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"title": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness",
"headTitle": "Cy and David’s Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170324.mp3\u003c/p>\n\u003cp>We didn’t plan it this way, but the show this week is a tribute to audacious women making art. It seems a good time for that. David and I also include shoutouts for Idris Ackamoor and the Pyramids, who bring their mix of jazz, African pop and Sun Ra-inspired freedom to \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">Pt. Richmond Jazz\u003c/a>; details \u003ca href=\"http://prjazzpyramid.bpt.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And David squeezes in a nod to the San Francisco Gay Men’s Chorus, doing a show at the Herbst called \u003cem>Paradise\u003c/em>, including the Alan Mencken song “God Help the Outcasts.” Details \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukzY2ODrUmM\u003c/p>\n\u003cp>\u003cstrong>March 25\u003c/strong>: We’ll always think of Kristin Chenoweth as Glynda, the good witch from \u003cem>Wicked\u003c/em>, a musical that worked out its kinks during a month-long run in San Francisco before blowing the doors off Broadway. Audiences at the Curran Theater saw how Chenoweth’s voice could be both girlish and fabulously powerful. She’s also been great on television in \u003cem>Glee\u003c/em> and as a co-star of \u003cem>Pushing up Daisies\u003c/em>. Now she’s touring, doing a few favorites from \u003cem>Wicked \u003c/em>and treasures from the Great American Songbook — and she never phones it in. Details on her Bing Concert Hall show March 25 are \u003ca href=\"https://live.stanford.edu/calendar/march-2017/intimate-evening-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ltsf3xeyQdQ\u003c/p>\n\u003cp>\u003cstrong>March 24–25 & April 8\u003c/strong>: The Bay Area’s \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance\u003c/a> is committed to keeping Kathak, a rhythmic bare-footed dance form going back hundreds of years in India, alive and fresh. Leela continues the work of Chitresh Das, who made the Bay Area a center of innovation for Kathak. This weekend at \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>, Leela Dance performs \u003cem>Speak\u003c/em>, a mashup of Kathak (Leela Dance members Rachna Nivas and Rina Mehta) with tap (Dormeshia Sumbry-Edwards and MacArthur winner Michelle Dorrance). Then, on April 8, the ambitious troupe presents the world premiere of \u003cem>Son of the Wind\u003c/em>, a dance drama about a mischievous hero rescuing a kidnapped princess (cue Disney). Details for \u003cem>Speak\u003c/em> at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/rachna-nivas-speak\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for \u003cem>Son of the Wind\u003c/em> at the Green Music Center in Rohnert Park are \u003ca href=\"http://gmc.sonoma.edu/event/3189887-leela-dance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kNNLECFITvs\u003c/p>\n\u003cp>\u003cstrong>March 30:\u003c/strong> We may think of the blues as an iconic form: a black man with a guitar. But Pamela Rose posits in her musical tribute \u003ca href=\"https://bluesisawoman.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Blues is a Woman\u003c/em> \u003c/a>that it was stars like Ma Rainey and Alberta Hunter — on through to Janis Joplin and Bonnie Raitt — who really powered the development of the blues as popular music. “They were also presenting a really different idea of what women could be like in popular song,” Rose says in a phone interview. “These blues women did not suffer in silence. And that voice, that independence, that ‘I’m going to give you some advice, if he’s not good enough move on to find another.’ Women who frankly admitted they’d misbehaved. That voice changed entertainment and it still lives with us today.”\u003c/p>\n\u003cp>Rose has gathered a crackerjack all-woman blues band to help perform the show, with Kristen Strom on saxophone, Tammy Hall on keyboards, Ruth Davies on bass, Pat Wilder on guitar and Daria Johnson on drums. This performance is a preview show ahead of a month-long run at the \u003ca href=\"https://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theater \u003c/a>, running August 3–27. Details for \u003cem>Blues is a Woman\u003c/em> at Freight and Salvage in Berkeley on Thursday are \u003ca href=\"http://thefreight.org/pamela-rose-wild-women-song\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for one of Rose’s regular gigs at Angelica’s in Redwood City, on April 6, are \u003ca href=\"http://angelicaswm.tunestub.com/event.cfm?cart&id=258439\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12944478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12944478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-800x450.jpg\" alt=\"Paula Vogel‘s ‘The Baltimore Waltz‘ is coming to The Magic Theatre\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Vogel‘s ‘The Baltimore Waltz’ is coming to The Magic Theatre. \u003ccite>(Photo: Courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 24–April 16:\u003c/strong> Playwright Paula Vogel is having a moment, with her first Broadway drama (\u003cem>Indecent\u003c/em>) opening in a few weeks. Now, we get a chance to look back on one of the plays that made her reputation — 1990’s \u003cem>The Baltimore Waltz\u003c/em>, a romantic comedy/drama about the AIDS crisis inspired by her grief at the death of her own brother. Lauren English plays the sister, returning to the stage after too long an absence. The always-sharp Jonathan Moscone is directing. “Paula writes with a necessary indelicacy around grieving,” Moscone says, “not to revere it but just write it and laugh as much as you can.” And David says Vogel has even been sitting in on rehearsals — something she hasn’t done in years for \u003cem>The Baltimore Waltz\u003c/em> — so this should be a worthy revival. Details for the run at the Magic Theatre are \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And the Magic brings \u003cem>The Baltimore Waltz\u003c/em> to Laney College in Oakland for one matinee performance on Saturday, April 1, with details \u003ca href=\"http://magictheatre.org/laney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgPViIFfCB4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: To cap a show devoted to strong women, here’s a singer both women and men can swoon to. \u003ca href=\"http://www.josejamesmusic.com/\" target=\"_blank\" rel=\"noopener\">José James \u003c/a>is a master of the slow jam, singing jazz, R&B, and hip-hop in a sultry baritone. He fits right in on the \u003ca href=\"http://www.fiftyshadesmovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifty Shades Darker\u003c/em> \u003c/a>soundtrack album. Apparently James was planning an album about the hot issues of our time, from racism to economic inequality, and then decided the world needed a place to escape all that. Details for his show on Wednesday, March 29, at the Independent in San Francisco are \u003ca href=\"http://www.theindependentsf.com/event/1415209-jose-james-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "This week, the Do List spotlights Kristen Chenoweth, a Kathak dance troupe, a female blues revue, a hip-hop crooner worth swooning over and more.",
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"title": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness | KQED",
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"headline": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170324.mp3\u003c/p>\n\u003cp>We didn’t plan it this way, but the show this week is a tribute to audacious women making art. It seems a good time for that. David and I also include shoutouts for Idris Ackamoor and the Pyramids, who bring their mix of jazz, African pop and Sun Ra-inspired freedom to \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">Pt. Richmond Jazz\u003c/a>; details \u003ca href=\"http://prjazzpyramid.bpt.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And David squeezes in a nod to the San Francisco Gay Men’s Chorus, doing a show at the Herbst called \u003cem>Paradise\u003c/em>, including the Alan Mencken song “God Help the Outcasts.” Details \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ukzY2ODrUmM'\n title='//www.youtube.com/embed/ukzY2ODrUmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 25\u003c/strong>: We’ll always think of Kristin Chenoweth as Glynda, the good witch from \u003cem>Wicked\u003c/em>, a musical that worked out its kinks during a month-long run in San Francisco before blowing the doors off Broadway. Audiences at the Curran Theater saw how Chenoweth’s voice could be both girlish and fabulously powerful. She’s also been great on television in \u003cem>Glee\u003c/em> and as a co-star of \u003cem>Pushing up Daisies\u003c/em>. Now she’s touring, doing a few favorites from \u003cem>Wicked \u003c/em>and treasures from the Great American Songbook — and she never phones it in. Details on her Bing Concert Hall show March 25 are \u003ca href=\"https://live.stanford.edu/calendar/march-2017/intimate-evening-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/Ltsf3xeyQdQ'\n title='//www.youtube.com/embed/Ltsf3xeyQdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 24–25 & April 8\u003c/strong>: The Bay Area’s \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance\u003c/a> is committed to keeping Kathak, a rhythmic bare-footed dance form going back hundreds of years in India, alive and fresh. Leela continues the work of Chitresh Das, who made the Bay Area a center of innovation for Kathak. This weekend at \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>, Leela Dance performs \u003cem>Speak\u003c/em>, a mashup of Kathak (Leela Dance members Rachna Nivas and Rina Mehta) with tap (Dormeshia Sumbry-Edwards and MacArthur winner Michelle Dorrance). Then, on April 8, the ambitious troupe presents the world premiere of \u003cem>Son of the Wind\u003c/em>, a dance drama about a mischievous hero rescuing a kidnapped princess (cue Disney). Details for \u003cem>Speak\u003c/em> at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/rachna-nivas-speak\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for \u003cem>Son of the Wind\u003c/em> at the Green Music Center in Rohnert Park are \u003ca href=\"http://gmc.sonoma.edu/event/3189887-leela-dance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kNNLECFITvs'\n title='//www.youtube.com/embed/kNNLECFITvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30:\u003c/strong> We may think of the blues as an iconic form: a black man with a guitar. But Pamela Rose posits in her musical tribute \u003ca href=\"https://bluesisawoman.