003cp>Gradually, falling turns into snuggling, and snuggling turns into strange, precise swipes at one and other. A wrestling match breaks out, and then music, and we’re at a disco. The dancing turns solitary and frenzied, yet you feel the presence of others. And what was a slight feeling — someone’s missing — becomes a conscious idea. You start to think that there’s some invisible force or world shaping every aspect of these people’s lives.\u003c/p>\n\u003cfigure id=\"attachment_13817222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-800x447.jpg\" alt=\"Reyes and his dancers start to strip off their clothes, though they never finish in 'Lxs Desaparecidxs' at CounterPulse.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-1020x569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-1920x1072.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-960x536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CP5-e1513068716177-520x290.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reyes and his dancers start to strip off their clothes, though they never finish in ‘Lxs Desaparecidxs’ at CounterPulse. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes’ choreography is so fluid that you forget that anything is happening, and yet in the end the question of who is \u003cem>not\u003c/em> there is addressed, at least as it pertains to rituals and why we might have gathered at CounterPulse to begin with. We can at least say that there has been an offering to the unknown world around us, and that someone has kept a keen eye on the world of the missing.\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>‘Performing Diaspora 2017’ runs through Saturday, Dec. 16 at CounterPulse. For tickets and information \u003ca href=\"http://counterpulse.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner",
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"content": "\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "an-interactive-dance-show-imagines-a-more-liberated-san-francisco",
"title": "An Interactive Dance Show Imagines a More Liberated San Francisco",
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"headTitle": "An Interactive Dance Show Imagines a More Liberated San Francisco | KQED",
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"content": "\u003cp>\u003cem>Fugue\u003c/em>, the latest offering from \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">Detour Dance\u003c/a>, asks a lot of its audience. Without knowing where they’re going or why, participants are asked to choose a new name and prepare for a journey to a “new city” before walking almost a mile through San Francisco’s Mission district — all as part of the show.\u003c/p>\n\u003cp>With its rare format, the interactive, traveling performance piece — which runs through Dec. 10 — focuses on the oft-discussed topics of development and cultural loss amid San Francisco’s rapid influx of tech-industry wealth. The project takes inspiration from the real-life stories of local residents affected by gentrification. But rather than translating their stories for a static audience, Detour Dance directors Kat Cole and Eric Garcia want audience members to explore the Mission — a space of active turnover — while experiencing a dynamic performance that includes movement and dialogue.\u003c/p>\n\u003cp>“[\u003cem>Fugue\u003c/em>] started initially with us just doing research on the \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a>, trying to see what narratives existed before us in terms of queer communities,” says Cole. “We knew it was going to be site-specific and were also looking at the Mission district in particular. So we just started our research there out of this personal quest to know what history was, wanting to answer questions for ourselves about queer elders and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13816928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-800x530.jpg\" alt=\"From left, Jana Griffin, Sienna Williams, and Scott Marlowe in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Jana Griffin, Sienna Williams, and Scott Marlowe in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cole and Garcia’s research culminated in a portrayal of a “new city” that’s simultaneously utopian and nostalgic — a vibrant place filled with queer artists and culture-makers of color that no longer feels like the San Francisco of today. Both directors have backgrounds in social justice-focused dance, and \u003cem>Fugue\u003c/em> became their opportunity to preserve the stories of those being priced out of San Francisco.\u003c/p>\n\u003cp>“What we’ve constructed [in \u003cem>Fugue\u003c/em>] is built upon the narratives of these queer folks of color, trans women, and sex workers. It’s a city that’s made by the people that are getting pushed out of the city,” Garcia explains. “That feels like a really key point to what the [‘new city’] is — it’s not that those communities or anyone not in those communities can’t come. It’s just that it’s a space we’re going to because San Francisco doesn’t want us anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13816929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-800x530.jpg\" alt=\"From left, Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though \u003cem>Fugue\u003c/em> centers on the Mission as an active site of gentrification, it also aims to inspire participants to see potential for new experiences and creative possibilities in a familiar space. Ultimately, Cole and Garcia hope the piece’s novel format will encourage audience members to be open to encounters they otherwise might not have — and to walk away with the knowledge that, maybe, they can create the community missing from their San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unlike \u003cem>Fugue\u003c/em>, gentrification-themed performance art in the Bay Area is usually explicit and straightforward — a tactic that forces audience members to confront their preconceived notions of displacement. Like in \u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/echoes-kronos-quartet-youth-speaks-impacts-of-gentrification/\" target=\"_blank\" rel=\"noopener\">Youth Speaks’ recent collaboration with Kronos Quartet\u003c/a> or in previous works at \u003ca href=\"http://ww2.kqed.org/arts/2015/07/17/somarts-drills-to-vibrant-core-of-bay-area-alternative-scene/\" target=\"_blank\" rel=\"noopener\">SOMArts\u003c/a>, the art can be radical, unforgiving, and in-your-face towards white liberals in particular. In \u003cem>Fugue\u003c/em>, however, the feeling of nostalgia softens the harsh realities of its content, leaving room for residents from all walks of life to dream of the city San Francisco could be and challenging the audience in a different way entirely.\u003c/p>\n\u003cfigure id=\"attachment_13816931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-800x530.jpg\" alt=\"Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[People] might have their own feelings about gentrification and displacement, you know, it’s very real and true,” says Garcia. “But [I hope that people can] re-fall in love with the place they already exist in, and to create new memories — even if they’re fabricated, and with strangers. It’s a way to re-perk your interest in this place instead of having that sour taste in your mouth, like crap, this is not affordable, or my friends are gone.”\u003c/p>\n\u003cp>Cole adds, “It would be awesome if a person who experiences this performance comes away and asks, ‘What if we could have a city like this?’ Because that can hopefully lead to them creating whatever that is they want from that place they live.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fugue’ runs for five more performances from Dec. 8–10. More information \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. If sold out, wait list for tickets is \u003ca href=\"mailto:detourdance@gmail.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The directors of Detour Dance's 'Fugue' discuss how San Francisco's LGBT history influenced their new production. ",
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"title": "An Interactive Dance Show Imagines a More Liberated San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fugue\u003c/em>, the latest offering from \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">Detour Dance\u003c/a>, asks a lot of its audience. Without knowing where they’re going or why, participants are asked to choose a new name and prepare for a journey to a “new city” before walking almost a mile through San Francisco’s Mission district — all as part of the show.\u003c/p>\n\u003cp>With its rare format, the interactive, traveling performance piece — which runs through Dec. 10 — focuses on the oft-discussed topics of development and cultural loss amid San Francisco’s rapid influx of tech-industry wealth. The project takes inspiration from the real-life stories of local residents affected by gentrification. But rather than translating their stories for a static audience, Detour Dance directors Kat Cole and Eric Garcia want audience members to explore the Mission — a space of active turnover — while experiencing a dynamic performance that includes movement and dialogue.\u003c/p>\n\u003cp>“[\u003cem>Fugue\u003c/em>] started initially with us just doing research on the \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a>, trying to see what narratives existed before us in terms of queer communities,” says Cole. “We knew it was going to be site-specific and were also looking at the Mission district in particular. So we just started our research there out of this personal quest to know what history was, wanting to answer questions for ourselves about queer elders and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13816928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-800x530.jpg\" alt=\"From left, Jana Griffin, Sienna Williams, and Scott Marlowe in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Jana Griffin, Sienna Williams, and Scott Marlowe in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cole and Garcia’s research culminated in a portrayal of a “new city” that’s simultaneously utopian and nostalgic — a vibrant place filled with queer artists and culture-makers of color that no longer feels like the San Francisco of today. Both directors have backgrounds in social justice-focused dance, and \u003cem>Fugue\u003c/em> became their opportunity to preserve the stories of those being priced out of San Francisco.\u003c/p>\n\u003cp>“What we’ve constructed [in \u003cem>Fugue\u003c/em>] is built upon the narratives of these queer folks of color, trans women, and sex workers. It’s a city that’s made by the people that are getting pushed out of the city,” Garcia explains. “That feels like a really key point to what the [‘new city’] is — it’s not that those communities or anyone not in those communities can’t come. It’s just that it’s a space we’re going to because San Francisco doesn’t want us anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13816929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-800x530.jpg\" alt=\"From left, Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though \u003cem>Fugue\u003c/em> centers on the Mission as an active site of gentrification, it also aims to inspire participants to see potential for new experiences and creative possibilities in a familiar space. Ultimately, Cole and Garcia hope the piece’s novel format will encourage audience members to be open to encounters they otherwise might not have — and to walk away with the knowledge that, maybe, they can create