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Blues is a Woman\u003c/em> \u003c/a>that it was stars like Ma Rainey and Alberta Hunter — on through to Janis Joplin and Bonnie Raitt — who really powered the development of the blues as popular music. “They were also presenting a really different idea of what women could be like in popular song,” Rose says in a phone interview. “These blues women did not suffer in silence. And that voice, that independence, that ‘I’m going to give you some advice, if he’s not good enough move on to find another.’ Women who frankly admitted they’d misbehaved. That voice changed entertainment and it still lives with us today.”\u003c/p>\n\u003cp>Rose has gathered a crackerjack all-woman blues band to help perform the show, with Kristen Strom on saxophone, Tammy Hall on keyboards, Ruth Davies on bass, Pat Wilder on guitar and Daria Johnson on drums. This performance is a preview show ahead of a month-long run at the \u003ca href=\"https://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theater \u003c/a>, running August 3–27. Details for \u003cem>Blues is a Woman\u003c/em> at Freight and Salvage in Berkeley on Thursday are \u003ca href=\"http://thefreight.org/pamela-rose-wild-women-song\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for one of Rose’s regular gigs at Angelica’s in Redwood City, on April 6, are \u003ca href=\"http://angelicaswm.tunestub.com/event.cfm?cart&id=258439\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12944478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12944478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-800x450.jpg\" alt=\"Paula Vogel‘s ‘The Baltimore Waltz‘ is coming to The Magic Theatre\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Vogel‘s ‘The Baltimore Waltz’ is coming to The Magic Theatre. \u003ccite>(Photo: Courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 24–April 16:\u003c/strong> Playwright Paula Vogel is having a moment, with her first Broadway drama (\u003cem>Indecent\u003c/em>) opening in a few weeks. Now, we get a chance to look back on one of the plays that made her reputation — 1990’s \u003cem>The Baltimore Waltz\u003c/em>, a romantic comedy/drama about the AIDS crisis inspired by her grief at the death of her own brother. Lauren English plays the sister, returning to the stage after too long an absence. The always-sharp Jonathan Moscone is directing. “Paula writes with a necessary indelicacy around grieving,” Moscone says, “not to revere it but just write it and laugh as much as you can.” And David says Vogel has even been sitting in on rehearsals — something she hasn’t done in years for \u003cem>The Baltimore Waltz\u003c/em> — so this should be a worthy revival. Details for the run at the Magic Theatre are \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And the Magic brings \u003cem>The Baltimore Waltz\u003c/em> to Laney College in Oakland for one matinee performance on Saturday, April 1, with details \u003ca href=\"http://magictheatre.org/laney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BgPViIFfCB4'\n title='//www.youtube.com/embed/BgPViIFfCB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: To cap a show devoted to strong women, here’s a singer both women and men can swoon to. \u003ca href=\"http://www.josejamesmusic.com/\" target=\"_blank\" rel=\"noopener\">José James \u003c/a>is a master of the slow jam, singing jazz, R&B, and hip-hop in a sultry baritone. He fits right in on the \u003ca href=\"http://www.fiftyshadesmovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifty Shades Darker\u003c/em> \u003c/a>soundtrack album. Apparently James was planning an album about the hot issues of our time, from racism to economic inequality, and then decided the world needed a place to escape all that. Details for his show on Wednesday, March 29, at the Independent in San Francisco are \u003ca href=\"http://www.theindependentsf.com/event/1415209-jose-james-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-dawn-of-palestinian-rap-young-women-take-the-stage",
"title": "Young Women of Shoruq Signal a New Dawn of Palestinian Rap",
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"content": "\u003cp>Traditional Palestinian dance is called \u003ca href=\"https://books.google.com/books?id=S6riAwAAQBAJ&pg=PA99&dq=debka+palestinian+dance&hl=en&sa=X&ved=0ahUKEwjKxfb7jufSAhUBYCYKHdgpCp8Q6AEIOTAF#v=onepage&q=debka%20palestinian%20dance&f=false\">\u003cem>debka\u003c/em>\u003c/a>, a centuries-old spectacle of movement and joy that’s regularly performed at weddings. Rap music, by contrast, isn’t traditional in Palestinian culture. And rap music performed by teenage girls? \u003cem>Very \u003c/em>untraditional. Especially in public.\u003c/p>\n\u003cp>Which is why the \u003ca href=\"https://www.facebook.com/events/368260976890998/\">Shoruq Debka Troupe\u003c/a>’s show on March 19 in Oakland — attended by hundreds of people inside \u003ca href=\"http://oaklandtech.com/staff/performingarts/auditorium-renovation/\">Oakland Technical High School’s theater\u003c/a> on a Sunday afternoon — was a cultural bellwether of the changing arts scene in Palestine.\u003c/p>\n\u003cp>\u003cem>Debka\u003c/em> dancing, naturally, was on the bill. But it was the original rap songs of 15-year-old Dalya Ramadan and other female troupe members from the \u003ca href=\"https://en.wikipedia.org/wiki/Dheisheh\">Dheisheh refugee camp\u003c/a>, near \u003ca href=\"https://en.wikipedia.org/wiki/Bethlehem\">Bethlehem\u003c/a> in the West Bank, that reflected a generational change — a change that Ramadan says is challenging cultural stereotypes of Palestinian girls, and giving them a new outlet to voice their feelings about their lives as young women, the economic disparity they encounter, and Israeli military impositions on Palestinian land.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PNdE8bwLeUg\u003c/p>\n\u003cp>In the song “Freedom” from the group’s release called \u003cem>The Journey\u003c/em>, Ramadan, Nadeen Odeh, and other Shoruq members channel the kind of lyrical depths that many singers — including rappers, but also folk singers and rock ’n’ roll sages — have mined throughout music’s evolution as popular entertainment:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>“All I need in this life is to be free / \u003c/em>\u003cem>Free from this cage, but I need a key / A key for a life, yeah, waiting for me”\u003c/em>\u003c/p>\n\u003cp>Speaking with KQED Arts an hour before taking the Oakland stage, Dalya Ramadan rapped part of a song about feminism as school employees listened from a nearby room. Ramadan was completely at ease in front of strangers, punctuating the air with Arabic words that another troupe member, 16-year-old Dina Alayasa, translated for KQED and those within earshot.\u003c/p>\n\u003cp>Rapped Ramadan:\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>“My existence doesn’t hurt you, \u003c/em>\u003cem>I’ll help you achieve your goals / \u003c/em>\u003cem>To work, and to live, and to get your message out there / \u003c/em>\u003cem>To know the meaning of your life / \u003c/em>\u003cem>I’m the healing to your hurt, I’m the beautiful world.”\u003c/em>\u003c/p>\n\u003cp>“I use rap as a way of expression,” said Ramadan. “I take what’s inside of me and put it in those words. I talk about problems and issues I face — whatever it is, bad or good. I try to send a message to the world through this.”\u003c/p>\n\u003cfigure id=\"attachment_12931264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12931264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Shoruq-2-800x533.jpg\" alt=\"Members of the Shoruq Debka Troupe in traditional clothing\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Shoruq Debka Troupe in traditional clothing. \u003ccite>(Photo courtesy of Shoruq Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To open the 90-minute performance that followed, the Shoruq Debka Troupe did a \u003cem>debka\u003c/em> piece that spotlighted the Palestinian diaspora in the wake of Israel’s 1948 founding. The group also danced a performance about the protests at Dheisheh during the first \u003ca href=\"https://en.wikipedia.org/wiki/Intifada\">\u003cem>intifada\u003c/em>\u003c/a>, when the Israeli military \u003ca href=\"http://www.cbsnews.com/htdocs/religion/pope/holyland_dheisheh.html\">almost entirely fenced in the camp\u003c/a>. Then came Shoruq’s rap performances, where the singers wore casual clothing — not the traditional \u003cem>debka\u003c/em> dress. From their seats, the audience shouted encouragement to the girls, and some parents let their small kids dance in front of the stage, chasing them as needed in a timeless familial ritual that helped give the performance an even more memorable atmosphere.\u003c/p>\n\u003cp>Mohammad Azmi, who spearheaded \u003cem>The Journey’s\u003c/em> release and has served as a rapping coach of sorts for the troupe, passed on his own skills, which he first learned in 2004. Now 25, Azmi is part of the rap group \u003ca href=\"https://www.youtube.com/watch?v=fRofYyl7eaQ\">Palestine Street\u003c/a>. He’s also a volunteer with \u003ca href=\"http://shoruq.org/en/\">Shoruq\u003c/a> (“sunrise” in Arabic), the five-year-old nonprofit organization in Dheisheh that gives legal help to residents, and provides a cultural hub for teenagers and others.\u003c/p>\n\u003cp>About 13,000 people live in Dheisheh, which sprang up in 1949 and was supposed to be temporary — like other Palestinian refugee camps in the West Bank. Three generations later, “temporary” has given way to something very different, with severe travel restrictions, checkpoints, and regular raids that Ramadan says have turned Dheisheh into “a prison.”\u003c/p>\n\u003cfigure id=\"attachment_12931055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12931055\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-800x617.png\" alt=\"Dalya Ramadan (left) and other Palestinian rappers performed in Oakland on Sunday, March 19.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-800x617.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-768x592.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-240x185.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-375x289.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-520x401.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers.png 816w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dalya Ramadan (left) and other Palestinian rappers performed in Oakland on Sunday, March 19. \u003ccite>(Photo by Jonathan Curiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapping, Azmi tells KQED Arts in a Skype interview from Palestine, is a way to use art as a creative outlet, and one way to steer Palestinian youth away from ideas of violence. Azmi first began teaching Palestinian girls to rap in 2009; the first U.S. tour took place in 2015.\u003c/p>\n\u003cp>When Azmi himself began rapping as a pre-teen, he kept it “secret” for two years, out of fear he would offend other Palestinians. Many Palestianans had misguided impressions of rap, he says.\u003c/p>\n\u003cp>“Hip-hop is completely different from Palestinian culture and Palestinian music,” says Azmi, who was born and raised in the Dheisheh camp and lives there now. “Using this kind of art was a little bit risky for us as children. People said to us, ‘What are you doing?’ There’s a stereotype about hip-hop culture and hip-hop art – that it’s ‘bling-bling,’ and abuses women, and the ‘gangsta’ thing. So people thought that if you’re doing hip-hop you’re doing this. But when we showed them our lyrics, where we talk about issues, there was a transformation.”\u003c/p>\n\u003cp>Teaching Palestinian girls to rap took another level of acceptance — and a few more years — but when it happened, Azmi says, “The girls were better than the boys on stage.”\u003c/p>\n\u003cp>Oakland’s performance was one of \u003ca href=\"https://www.youtube.com/watch?v=gBkMhFURac8\">10 stops\u003c/a> that the Shoruq Debka Troupe is making around the United States, in part thanks to a sponsorship from the Berkeley-based \u003ca href=\"https://www.mecaforpeace.org/about\">Middle East Children’s Alliance\u003c/a>. The organization’s program manager for cross-cultural programs, \u003ca href=\"https://www.mecaforpeace.org/speaker/ziad-abbas\">Ziad Abbas\u003c/a> — also from the Dheisheh camp — joked on Sunday about his gray hair, as he spoke during a break between dances. “I knew some of these kids,” he told the audience, “when they were babies!”\u003c/p>\n\u003cfigure id=\"attachment_12931262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12931262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-800x406.png\" alt=\"The Shoruq Debka Troupe concluded their performance at Oakland Technical High School \" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-1020x518.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-1180x599.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-960x487.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-240x122.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-375x190.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-520x264.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end.png 1285w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Shoruq Debka Troupe concluded their performance at Oakland Technical High School \u003ccite>(Photo by Jonathan Curiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 18 Shoruq dancers on tour are all between 12 and 16 years old. When their Sunday performance was over, and they stood on stage before the crowd, three of the young female dancers flashed the peace sign with their fingers. At that moment on Sunday, the theater’s background lighting — which had changed throughout the performance — was lit in orange and red. Yes, it was the color of a sunrise. And, yes, it seemed like a reference to Shoruq’s name, and to the hope that these dancers are trying to convey at a time when there is so little of it in the Middle East.\u003c/p>\n\u003cp>Those who were there in Oakland won’t soon forget that color, nor the dancers, nor the rap music. Even if these performances don’t change policies, they’re raising greater awareness of Palestinian art forms and Palestinian lives. And Azmi says there’s a loose connection between Shoruq’s tour and the White House ascension of Donald Trump, whose presidency is altering the formulations for peace in the Middle East. Art, Azmi says, can be a way out of isolation and anguish.\u003c/p>\n\u003cp>“We became more afraid when Trump won because of his hate-speech toward everyone,” Azmi says, adding: “You can achieve by art. You can raise awareness by art. You can build new generations by art. You can protect new generations by art. Art can lead you to a way of loving everyone. Not like hate. Hate will make you tired — believe me.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "With powerful songs about life in a refugee camp — not to mention other, more universal tribulations of being a teenage girl — Shoruq is changing the face of Middle Eastern music. ",
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"title": "Young Women of Shoruq Signal a New Dawn of Palestinian Rap | KQED",
"description": "With powerful songs about life in a refugee camp — not to mention other, more universal tribulations of being a teenage girl — Shoruq is changing the face of Middle Eastern music. ",
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"headline": "Young Women of Shoruq Signal a New Dawn of Palestinian Rap",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Traditional Palestinian dance is called \u003ca href=\"https://books.google.com/books?id=S6riAwAAQBAJ&pg=PA99&dq=debka+palestinian+dance&hl=en&sa=X&ved=0ahUKEwjKxfb7jufSAhUBYCYKHdgpCp8Q6AEIOTAF#v=onepage&q=debka%20palestinian%20dance&f=false\">\u003cem>debka\u003c/em>\u003c/a>, a centuries-old spectacle of movement and joy that’s regularly performed at weddings. Rap music, by contrast, isn’t traditional in Palestinian culture. And rap music performed by teenage girls? \u003cem>Very \u003c/em>untraditional. Especially in public.\u003c/p>\n\u003cp>Which is why the \u003ca href=\"https://www.facebook.com/events/368260976890998/\">Shoruq Debka Troupe\u003c/a>’s show on March 19 in Oakland — attended by hundreds of people inside \u003ca href=\"http://oaklandtech.com/staff/performingarts/auditorium-renovation/\">Oakland Technical High School’s theater\u003c/a> on a Sunday afternoon — was a cultural bellwether of the changing arts scene in Palestine.\u003c/p>\n\u003cp>\u003cem>Debka\u003c/em> dancing, naturally, was on the bill. But it was the original rap songs of 15-year-old Dalya Ramadan and other female troupe members from the \u003ca href=\"https://en.wikipedia.org/wiki/Dheisheh\">Dheisheh refugee camp\u003c/a>, near \u003ca href=\"https://en.wikipedia.org/wiki/Bethlehem\">Bethlehem\u003c/a> in the West Bank, that reflected a generational change — a change that Ramadan says is challenging cultural stereotypes of Palestinian girls, and giving them a new outlet to voice their feelings about their lives as young women, the economic disparity they encounter, and Israeli military impositions on Palestinian land.\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/PNdE8bwLeUg'\n title='//www.youtube.com/embed/PNdE8bwLeUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song “Freedom” from the group’s release called \u003cem>The Journey\u003c/em>, Ramadan, Nadeen Odeh, and other Shoruq members channel the kind of lyrical depths that many singers — including rappers, but also folk singers and rock ’n’ roll sages — have mined throughout music’s evolution as popular entertainment:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>“All I need in this life is to be free / \u003c/em>\u003cem>Free from this cage, but I need a key / A key for a life, yeah, waiting for me”\u003c/em>\u003c/p>\n\u003cp>Speaking with KQED Arts an hour before taking the Oakland stage, Dalya Ramadan rapped part of a song about feminism as school employees listened from a nearby room. Ramadan was completely at ease in front of strangers, punctuating the air with Arabic words that another troupe member, 16-year-old Dina Alayasa, translated for KQED and those within earshot.\u003c/p>\n\u003cp>Rapped Ramadan:\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>“My existence doesn’t hurt you, \u003c/em>\u003cem>I’ll help you achieve your goals / \u003c/em>\u003cem>To work, and to live, and to get your message out there / \u003c/em>\u003cem>To know the meaning of your life / \u003c/em>\u003cem>I’m the healing to your hurt, I’m the beautiful world.”