the community missing from their San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unlike \u003cem>Fugue\u003c/em>, gentrification-themed performance art in the Bay Area is usually explicit and straightforward — a tactic that forces audience members to confront their preconceived notions of displacement. Like in \u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/echoes-kronos-quartet-youth-speaks-impacts-of-gentrification/\" target=\"_blank\" rel=\"noopener\">Youth Speaks’ recent collaboration with Kronos Quartet\u003c/a> or in previous works at \u003ca href=\"http://ww2.kqed.org/arts/2015/07/17/somarts-drills-to-vibrant-core-of-bay-area-alternative-scene/\" target=\"_blank\" rel=\"noopener\">SOMArts\u003c/a>, the art can be radical, unforgiving, and in-your-face towards white liberals in particular. In \u003cem>Fugue\u003c/em>, however, the feeling of nostalgia softens the harsh realities of its content, leaving room for residents from all walks of life to dream of the city San Francisco could be and challenging the audience in a different way entirely.\u003c/p>\n\u003cfigure id=\"attachment_13816931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-800x530.jpg\" alt=\"Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[People] might have their own feelings about gentrification and displacement, you know, it’s very real and true,” says Garcia. “But [I hope that people can] re-fall in love with the place they already exist in, and to create new memories — even if they’re fabricated, and with strangers. It’s a way to re-perk your interest in this place instead of having that sour taste in your mouth, like crap, this is not affordable, or my friends are gone.”\u003c/p>\n\u003cp>Cole adds, “It would be awesome if a person who experiences this performance comes away and asks, ‘What if we could have a city like this?’ Because that can hopefully lead to them creating whatever that is they want from that place they live.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fugue’ runs for five more performances from Dec. 8–10. More information \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. If sold out, wait list for tickets is \u003ca href=\"mailto:detourdance@gmail.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "on-the-air-cy-and-jeffreys-do-list-picks-for-dec-8-2017",
"title": "On the Air: Cy and Jeffrey's Do List Picks for Dec. 8, 2017",
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"headTitle": "On the Air: Cy and Jeffrey’s Do List Picks for Dec. 8, 2017 | KQED",
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"content": "\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "On the Air: Cy and Jeffrey's Do List Picks for Dec. 8, 2017 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\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>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Black Girlhood Through Black Girls' Eyes: A Chat With Camille A. Brown",
"headTitle": "Black Girlhood Through Black Girls’ Eyes: A Chat With Camille A. Brown | KQED",
"content": "\u003cp>“How often do we get the chance to see ourselves through a black girl’s eyes?” asks choreographer \u003ca href=\"http://www.camilleabrown.org/camille-a-brown/\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>.\u003c/p>\n\u003cp>Brown’s exhilarating portraits of black girlhood are distilled through street games and social dances handed down through generations of the African diaspora in \u003cem>\u003ca href=\"https://calperformances.org/performances/2017-18/dance/camille-a-brown-and-dancers-black-girl-linguistic-play.php\" target=\"_blank\" rel=\"noopener\">BLACK GIRL: Linguistic Play\u003c/a>\u003c/em>, which comes to Cal Performances in Berkeley on Dec. 8. Intricate polyrhythms and a rich gestural language tell intensely personal stories that remind us how childhood play builds one’s sense of self, and that torpedoes reductive ideas often associated with black girlhood.\u003c/p>\n\u003cp>I caught up with Brown in September in New York City (where \u003cem>BLACK GIRL\u003c/em> premiered in 2015) in a Chinese tea shop opposite New York’s City Center, where Camille and her dancers were fitting costumes.\u003c/p>\n\u003cp>\u003cstrong>Do you think the show resonates differently with audiences today?\u003c/strong>\u003c/p>\n\u003cp>I think the show resonates with black girls and black women in the same way that it did in 2015. I can’t really speak for other people. Though now, probably more than ever, it’s important for white people and people from other races to see different narratives of black girls and black women.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the time, in the media, in stories and movies, we have to see ourselves through a white lens. \u003cem>BLACK GIRL\u003c/em> lets audiences see universal themes through a black girl’s lens. It’s culturally specific, but the themes are universal. I wanted to challenge someone walking out and say “Now you can’t say you haven’t been there or you haven’t experienced that. It might not have been the way you experienced it, but mother-daughter, sister-sister, friends, being a child – these are all things we’ve known.”\u003c/p>\n\u003cp>Racism has existed since black people came to America – or, I should say, were brought to America. Now I think it’s just that people are more open about how they feel. I do think we are living in a very charged moment, to a point where it’s scary.\u003c/p>\n\u003cp>But when we see the audacity of things that are happening, we have to be audacious too. Because if people in power are larger than life, then we need the confidence and power ourselves to be larger than life, to make our voices be heard. We have to find a way to use the energy that is circling around us, to continue to create art.