\u003c/em>\u003c/p>\n\u003cp>“I use rap as a way of expression,” said Ramadan. “I take what’s inside of me and put it in those words. I talk about problems and issues I face — whatever it is, bad or good. I try to send a message to the world through this.”\u003c/p>\n\u003cfigure id=\"attachment_12931264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12931264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Shoruq-2-800x533.jpg\" alt=\"Members of the Shoruq Debka Troupe in traditional clothing\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Shoruq Debka Troupe in traditional clothing. \u003ccite>(Photo courtesy of Shoruq Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To open the 90-minute performance that followed, the Shoruq Debka Troupe did a \u003cem>debka\u003c/em> piece that spotlighted the Palestinian diaspora in the wake of Israel’s 1948 founding. The group also danced a performance about the protests at Dheisheh during the first \u003ca href=\"https://en.wikipedia.org/wiki/Intifada\">\u003cem>intifada\u003c/em>\u003c/a>, when the Israeli military \u003ca href=\"http://www.cbsnews.com/htdocs/religion/pope/holyland_dheisheh.html\">almost entirely fenced in the camp\u003c/a>. Then came Shoruq’s rap performances, where the singers wore casual clothing — not the traditional \u003cem>debka\u003c/em> dress. From their seats, the audience shouted encouragement to the girls, and some parents let their small kids dance in front of the stage, chasing them as needed in a timeless familial ritual that helped give the performance an even more memorable atmosphere.\u003c/p>\n\u003cp>Mohammad Azmi, who spearheaded \u003cem>The Journey’s\u003c/em> release and has served as a rapping coach of sorts for the troupe, passed on his own skills, which he first learned in 2004. Now 25, Azmi is part of the rap group \u003ca href=\"https://www.youtube.com/watch?v=fRofYyl7eaQ\">Palestine Street\u003c/a>. He’s also a volunteer with \u003ca href=\"http://shoruq.org/en/\">Shoruq\u003c/a> (“sunrise” in Arabic), the five-year-old nonprofit organization in Dheisheh that gives legal help to residents, and provides a cultural hub for teenagers and others.\u003c/p>\n\u003cp>About 13,000 people live in Dheisheh, which sprang up in 1949 and was supposed to be temporary — like other Palestinian refugee camps in the West Bank. Three generations later, “temporary” has given way to something very different, with severe travel restrictions, checkpoints, and regular raids that Ramadan says have turned Dheisheh into “a prison.”\u003c/p>\n\u003cfigure id=\"attachment_12931055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12931055\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-800x617.png\" alt=\"Dalya Ramadan (left) and other Palestinian rappers performed in Oakland on Sunday, March 19.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-800x617.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-768x592.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-240x185.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-375x289.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers-520x401.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dalya-Ramadan-and-other-rappers.png 816w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dalya Ramadan (left) and other Palestinian rappers performed in Oakland on Sunday, March 19. \u003ccite>(Photo by Jonathan Curiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapping, Azmi tells KQED Arts in a Skype interview from Palestine, is a way to use art as a creative outlet, and one way to steer Palestinian youth away from ideas of violence. Azmi first began teaching Palestinian girls to rap in 2009; the first U.S. tour took place in 2015.\u003c/p>\n\u003cp>When Azmi himself began rapping as a pre-teen, he kept it “secret” for two years, out of fear he would offend other Palestinians. Many Palestianans had misguided impressions of rap, he says.\u003c/p>\n\u003cp>“Hip-hop is completely different from Palestinian culture and Palestinian music,” says Azmi, who was born and raised in the Dheisheh camp and lives there now. “Using this kind of art was a little bit risky for us as children. People said to us, ‘What are you doing?’ There’s a stereotype about hip-hop culture and hip-hop art – that it’s ‘bling-bling,’ and abuses women, and the ‘gangsta’ thing. So people thought that if you’re doing hip-hop you’re doing this. But when we showed them our lyrics, where we talk about issues, there was a transformation.”\u003c/p>\n\u003cp>Teaching Palestinian girls to rap took another level of acceptance — and a few more years — but when it happened, Azmi says, “The girls were better than the boys on stage.”\u003c/p>\n\u003cp>Oakland’s performance was one of \u003ca href=\"https://www.youtube.com/watch?v=gBkMhFURac8\">10 stops\u003c/a> that the Shoruq Debka Troupe is making around the United States, in part thanks to a sponsorship from the Berkeley-based \u003ca href=\"https://www.mecaforpeace.org/about\">Middle East Children’s Alliance\u003c/a>. The organization’s program manager for cross-cultural programs, \u003ca href=\"https://www.mecaforpeace.org/speaker/ziad-abbas\">Ziad Abbas\u003c/a> — also from the Dheisheh camp — joked on Sunday about his gray hair, as he spoke during a break between dances. “I knew some of these kids,” he told the audience, “when they were babies!”\u003c/p>\n\u003cfigure id=\"attachment_12931262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12931262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-800x406.png\" alt=\"The Shoruq Debka Troupe concluded their performance at Oakland Technical High School \" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-1020x518.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-1180x599.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-960x487.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-240x122.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-375x190.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end-520x264.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Shoruq-on-stage-at-the-end.png 1285w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Shoruq Debka Troupe concluded their performance at Oakland Technical High School \u003ccite>(Photo by Jonathan Curiel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 18 Shoruq dancers on tour are all between 12 and 16 years old. When their Sunday performance was over, and they stood on stage before the crowd, three of the young female dancers flashed the peace sign with their fingers. At that moment on Sunday, the theater’s background lighting — which had changed throughout the performance — was lit in orange and red. Yes, it was the color of a sunrise. And, yes, it seemed like a reference to Shoruq’s name, and to the hope that these dancers are trying to convey at a time when there is so little of it in the Middle East.\u003c/p>\n\u003cp>Those who were there in Oakland won’t soon forget that color, nor the dancers, nor the rap music. Even if these performances don’t change policies, they’re raising greater awareness of Palestinian art forms and Palestinian lives. And Azmi says there’s a loose connection between Shoruq’s tour and the White House ascension of Donald Trump, whose presidency is altering the formulations for peace in the Middle East. Art, Azmi says, can be a way out of isolation and anguish.\u003c/p>\n\u003cp>“We became more afraid when Trump won because of his hate-speech toward everyone,” Azmi says, adding: “You can achieve by art. You can raise awareness by art. You can build new generations by art. You can protect new generations by art. Art can lead you to a way of loving everyone. Not like hate. Hate will make you tired — believe me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since Korean-born performance artist Dohee Lee’s arrival to the Bay Area in 2002, she’s been a force on the traditional and contemporary performing arts scenes — from her work with the Korean Youth Cultural Center to collaborating with experimental dance pioneer Anna Halprin and performing with Kronos Quartet.\u003c/p>\n\u003cp>The 42-year-old native of South Korea’s Jeju Island has also been a vital connector for other struggling immigrant and refugee communities. “Even though we are all different people from different countries, coming here to build new home and community, and everything as a human being, is the same,” says Lee.\u003c/p>\n\u003cp>In Korea, Lee studied traditional dance and music rooted in ancient Shamanistic ritual. When Lee toured the Bay Area as a guest performer in 2000, she was captivated by the freedom and spirit of experimentation she felt here, and two years later decided to emigrate here. Today her work often incorporates improvised movement, electronic music and video projections, creating an amalgam of old and new. “I’m reaching for an unknown place, while respecting my history,” says Lee.\u003c/p>\n\u003cp>For \u003cem>Ara Ritual II: Time Weaves\u003c/em>, staged at Eastside Cultural Center in Oakland earlier this year, Lee partnered with the Bay Area Bhutanese Youth group and the immigrant and refugee artists collective CoRazOn. In a series of workshops Lee organized and led, participants explored through movement, drawing and singing how home connects to the physical body, land and ocean. “My experience working with Dohee has been very empowering and a deep healing process,” says Robin Gurung, a refugee from Bhutan. “It has helped me find my voice.”\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=\"Q.Logo.Break\" 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\u003cdiv class=\"hzWrap-side\">\n\u003cdiv class=\"hzload\" style=\"width: 200px;padding: 10px;margin: auto;text-align: center;background-color: #fff\">\n\u003cp>\u003cimg decoding=\"async\" style=\"width: 75px\" src=\"//huzzaz.com/images/hzload.gif\" alt=\"loading videos\">\u003c/p>\n\u003cdiv>Loading Videos…\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since Korean-born performance artist Dohee Lee’s arrival to the Bay Area in 2002, she’s been a force on the traditional and contemporary performing arts scenes — from her work with the Korean Youth Cultural Center to collaborating with experimental dance pioneer Anna Halprin and performing with Kronos Quartet.\u003c/p>\n\u003cp>The 42-year-old native of South Korea’s Jeju Island has also been a vital connector for other struggling immigrant and refugee communities. “Even though we are all different people from different countries, coming here to build new home and community, and everything as a human being, is the same,” says Lee.\u003c/p>\n\u003cp>In Korea, Lee studied traditional dance and music rooted in ancient Shamanistic ritual. When Lee toured the Bay Area as a guest performer in 2000, she was captivated by the freedom and spirit of experimentation she felt here, and two years later decided to emigrate here. Today her work often incorporates improvised movement, electronic music and video projections, creating an amalgam of old and new. “I’m reaching for an unknown place, while respecting my history,” says Lee.\u003c/p>\n\u003cp>For \u003cem>Ara Ritual II: Time Weaves\u003c/em>, staged at Eastside Cultural Center in Oakland earlier this year, Lee partnered with the Bay Area Bhutanese Youth group and the immigrant and refugee artists collective CoRazOn. In a series of workshops Lee organized and led, participants explored through movement, drawing and singing how home connects to the physical body, land and ocean. “My experience working with Dohee has been very empowering and a deep healing process,” says Robin Gurung, a refugee from Bhutan. “It has helped me find my voice.”\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=\"Q.Logo.Break\" 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\u003cdiv class=\"hzWrap-side\">\n\u003cdiv class=\"hzload\" style=\"width: 200px;padding: 10px;margin: auto;text-align: center;background-color: #fff\">\n\u003cp>\u003cimg decoding=\"async\" style=\"width: 75px\" src=\"//huzzaz.com/images/hzload.gif\" alt=\"loading videos\">\u003c/p>\n\u003cdiv>Loading Videos…\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zcvQL8_ZP20\u003c/p>\n\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ColFlk7UPZk\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rPgxT-xV2SU\u003c/p>\n\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wRwNUvCXP_8\u003c/p>\n\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukrJ4QQEh6c\u003c/p>\n\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FDOLKSp2AWU\u003c/p>\n\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\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/zcvQL8_ZP20'\n title='//www.youtube.com/embed/zcvQL8_ZP20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/ColFlk7UPZk'\n title='//www.youtube.com/embed/ColFlk7UPZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rPgxT-xV2SU'\n title='//www.youtube.com/embed/rPgxT-xV2SU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are 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/wRwNUvCXP_8'\n title='//www.youtube.com/embed/wRwNUvCXP_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are 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/ukrJ4QQEh6c'\n title='//www.youtube.com/embed/ukrJ4QQEh6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FDOLKSp2AWU'\n title='//www.youtube.com/embed/FDOLKSp2AWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new administration populated with \u003ca href=\"https://www.theguardian.com/us-news/2017/feb/02/donald-trump-plans-to-abolish-environmental-protection-agency\">climate-change deniers\u003c/a> has those who trust in science understandably perturbed. For Oakland-based environmentalist and filmmaker \u003ca href=\"http://christinerenfilms.com\">\u003cspan style=\"font-weight: 400\">Christine Ren\u003c/span>\u003c/a>, however, change comes not solely from enlightened political leadership, but also from individual changes of habit. Ren is not alone in her conviction — though her way of taking action is unusual.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Ren is a ballet dancer and a scuba diver, and holds degrees in biology as well as marine affairs and policy. She is also possessed of a vivid imagination. Thus armed, she dives into pools and oceans and makes haunting, meticulously choreographed performances underwater, which specialist video crews capture on film.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The results call attention to the various ways in which we damage marine ecosystems, and urge viewers to adopt a personal 30-day behavioral challenge in response. Ren designed the challenges to contain realistic, achievable goals, in hopes of spurring on longer-lasting habit changes. “Together we can create an ocean revolution,” Ren says. \u003c/span>\u003c/p>\n\u003cp>[vimeo 192570398 w=640 h=360]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The value of her approach lies in the way she shares her work,” says Erica Cirino, writer and social media coordinator at the conservation-oriented \u003c/span>\u003ca href=\"http://safinacenter.org\">\u003cspan style=\"font-weight: 400\">Safina Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at New York’s Stony Brook University. “Eye-catching art paired with thought-provoking science that conveys actionable steps individuals can take to help preserve and protect the oceans.”\u003c/span>\u003c/p>\n\u003ch3>Highlighting oceanic trash vortexes in ‘Blind Spots’\u003c/h3>\n\u003cfigure id=\"attachment_12745710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12745710 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-800x450.jpg\" alt=\"Christine Ren in ‘Blind Spots’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Ren in ‘Blind Spots.’ \u003ccite>(Photo: Brett Stanley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of her pieces, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://christinerenfilms.com/blind-spots/\" target=\"_blank\" rel=\"noopener\">Blind Spots\u003c/a>, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">features arresting images of Ren trundling a grocery shopping cart deep under the sea, trailing plastic debris. Highlighting the enormity of the oceans’ \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">trash vortexes\u003c/a>, the piece sparked a commitment by an entire class of fifth-graders to go plastic-free for 30 days.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Simone Wolk, a teacher at \u003ca href=\"https://www.brandeismarin.org/about\" target=\"_blank\" rel=\"noopener\">Brandeis Marin\u003c/a> in San Rafael, marvels at Ren’s impact on her young students. The artwork made them newly sensitive to the vast amounts of plastic in their world, and inspired them to conduct their own ocean conservation research and document their individual civic actions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Many stopped using straws at restaurants, said ‘no’ to crayons at restaurants if they came in plastic, and made their parents pack lunches and snacks in reusable Tupperware,” Wolk says. “One group of fifth graders wrote a letter to a nearby cafe which they saw was using too much plastic to pack their food.” \u003c/span>\u003c/p>\n\u003ch3>‘Jellyfish Soup’ critiques overfishing\u003c/h3>\n\u003cfigure id=\"attachment_12759768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12759768 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-800x450.jpg\" alt=\"Christine Ren in ‘Jellyfish Soup’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Ren in ‘Jellyfish Soup’ \u003ccite>(Photo: Brett Stanley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ren’s eerie underwater dance piece \u003ca href=\"http://christinerenfilms.com/jellyfish-soup/\" target=\"_blank\" rel=\"noopener\">\u003ci>Jellyfish Soup\u003c/i>\u003c/a> riffs off a metaphor used in the conservation world for overfishing, which has decimated \u003ca href=\"https://www.theguardian.com/sustainable-business/2016/feb/16/overfishing-is-as-big-a-threat-to-humanity-as-it-is-to-our-oceans\" target=\"_blank\" rel=\"noopener\">49 percent of the world’s marine populations\u003c/a>, threatening not only the oceans’ biodiversity but also precipitating a humanitarian crisis.\u003c/p>\n\u003cp>Ren’s artwork imagines a future in which the only remaining form of edible sea life is the jellyfish. In the film, Ren, sheathed in metallic scales, appears to reign tenuously over a swarm of enormous jellyfish amid a forest of fishing lines. The artwork challenges viewers to purchase only sustainable seafood.\u003c/p>\n\u003ch3>‘The Red Road’ mourns the death of coral reefs\u003c/h3>\n\u003cfigure id=\"attachment_12745709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12745709 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-800x444.jpg\" alt=\"Behind-the-scenes on ‘The Red Road’ shoot, with members of the dive team from Sea Bees Diving \" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1020x566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1920x1065.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1180x655.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-960x532.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-375x208.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-520x288.