\u003c/p>\n\u003cp>That’s the beautiful thing about dance – when people can still communicate without words. We can be from two different continents but we can still come together based on the hand gestures. That’s something that we have in common, that we might not have had if we were just trying to talk to each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=18&v=_Am03D2Cync\u003c/p>\n\u003cp>\u003cstrong>For a period of eight years we had two very high-profile young girls growing up in the White House. How do you think that very visible image of black girlhood change public understanding, if at all, of black girlhood?\u003cbr>\n\u003c/strong>\u003cbr>\nPeople tried to come after \u003ca href=\"https://www.bustle.com/p/what-did-malia-obama-do-people-are-angry-at-her-for-a-ridiculous-reason-5549656\">Malia\u003c/a> and Sasha; they tried to dehumanize them. The girls couldn’t do anything without being criticized. As I said, racism has been around for a very long time, and just because people see another narrative doesn’t necessarily mean that they will say, “Oh, I’m going to change my narrative because I see a different view of black girls.” They may say, “They’re still like this” or “I still think this about them.” That’s how racism continues, as people convince themselves of their feelings. So, yes, it was powerful to see a black couple with black children in the White House. I was so proud. But I also saw the stuff that people were trying to do them and create a narrative around them, because they were black.\u003c/p>\n\u003cp>\u003cstrong>Your newest piece of dance theater, titled \u003cem>ink\u003c/em>, is also premiering at the Kennedy Center in December. How has doing \u003cem>BLACK GIRL\u003c/em> influenced \u003cem>ink\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>Doing \u003cem>BLACK GIRL\u003c/em> has helped me to trust my instincts, to feel more empowered to tell stories that I know and that I believe in.\u003c/p>\n\u003cp>\u003cem>Mr. TOL E. RAncE\u003c/em> [a 2012 piece] was about black stereotypes in the media, from an outside perception. \u003cem>BLACK GIRL\u003c/em> was about the black girl gaze, from the inside perception. \u003cem>ink\u003c/em> continues with the inside perception, but tells your story the way you know it, whereas in \u003cem>Mr. TOL E. RAncE\u003c/em> we were making the point that these were stereotypes. In \u003cem>ink\u003c/em>, we – both men and women – are reclaiming our stories, reclaiming our narratives, and our gestures.\u003c/p>\n\u003cfigure id=\"attachment_13816832\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CamilleBrown.jpg\" alt=\"Camille A. Brown.\" width=\"600\" height=\"750\" class=\"size-full wp-image-13816832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-520x650.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Camille A. Brown. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How have your dance theater works like \u003cem>BLACK GIRL\u003c/em> and your work on Broadway informed each other? You’ve got a show, \u003cem>Once on this Island\u003c/em>, opening on Broadway on Dec. 3.\u003c/b>\u003c/p>\n\u003cp>The cast of \u003cem>Once on this Island\u003c/em> are actors who move. I love working with actors because it helps me to become a better choreographer for my own work. So much of my work is based on gesture and character, and theater is about character, so it’s great to have this type of challenge. A lot of the stuff I’ve learned is from my theater experience: the real craft of putting stories together, the arcs, and the transitions – that came from theater.\u003c/p>\n\u003cp>\u003cstrong>Did you study theater? \u003c/strong>\u003c/p>\n\u003cp>No, my degree is in dance. [Brown studied at the North Carolina School of the Arts.] But I’ve always loved musical theater, because my mom loves musical theater. When I was younger, she introduced me to all these shows, so it’s always been in me. One of the shows that stuck in my mind was \u003cem>The Unsinkable Molly Brown\u003c/em>, with Debbie Reynolds. I loved the choreography in that show, by Peter Gennaro. Michael Jackson’s \u003cem>Thriller\u003c/em> also sticks in my head because it was so theatrical.\u003c/p>\n\u003cp>I didn’t necessarily want to be on Broadway as a dancer, or work in theater – I actually wanted to be a choreographer. I didn’t always think that was possible, because I didn’t see a lot of black women doing it. I found out that it wasn’t that black women weren’t choreographers, it was that they weren’t getting exposure.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>The second in a series of \u003ca href=\"https://calperformances.org/learn/berkeley-radical/2017-18/joining-generations.php\" target=\"_blank\" rel=\"noopener\">four Berkeley RADICAL programs\u003c/a> that explores the work of four groundbreaking African-American choreographers of different generations, \u003cem>BLACK GIRL: Linguistic Play\u003c/em> runs from Dec. 8–10. More information \u003ca href=\"https://calperformances.org/performances/2017-18/dance/camille-a-brown-and-dancers-black-girl-linguistic-play.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“How often do we get the chance to see ourselves through a black girl’s eyes?” asks choreographer \u003ca href=\"http://www.camilleabrown.org/camille-a-brown/\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>.\u003c/p>\n\u003cp>Brown’s exhilarating portraits of black girlhood are distilled through street games and social dances handed down through generations of the African diaspora in \u003cem>\u003ca href=\"https://calperformances.org/performances/2017-18/dance/camille-a-brown-and-dancers-black-girl-linguistic-play.php\" target=\"_blank\" rel=\"noopener\">BLACK GIRL: Linguistic Play\u003c/a>\u003c/em>, which comes to Cal Performances in Berkeley on Dec. 8. Intricate polyrhythms and a rich gestural language tell intensely personal stories that remind us how childhood play builds one’s sense of self, and that torpedoes reductive ideas often associated with black girlhood.