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652.jpg 2012w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind-the-scenes on ‘The Red Road’ shoot, with members of the dive team from Sea Bees Diving. \u003ccite>(Photo: Adriano Trapani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently, Ren traveled to Phuket, Thailand, to film a project entitled \u003ci>The Red Road\u003c/i> in the open ocean on a bleached coral reef. Deep underwater, she unfurled a long ream of red silk against the dying coral and performed a dance of mourning.\u003c/p>\n\u003cp>“Most people don’t know coral is even alive, let alone that it has actually died when it turns white,” she says. The scale of the problem is staggering and not confined to Thailand: global warming has destroyed much of the Great Barrier Reef in three separate coral bleaching events between 1998 and 2016, prompting \u003ca href=\"https://www.outsideonline.com/2112086/obituary-great-barrier-reef-25-million-bc-2016\" target=\"_blank\" rel=\"noopener\">this ‘obituary.’\u003c/a>\u003c/p>\n\u003cp>Ren is currently raising funds to complete post-production on \u003ci>The Red Road\u003c/i>. Once that is done, she will strike out for the Pacific Ocean, aiming to shoot in Hawaii to combat ocean trawling, then in Malaysia to promote mangrove nursery grounds, and in Australia to highlight efforts to save the Great Barrier Reef.\u003c/p>\n\u003cp>\u003cem>The Red Road\u003c/em> is currently in post-production and Ren is still discussing with climate scientists how best to structure a 30-day challenge around this project.\u003c/p>\n\u003cp>“I often felt without a voice as a scientist and even in the policy world,” Ren says. “This underwater dance conservation series is the way I’m finding to articulate what the ocean means to me, and see if there’s a role for art to play in conveying the heart of the conservation movement – a role that will actually effect change. I’m exploring the theory that small changes make big ripples.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Ballet dancer and scuba diver Christine Ren dives into pools and oceans for meticulously choreographed performances that challenge her audience's ecosystem-destroying habits.",
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"title": "Would You Change Your Ways for This Underwater Ballet Dancer? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new administration populated with \u003ca href=\"https://www.theguardian.com/us-news/2017/feb/02/donald-trump-plans-to-abolish-environmental-protection-agency\">climate-change deniers\u003c/a> has those who trust in science understandably perturbed. For Oakland-based environmentalist and filmmaker \u003ca href=\"http://christinerenfilms.com\">\u003cspan style=\"font-weight: 400\">Christine Ren\u003c/span>\u003c/a>, however, change comes not solely from enlightened political leadership, but also from individual changes of habit. Ren is not alone in her conviction — though her way of taking action is unusual.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Ren is a ballet dancer and a scuba diver, and holds degrees in biology as well as marine affairs and policy. She is also possessed of a vivid imagination. Thus armed, she dives into pools and oceans and makes haunting, meticulously choreographed performances underwater, which specialist video crews capture on film.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The results call attention to the various ways in which we damage marine ecosystems, and urge viewers to adopt a personal 30-day behavioral challenge in response. Ren designed the challenges to contain realistic, achievable goals, in hopes of spurring on longer-lasting habit changes. “Together we can create an ocean revolution,” Ren says. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The value of her approach lies in the way she shares her work,” says Erica Cirino, writer and social media coordinator at the conservation-oriented \u003c/span>\u003ca href=\"http://safinacenter.org\">\u003cspan style=\"font-weight: 400\">Safina Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at New York’s Stony Brook University. “Eye-catching art paired with thought-provoking science that conveys actionable steps individuals can take to help preserve and protect the oceans.”\u003c/span>\u003c/p>\n\u003ch3>Highlighting oceanic trash vortexes in ‘Blind Spots’\u003c/h3>\n\u003cfigure id=\"attachment_12745710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12745710 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-800x450.jpg\" alt=\"Christine Ren in ‘Blind Spots’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/2000px_brettstanleyphotodotcom-160603-_MG_8563-Edit-e1486953063511.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Ren in ‘Blind Spots.’ \u003ccite>(Photo: Brett Stanley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of her pieces, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://christinerenfilms.com/blind-spots/\" target=\"_blank\" rel=\"noopener\">Blind Spots\u003c/a>, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">features arresting images of Ren trundling a grocery shopping cart deep under the sea, trailing plastic debris. Highlighting the enormity of the oceans’ \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">trash vortexes\u003c/a>, the piece sparked a commitment by an entire class of fifth-graders to go plastic-free for 30 days.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Simone Wolk, a teacher at \u003ca href=\"https://www.brandeismarin.org/about\" target=\"_blank\" rel=\"noopener\">Brandeis Marin\u003c/a> in San Rafael, marvels at Ren’s impact on her young students. The artwork made them newly sensitive to the vast amounts of plastic in their world, and inspired them to conduct their own ocean conservation research and document their individual civic actions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Many stopped using straws at restaurants, said ‘no’ to crayons at restaurants if they came in plastic, and made their parents pack lunches and snacks in reusable Tupperware,” Wolk says. “One group of fifth graders wrote a letter to a nearby cafe which they saw was using too much plastic to pack their food.” \u003c/span>\u003c/p>\n\u003ch3>‘Jellyfish Soup’ critiques overfishing\u003c/h3>\n\u003cfigure id=\"attachment_12759768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12759768 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-800x450.jpg\" alt=\"Christine Ren in ‘Jellyfish Soup’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/brettstanleyphotodotcom-160603-_MG_8392-Edit-e1487035714539.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Ren in ‘Jellyfish Soup’ \u003ccite>(Photo: Brett Stanley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ren’s eerie underwater dance piece \u003ca href=\"http://christinerenfilms.com/jellyfish-soup/\" target=\"_blank\" rel=\"noopener\">\u003ci>Jellyfish Soup\u003c/i>\u003c/a> riffs off a metaphor used in the conservation world for overfishing, which has decimated \u003ca href=\"https://www.theguardian.com/sustainable-business/2016/feb/16/overfishing-is-as-big-a-threat-to-humanity-as-it-is-to-our-oceans\" target=\"_blank\" rel=\"noopener\">49 percent of the world’s marine populations\u003c/a>, threatening not only the oceans’ biodiversity but also precipitating a humanitarian crisis.\u003c/p>\n\u003cp>Ren’s artwork imagines a future in which the only remaining form of edible sea life is the jellyfish. In the film, Ren, sheathed in metallic scales, appears to reign tenuously over a swarm of enormous jellyfish amid a forest of fishing lines. The artwork challenges viewers to purchase only sustainable seafood.\u003c/p>\n\u003ch3>‘The Red Road’ mourns the death of coral reefs\u003c/h3>\n\u003cfigure id=\"attachment_12745709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12745709 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-800x444.jpg\" alt=\"Behind-the-scenes on ‘The Red Road’ shoot, with members of the dive team from Sea Bees Diving \" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1020x566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1920x1065.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1180x655.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-960x532.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-375x208.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652-520x288.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/bts_RED-road-e1486953139652.jpg 2012w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind-the-scenes on ‘The Red Road’ shoot, with members of the dive team from Sea Bees Diving. \u003ccite>(Photo: Adriano Trapani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently, Ren traveled to Phuket, Thailand, to film a project entitled \u003ci>The Red Road\u003c/i> in the open ocean on a bleached coral reef. Deep underwater, she unfurled a long ream of red silk against the dying coral and performed a dance of mourning.\u003c/p>\n\u003cp>“Most people don’t know coral is even alive, let alone that it has actually died when it turns white,” she says. The scale of the problem is staggering and not confined to Thailand: global warming has destroyed much of the Great Barrier Reef in three separate coral bleaching events between 1998 and 2016, prompting \u003ca href=\"https://www.outsideonline.com/2112086/obituary-great-barrier-reef-25-million-bc-2016\" target=\"_blank\" rel=\"noopener\">this ‘obituary.’\u003c/a>\u003c/p>\n\u003cp>Ren is currently raising funds to complete post-production on \u003ci>The Red Road\u003c/i>. Once that is done, she will strike out for the Pacific Ocean, aiming to shoot in Hawaii to combat ocean trawling, then in Malaysia to promote mangrove nursery grounds, and in Australia to highlight efforts to save the Great Barrier Reef.\u003c/p>\n\u003cp>\u003cem>The Red Road\u003c/em> is currently in post-production and Ren is still discussing with climate scientists how best to structure a 30-day challenge around this project.\u003c/p>\n\u003cp>“I often felt without a voice as a scientist and even in the policy world,” Ren says. “This underwater dance conservation series is the way I’m finding to articulate what the ocean means to me, and see if there’s a role for art to play in conveying the heart of the conservation movement – a role that will actually effect change. I’m exploring the theory that small changes make big ripples.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-choreographers-festival-points-to-black-bodies-in-crisis",