\u003c/p>\n\u003cp>I caught up with Brown in September in New York City (where \u003cem>BLACK GIRL\u003c/em> premiered in 2015) in a Chinese tea shop opposite New York’s City Center, where Camille and her dancers were fitting costumes.\u003c/p>\n\u003cp>\u003cstrong>Do you think the show resonates differently with audiences today?\u003c/strong>\u003c/p>\n\u003cp>I think the show resonates with black girls and black women in the same way that it did in 2015. I can’t really speak for other people. Though now, probably more than ever, it’s important for white people and people from other races to see different narratives of black girls and black women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the time, in the media, in stories and movies, we have to see ourselves through a white lens. \u003cem>BLACK GIRL\u003c/em> lets audiences see universal themes through a black girl’s lens. It’s culturally specific, but the themes are universal. I wanted to challenge someone walking out and say “Now you can’t say you haven’t been there or you haven’t experienced that. It might not have been the way you experienced it, but mother-daughter, sister-sister, friends, being a child – these are all things we’ve known.”\u003c/p>\n\u003cp>Racism has existed since black people came to America – or, I should say, were brought to America. Now I think it’s just that people are more open about how they feel. I do think we are living in a very charged moment, to a point where it’s scary.\u003c/p>\n\u003cp>But when we see the audacity of things that are happening, we have to be audacious too. Because if people in power are larger than life, then we need the confidence and power ourselves to be larger than life, to make our voices be heard. We have to find a way to use the energy that is circling around us, to continue to create art.\u003c/p>\n\u003cp>That’s the beautiful thing about dance – when people can still communicate without words. We can be from two different continents but we can still come together based on the hand gestures. That’s something that we have in common, that we might not have had if we were just trying to talk to each other.\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/_Am03D2Cync'\n title='//www.youtube.com/embed/_Am03D2Cync'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>For a period of eight years we had two very high-profile young girls growing up in the White House. How do you think that very visible image of black girlhood change public understanding, if at all, of black girlhood?\u003cbr>\n\u003c/strong>\u003cbr>\nPeople tried to come after \u003ca href=\"https://www.bustle.com/p/what-did-malia-obama-do-people-are-angry-at-her-for-a-ridiculous-reason-5549656\">Malia\u003c/a> and Sasha; they tried to dehumanize them. The girls couldn’t do anything without being criticized. As I said, racism has been around for a very long time, and just because people see another narrative doesn’t necessarily mean that they will say, “Oh, I’m going to change my narrative because I see a different view of black girls.” They may say, “They’re still like this” or “I still think this about them.” That’s how racism continues, as people convince themselves of their feelings. So, yes, it was powerful to see a black couple with black children in the White House. I was so proud. But I also saw the stuff that people were trying to do them and create a narrative around them, because they were black.\u003c/p>\n\u003cp>\u003cstrong>Your newest piece of dance theater, titled \u003cem>ink\u003c/em>, is also premiering at the Kennedy Center in December. How has doing \u003cem>BLACK GIRL\u003c/em> influenced \u003cem>ink\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>Doing \u003cem>BLACK GIRL\u003c/em> has helped me to trust my instincts, to feel more empowered to tell stories that I know and that I believe in.\u003c/p>\n\u003cp>\u003cem>Mr. TOL E. RAncE\u003c/em> [a 2012 piece] was about black stereotypes in the media, from an outside perception. \u003cem>BLACK GIRL\u003c/em> was about the black girl gaze, from the inside perception. \u003cem>ink\u003c/em> continues with the inside perception, but tells your story the way you know it, whereas in \u003cem>Mr. TOL E. RAncE\u003c/em> we were making the point that these were stereotypes. In \u003cem>ink\u003c/em>, we – both men and women – are reclaiming our stories, reclaiming our narratives, and our gestures.\u003c/p>\n\u003cfigure id=\"attachment_13816832\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CamilleBrown.jpg\" alt=\"Camille A. Brown.\" width=\"600\" height=\"750\" class=\"size-full wp-image-13816832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CamilleBrown-520x650.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Camille A. Brown. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How have your dance theater works like \u003cem>BLACK GIRL\u003c/em> and your work on Broadway informed each other? You’ve got a show, \u003cem>Once on this Island\u003c/em>, opening on Broadway on Dec. 3.\u003c/b>\u003c/p>\n\u003cp>The cast of \u003cem>Once on this Island\u003c/em> are actors who move. I love working with actors because it helps me to become a better choreographer for my own work. So much of my work is based on gesture and character, and theater is about character, so it’s great to have this type of challenge. A lot of the stuff I’ve learned is from my theater experience: the real craft of putting stories together, the arcs, and the transitions – that came from theater.\u003c/p>\n\u003cp>\u003cstrong>Did you study theater? \u003c/strong>\u003c/p>\n\u003cp>No, my degree is in dance. [Brown studied at the North Carolina School of the Arts.] But I’ve always loved musical theater, because my mom loves musical theater. When I was younger, she introduced me to all these shows, so it’s always been in me. One of the shows that stuck in my mind was \u003cem>The Unsinkable Molly Brown\u003c/em>, with Debbie Reynolds. I loved the choreography in that show, by Peter Gennaro. Michael Jackson’s \u003cem>Thriller\u003c/em> also sticks in my head because it was so theatrical.\u003c/p>\n\u003cp>I didn’t necessarily want to be on Broadway as a dancer, or work in theater – I actually wanted to be a choreographer. I didn’t always think that was possible, because I didn’t see a lot of black women doing it. I found out that it wasn’t that black women weren’t choreographers, it was that they weren’t getting exposure.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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": "\u003cp>Before reading another word, watch the video at the bottom of this post. It’s the best way to understand the work of Garrett + Moulton, the dance making duo kicking off their 15th anniversary season. Now that you’ve seen the video, you realize what fun Janice Garrett and Charles Moulton have had all these years making these complex ball-passing pieces that are part-dance, part-puzzle. Moulton says the inspiration came partly from his love of novelty numbers from the days when his father and grandfather were in vaudeville. And the ball passing, he said, is a pretty good metaphor for life. “If you drop a ball, you drop a ball, and it usually falls very inconveniently on someone else’s head,” he said after a rehearsal a few days ago. “When that happens, you’re as honest as you’re ever going to be are about yourself. When you don’t look so good. And because of that, the piece has a sense of humanity. It’s fun, but it also speaks to the futility of the human condition.” \u003c/p>\n\u003cp>Garrett + Moulton’s 15th anniversary season kicks off with a new ball passing piece and two other world premieres. \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.youtube.com/watch?v=7On1UsMqAgM\u003cbr>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I knew I had to join the aptly named \u003ca href=\"http://www.detourdance.com\" target=\"_blank\" rel=\"noopener\">Detour Dance\u003c/a> on their new dance odyssey around the Mission when the company proposed a dress code: “your most fabulous, glittery, flowery self (with comfortable shoes, of course).”\u003c/p>\n\u003cp>Yes, there is a lot of walking involved in the experience, titled \u003cem>\u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">Fugue\u003c/a>\u003c/em>. And when the tour guide (or self-styled “path-finder”) arrives clad in red shorts, sequined tailcoat, a fascinator worthy of Ascot, and glittery eye makeup, it’s impossible for one to be overdressed. The crisp, weed-scented night air on Dec. 1 made it a perfect opening night for a madcap dash around the \u003ca href=\"https://www.calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24 corridor\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Fugue\u003c/em> is more than a madcap dash, though — it weaves historical narratives about queer people of color in the Mission into poetry and site-specific performance art. Detour founders Kat Cole and Eric Garcia inject elements of fantasy into this profoundly ambitious enterprise with an overriding social-justice theme.\u003c/p>\n\u003cfigure id=\"attachment_13816608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13816608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-960x601.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-520x326.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jana Griffin, left, and Sienna Williams in Detour Dance’s ‘Fugue.’ (Photo by Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, night, after streaming out of the jewel-box-like Holy Innocents’ Episcopal Church, the audience broke up into small groups, each instructed to take a different route to meet their guide. On our way, we ran into a pair of angels in wigs and fairy lights. They cavorted along the sidewalk, pausing to press an ear to garage doors along Fair Oaks Street, as if listening for mysterious messages from on high, piped through the HVAC of the elegant row houses. Quiet blocks lined with immaculately restored painted ladies, spruced up for Christmas, quickly gave way to assorted commercial establishments and more modest houses whose main window ornaments were stickers proclaiming solidarity with Black Lives Matter and LGBTQ rights.\u003c/p>\n\u003cp>We hooked up with our guide, who introduced herself as Frank (short for H.R.H. Francesca) — but whom some of us recognized as the formidable Erin Mei-Ling Stuart – outside the storied Revolution Café. Frank promised to lead us to a fabled “new city,” evoking Peter Pan as she darted through the busy streets. A light canister dangled from her backpack in place of Tinkerbell on her shoulder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We made pitstops along the way to contemplate the haunts of former inhabitants whose stories were unearthed during two years of research by Cole and Garcia. These stories were fashioned into a script by playwrights Lourdes Figueroa, Baruch Porras-Hernandez and Brian Thorstenson.\u003c/p>\n\u003cfigure id=\"attachment_13816560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x1528.jpg\" alt=\"Scott Marlowe in Detour Dance's 'Fugue.' \" width=\"640\" height=\"959\" class=\"size-large wp-image-13816560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-520x779.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scott Marlowe in Detour Dance’s ‘Fugue.