"title": "Black Choreographers Festival Points to Black Bodies in Crisis",
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"headTitle": "Black Choreographers Festival Points to Black Bodies in Crisis | KQED",
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"content": "\u003cp>It’s impossible to miss the political implications of this year’s annual \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>. The two programs I’ve witnessed so far in the three-weekend event featured image after image of black bodies in crisis. Though what those bodies want and how those bodies respond is startling and, at times, bracingly elusive.\u003c/p>\n\u003cp>Here are some of the highlights I experienced at the festival, which culminates this weekend at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Marc Bamuthi Joseph’s \u003cem>peh-LO-tah\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marc Bamuthi Joseph performs an excerpt from his dance theater work, \u003cem>peh-LO-tah. \u003c/em>Presented in full at Yerba Buena Center for the Arts last November, the work is a meditation on soccer and trans-African identity. Joseph enters in a hoodie, his body tensed and ready for action — an iconic image dripping with irony and sincerity. After all he’s here to dance, and the action he’s ready for is soccer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a sharp, stinging entrance, freighted with double and triple meanings — an athlete must dominate, elude, and trick, and so must a criminal, and so must a father. And yet, all he’s doing is preparing to practice for a game, though Joseph makes it clear that a black man’s never just doing anything. He is always performing more than himself.\u003c/p>\n\u003cfigure id=\"attachment_12801072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12801072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg\" alt=\"Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his 'pen-LO-tah.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his ‘pen-LO-tah.’ \u003ccite>(Photo: Greg Bridges)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What follows are a series of elaborate and frenetic soccer inflected dances, culminating in a duet with a stationary ball. We can feel Joseph push his body to uncomfortable limits, dancing faster and faster and challenging his ability to remain precise, focused, and within the confines of the game, not to mention his choreography. It’s clear that in many ways, he’s losing his own bet.\u003c/p>\n\u003cp>When Joseph stops dancing, he loosens his body and talks to us about aging and his fears for his son. He wonders what he will pass on. It’s a scene of complete exhaustion and overcoming — of the world, injustice, and the limits of freedom. Here is a body both ready for action and already spent. One might say that Joseph has been overcome with meaning; that blackness — as it’s presently constructed — is Sisyphean, a cultural weight that never ends.\u003c/p>\n\u003cp>\u003cstrong>Gregory Dawson’s \u003cem>plus de véritiés\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elsewhere on the program, Gregory Dawson’s \u003cem>plus de véritiés\u003c/em> shares with Joseph’s work a metaphorical richness. But it’s pitched in a decidedly different key. Here the mode is classical and restrained, though at times unexpectedly explosive. The piece begins in sculptural repose: three slender men in what seem like stylized Speedos stand in a row up and down the stage, side spots wrapping light around them. Even in stillness, they flicker in movement.\u003c/p>\n\u003cfigure id=\"attachment_12800873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg\" alt=\"The intricate nature of Gregory Dawson's choreography is spellbinding.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-768x430.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1020x571.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1180x661.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-960x538.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intricate nature of Gregory Dawson’s choreography is spellbinding.\u003c/figcaption>\u003c/figure>\n\u003cp>When the performers do move, they do so in what one might call an almost unison — the timing is precisely just off. And so what you see, you see again, and again, as if each dancer were locked in his own time frame, and yet also part of the same movement and image. That oscillation between the individual and the group is stunningly rendered. Yet at least as Dawson presents it, you can feel that it’s a source of bitter disappointment.\u003c/p>\n\u003cp>Throughout the piece, dancers fall for no reason. Even when they hold each other up, they somehow reach the ground. It’s a disheartening vision of loss, especially after so many doubled and tripled images. And in the end when the dancers simply walk towards the audience, you hear through the music the muffled voice of James Baldwin mentioning something about love. This makes you wonder how love could be a part of this world. This is beautiful, but it’s not love.\u003c/p>\n\u003cp>The triumph of Dawson’s piece is that it is both absolutely present and mysteriously absent, which might be the signature trick of the evening. In many ways, he eludes the questions that Joseph deals with straight on, and yet neither can escape despair and disappointment. It’s as if it’s built into the system of everyday life, and that we can feel the system subtly and forcefully working its way through the dance — as if all dance were a black choreographer’s nightmare.\u003c/p>\n\u003cp>\u003cstrong>Maurya Kerr’s \u003cem>Fable: three\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Maurya Kerr’s solo piece \u003cem>Fable: three\u003c/em>, sharply danced by Alex Diaz, catches that nightmare and turns it upside down. Here, the black body’s pain and confusion is just the beginning and each assault is countered by an equally forceful attempt to come to rest. Kerr begins with Diaz’s back turned to the audience, stretched, or maybe tensed, to the heavens. And then Alva Noto’s score unleashes a wave of sound upon him and he doubles over in a spasm of hurt.\u003c/p>\n\u003cp>Kerr’s choreography captures piercing pain and the delicate attempts to manage it. Over and over, Diaz pats the air with his hands, as if trying to center or ground himself in a world electric with shock and violence. Or he simply tries to regulate his breathing, a subtle reminder that “I can’t breathe” is more than a phrase, but an absolute threat to life.\u003c/p>\n\u003cp>That the assaults come from everywhere and nowhere is terrifying. Like Noto’s music, they pierce the air around us. And yet the most memorable aspect of Kerr’s piece isn’t the violence that the dancer suffers, but rather his repeated attempts to transcend those attacks and rest — to breathe normally, to gain balance, to remind himself that there is another world and that he might be all right in it.\u003c/p>\n\u003cp>\u003cstrong>Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If escape is a dream in Kerr’s piece, it becomes a strange reality in Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>, an odd mashup of 18th century fashion, sci-fi utopianism, and the pulsing energy of the nightclub. To watch Simpson’s dancers bend over, pause, and then shake their white-haired wigs is to enter a world where time has collapsed.\u003c/p>\n\u003cfigure id=\"attachment_12800871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg\" alt=\"Raissa-Simpson's 'Mothership: part 1" at the Black Choreographer's Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raissa-Simpson’s ‘Mothership: part 1″ at the Black Choreographer’s Festival. \u003ccite>(Image courtesy of the festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this utopia, there are strange traces of the past. The dancers perform in droll unity, and yet every once a while a fist is raised, or a dancer tries to break loose, or suddenly flips upside down frozen in a handstand. These moments of individuality are few but striking. They make you realize that the world we’re mired in could suddenly become a memory. Part of the power of Simpson’s work is that she remains neutral on whether that’s a good or bad thing.\u003c/p>\n\u003cp>After two weekends of attending this Festival, I still can’t tell you what a “black choreographer” is, or what defines “black choreography.” The work is just too varied, and at its best, too beautiful to be categorized. What I can say is that in the United States, the black body carries too much actual and symbolic weight. Dance is an an art form often characterized by lightness and speed, and these dances and artists remind us that blackness achieves these qualities at a cost. And that cost comes close to annihilation, but not just yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2017 Black Choreographer’s Festival runs through Sunday, Feb. 26 at Dance Mission in San Francisco. For tickets and information \u003ca href=\"http://www.bcfhereandnow.