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this emerged Frank’s poetic monologue of bite-sized tales that underscore the crazy quilt of democracy and greed that blankets the Mission, the oldest settlement on the Bay, which long sought to remain distinct from the rest of San Francisco. Even through the Gold Rush, and the waves of immigration by the Irish, Germans, Scandinavians, Mexicans, Central and South Americans — who were often fleeing deprivation or political unrest in their homelands — Mission residents fought for self-governance.\u003c/p>\n\u003cp>Today, of course, longtime residents of the Mission continue to be pushed out by waves of gentrification. “Don’t look,” Frank commanded as we trooped past blocks of new high-rise condo developments that mostly resemble prison blocks made from Lego bricks. Where we’re headed, she assured us, “the buildings kneel down twice a day, sunrise and sunset, so you can enjoy the view.”\u003c/p>\n\u003cp>But among the new condos in the Mission, there is still much exhilarating diversity to take in, from Radio Habana to the Free Speech Wall, and all manner of spiritual practice.\u003c/p>\n\u003cp>As we wound down the first portion of our journey, Frank reflected, “You have to leave when the city stops sending you secret messages to stay.” She pulled a ukulele from her backpack and, for the remaining few blocks, serenaded us with a whimsical ballad. Could there be any better way to navigate the Mission, I wondered, as we traipsed past the Salvation Army, its dusty windows seemingly frozen in time at Christmas in 1972?\u003c/p>\n\u003cp>The second half of the program took place in the round at a studio in the Old Sears Building (a.k.a. the portal to the “new city”). This series of ensemble dances, solos and duets by the striking company of 10, possibly meant to evoke a utopian setting, felt to me more like the labors of a community stranded on an alien planet, hopeful of rescue. There was much gesturing skyward, intricate tracing of celestial flight patterns on invisible sand, and scrambling to various heights (on chairs; up stairs) to scout for friendly rocketships. In the most spellbinding sequence, Scott Marlowe and Arletta Anderson ascended a staircase, absurdly entwined, both supporting each other and weighing each other down.\u003c/p>\n\u003cfigure id=\"attachment_13816609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13816609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sienna Williams, Kevin Lopez and Jana Griffin in Detour Dance’s ‘Fugue.’ (Photo by Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003cp>The terrific soundtrack, with original music composed and recorded by Brent Arnold and further engineered by Teddy Hulsker, included the scraping of an otherworldly cello, what sounded like an Indonesian angklung orchestra, and a track from the Village People – unintentionally embellished by the sound of intermittent sirens from police cars racing down Cesar Chavez. The closing sequence, a live a cappella chant that resonated eerily through the intimate space, proved haunting.\u003c/p>\n\u003cp>Crammed with gorgeous moments (and one very funny interlude), this part of the experience carried no echo of an arc from our earlier trek through the Mission. Perhaps there wasn’t meant to be one; after all, we were supposed to have left San Francisco behind to enter a new city. But it felt sad to leave even the ghosts of the Mission behind.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fugue’ runs for five more performances from Dec. 8–10. More information \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. If sold out, wait list for tickets is \u003ca href=\"mailto:detourdance@gmail.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "An enlightening time at the opening night of 'Fugue,' a new site-specific dance performance in the Mission District.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I knew I had to join the aptly named \u003ca href=\"http://www.detourdance.com\" target=\"_blank\" rel=\"noopener\">Detour Dance\u003c/a> on their new dance odyssey around the Mission when the company proposed a dress code: “your most fabulous, glittery, flowery self (with comfortable shoes, of course).”\u003c/p>\n\u003cp>Yes, there is a lot of walking involved in the experience, titled \u003cem>\u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">Fugue\u003c/a>\u003c/em>. And when the tour guide (or self-styled “path-finder”) arrives clad in red shorts, sequined tailcoat, a fascinator worthy of Ascot, and glittery eye makeup, it’s impossible for one to be overdressed. The crisp, weed-scented night air on Dec. 1 made it a perfect opening night for a madcap dash around the \u003ca href=\"https://www.calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24 corridor\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Fugue\u003c/em> is more than a madcap dash, though — it weaves historical narratives about queer people of color in the Mission into poetry and site-specific performance art. Detour founders Kat Cole and Eric Garcia inject elements of fantasy into this profoundly ambitious enterprise with an overriding social-justice theme.\u003c/p>\n\u003cfigure id=\"attachment_13816608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13816608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-960x601.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Jana-Griffin-left-and-Sienna-Williams-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-520x326.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jana Griffin, left, and Sienna Williams in Detour Dance’s ‘Fugue.’ (Photo by Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, night, after streaming out of the jewel-box-like Holy Innocents’ Episcopal Church, the audience broke up into small groups, each instructed to take a different route to meet their guide. On our way, we ran into a pair of angels in wigs and fairy lights. They cavorted along the sidewalk, pausing to press an ear to garage doors along Fair Oaks Street, as if listening for mysterious messages from on high, piped through the HVAC of the elegant row houses. Quiet blocks lined with immaculately restored painted ladies, spruced up for Christmas, quickly gave way to assorted commercial establishments and more modest houses whose main window ornaments were stickers proclaiming solidarity with Black Lives Matter and LGBTQ rights.\u003c/p>\n\u003cp>We hooked up with our guide, who introduced herself as Frank (short for H.R.H. Francesca) — but whom some of us recognized as the formidable Erin Mei-Ling Stuart – outside the storied Revolution Café. Frank promised to lead us to a fabled “new city,” evoking Peter Pan as she darted through the busy streets. A light canister dangled from her backpack in place of Tinkerbell on her shoulder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We made pitstops along the way to contemplate the haunts of former inhabitants whose stories were unearthed during two years of research by Cole and Garcia. These stories were fashioned into a script by playwrights Lourdes Figueroa, Baruch Porras-Hernandez and Brian Thorstenson.\u003c/p>\n\u003cfigure id=\"attachment_13816560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x1528.jpg\" alt=\"Scott Marlowe in Detour Dance's 'Fugue.' \" width=\"640\" height=\"959\" class=\"size-large wp-image-13816560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Scott-Marlowe-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-520x779.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scott Marlowe in Detour Dance’s ‘Fugue.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this emerged Frank’s poetic monologue of bite-sized tales that underscore the crazy quilt of democracy and greed that blankets the Mission, the oldest settlement on the Bay, which long sought to remain distinct from the rest of San Francisco. Even through the Gold Rush, and the waves of immigration by the Irish, Germans, Scandinavians, Mexicans, Central and South Americans — who were often fleeing deprivation or political unrest in their homelands — Mission residents fought for self-governance.\u003c/p>\n\u003cp>Today, of course, longtime residents of the Mission continue to be pushed out by waves of gentrification. “Don’t look,” Frank commanded as we trooped past blocks of new high-rise condo developments that mostly resemble prison blocks made from Lego bricks. Where we’re headed, she assured us, “the buildings kneel down twice a day, sunrise and sunset, so you can enjoy the view.”\u003c/p>\n\u003cp>But among the new condos in the Mission, there is still much exhilarating diversity to take in, from Radio Habana to the Free Speech Wall, and all manner of spiritual practice.\u003c/p>\n\u003cp>As we wound down the first portion of our journey, Frank reflected, “You have to leave when the city stops sending you secret messages to stay.” She pulled a ukulele from her backpack and, for the remaining few blocks, serenaded us with a whimsical ballad. Could there be any better way to navigate the Mission, I wondered, as we traipsed past the Salvation Army, its dusty windows seemingly frozen in time at Christmas in 1972?\u003c/p>\n\u003cp>The second half of the program took place in the round at a studio in the Old Sears Building (a.k.a. the portal to the “new city”). This series of ensemble dances, solos and duets by the striking company of 10, possibly meant to evoke a utopian setting, felt to me more like the labors of a community stranded on an alien planet, hopeful of rescue. There was much gesturing skyward, intricate tracing of celestial flight patterns on invisible sand, and scrambling to various heights (on chairs; up stairs) to scout for friendly rocketships. In the most spellbinding sequence, Scott Marlowe and Arletta Anderson ascended a staircase, absurdly entwined, both supporting each other and weighing each other down.\u003c/p>\n\u003cfigure id=\"attachment_13816609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13816609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/From-left-Sienna-Williams-Kevin-Lopez-and-Jana-Griffin-in-detour-dances-Fugue.-Photo-by-Robbie-Sweeny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sienna Williams, Kevin Lopez and Jana Griffin in Detour Dance’s ‘Fugue.’ (Photo by Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003cp>The terrific soundtrack, with original music composed and recorded by Brent Arnold and further engineered by Teddy Hulsker, included the scraping of an otherworldly cello, what sounded like an Indonesian angklung orchestra, and a track from the Village People – unintentionally embellished by the sound of intermittent sirens from police cars racing down Cesar Chavez. The closing sequence, a live a cappella chant that resonated eerily through the intimate space, proved haunting.\u003c/p>\n\u003cp>Crammed with gorgeous moments (and one very funny interlude), this part of the experience carried no echo of an arc from our earlier trek through the Mission. Perhaps there wasn’t meant to be one; after all, we were supposed to have left San Francisco behind to enter a new city. But it felt sad to leave even the ghosts of the Mission behind.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fugue’ runs for five more performances from Dec. 8–10. More information \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. If sold out, wait list for tickets is \u003ca href=\"mailto:detourdance@gmail.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\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>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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