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to miss the political implications of this year’s annual \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>. The two programs I’ve witnessed so far in the three-weekend event featured image after image of black bodies in crisis. Though what those bodies want and how those bodies respond is startling and, at times, bracingly elusive.\u003c/p>\n\u003cp>Here are some of the highlights I experienced at the festival, which culminates this weekend at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Marc Bamuthi Joseph’s \u003cem>peh-LO-tah\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marc Bamuthi Joseph performs an excerpt from his dance theater work, \u003cem>peh-LO-tah. \u003c/em>Presented in full at Yerba Buena Center for the Arts last November, the work is a meditation on soccer and trans-African identity. Joseph enters in a hoodie, his body tensed and ready for action — an iconic image dripping with irony and sincerity. After all he’s here to dance, and the action he’s ready for is soccer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a sharp, stinging entrance, freighted with double and triple meanings — an athlete must dominate, elude, and trick, and so must a criminal, and so must a father. And yet, all he’s doing is preparing to practice for a game, though Joseph makes it clear that a black man’s never just doing anything. He is always performing more than himself.\u003c/p>\n\u003cfigure id=\"attachment_12801072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12801072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg\" alt=\"Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his 'pen-LO-tah.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Joseph26-e1487750282790.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph dances with and then contemplates a soccer ball in his ‘pen-LO-tah.’ \u003ccite>(Photo: Greg Bridges)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What follows are a series of elaborate and frenetic soccer inflected dances, culminating in a duet with a stationary ball. We can feel Joseph push his body to uncomfortable limits, dancing faster and faster and challenging his ability to remain precise, focused, and within the confines of the game, not to mention his choreography. It’s clear that in many ways, he’s losing his own bet.\u003c/p>\n\u003cp>When Joseph stops dancing, he loosens his body and talks to us about aging and his fears for his son. He wonders what he will pass on. It’s a scene of complete exhaustion and overcoming — of the world, injustice, and the limits of freedom. Here is a body both ready for action and already spent. One might say that Joseph has been overcome with meaning; that blackness — as it’s presently constructed — is Sisyphean, a cultural weight that never ends.\u003c/p>\n\u003cp>\u003cstrong>Gregory Dawson’s \u003cem>plus de véritiés\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elsewhere on the program, Gregory Dawson’s \u003cem>plus de véritiés\u003c/em> shares with Joseph’s work a metaphorical richness. But it’s pitched in a decidedly different key. Here the mode is classical and restrained, though at times unexpectedly explosive. The piece begins in sculptural repose: three slender men in what seem like stylized Speedos stand in a row up and down the stage, side spots wrapping light around them. Even in stillness, they flicker in movement.\u003c/p>\n\u003cfigure id=\"attachment_12800873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg\" alt=\"The intricate nature of Gregory Dawson's choreography is spellbinding.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-800x448.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-768x430.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1020x571.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-1180x661.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-960x538.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/0B0k2akJYmAAmT3ctUmx1cl9EUW8-e1487746863700.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intricate nature of Gregory Dawson’s choreography is spellbinding.\u003c/figcaption>\u003c/figure>\n\u003cp>When the performers do move, they do so in what one might call an almost unison — the timing is precisely just off. And so what you see, you see again, and again, as if each dancer were locked in his own time frame, and yet also part of the same movement and image. That oscillation between the individual and the group is stunningly rendered. Yet at least as Dawson presents it, you can feel that it’s a source of bitter disappointment.\u003c/p>\n\u003cp>Throughout the piece, dancers fall for no reason. Even when they hold each other up, they somehow reach the ground. It’s a disheartening vision of loss, especially after so many doubled and tripled images. And in the end when the dancers simply walk towards the audience, you hear through the music the muffled voice of James Baldwin mentioning something about love. This makes you wonder how love could be a part of this world. This is beautiful, but it’s not love.\u003c/p>\n\u003cp>The triumph of Dawson’s piece is that it is both absolutely present and mysteriously absent, which might be the signature trick of the evening. In many ways, he eludes the questions that Joseph deals with straight on, and yet neither can escape despair and disappointment. It’s as if it’s built into the system of everyday life, and that we can feel the system subtly and forcefully working its way through the dance — as if all dance were a black choreographer’s nightmare.\u003c/p>\n\u003cp>\u003cstrong>Maurya Kerr’s \u003cem>Fable: three\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Maurya Kerr’s solo piece \u003cem>Fable: three\u003c/em>, sharply danced by Alex Diaz, catches that nightmare and turns it upside down. Here, the black body’s pain and confusion is just the beginning and each assault is countered by an equally forceful attempt to come to rest. Kerr begins with Diaz’s back turned to the audience, stretched, or maybe tensed, to the heavens. And then Alva Noto’s score unleashes a wave of sound upon him and he doubles over in a spasm of hurt.\u003c/p>\n\u003cp>Kerr’s choreography captures piercing pain and the delicate attempts to manage it. Over and over, Diaz pats the air with his hands, as if trying to center or ground himself in a world electric with shock and violence. Or he simply tries to regulate his breathing, a subtle reminder that “I can’t breathe” is more than a phrase, but an absolute threat to life.\u003c/p>\n\u003cp>That the assaults come from everywhere and nowhere is terrifying. Like Noto’s music, they pierce the air around us. And yet the most memorable aspect of Kerr’s piece isn’t the violence that the dancer suffers, but rather his repeated attempts to transcend those attacks and rest — to breathe normally, to gain balance, to remind himself that there is another world and that he might be all right in it.\u003c/p>\n\u003cp>\u003cstrong>Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If escape is a dream in Kerr’s piece, it becomes a strange reality in Raissa Simpson’s \u003cem>Mothership: part 1\u003c/em>, an odd mashup of 18th century fashion, sci-fi utopianism, and the pulsing energy of the nightclub. To watch Simpson’s dancers bend over, pause, and then shake their white-haired wigs is to enter a world where time has collapsed.\u003c/p>\n\u003cfigure id=\"attachment_12800871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12800871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg\" alt=\"Raissa-Simpson's 'Mothership: part 1" at the Black Choreographer's Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Raissa-Simpson1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raissa-Simpson’s ‘Mothership: part 1″ at the Black Choreographer’s Festival. \u003ccite>(Image courtesy of the festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this utopia, there are strange traces of the past. The dancers perform in droll unity, and yet every once a while a fist is raised, or a dancer tries to break loose, or suddenly flips upside down frozen in a handstand. These moments of individuality are few but striking. They make you realize that the world we’re mired in could suddenly become a memory. Part of the power of Simpson’s work is that she remains neutral on whether that’s a good or bad thing.\u003c/p>\n\u003cp>After two weekends of attending this Festival, I still can’t tell you what a “black choreographer” is, or what defines “black choreography.” The work is just too varied, and at its best, too beautiful to be categorized. What I can say is that in the United States, the black body carries too much actual and symbolic weight. Dance is an an art form often characterized by lightness and speed, and these dances and artists remind us that blackness achieves these qualities at a cost. And that cost comes close to annihilation, but not just yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2017 Black Choreographer’s Festival runs through Sunday, Feb. 26 at Dance Mission in San Francisco. For tickets and information \u003ca href=\"http://www.bcfhereandnow.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s 4pm on a typical Monday afternoon, and the Stanford campus is mostly quiet as students walk and bike around its city of red-roofed buildings, minding their own business. Suddenly, Kiyan Williams arrives on the green, with long braids spilling down a bare back, wearing only a loin cloth-like purple skirt adorned at the front with an actual octopus whose slimy tentacles brush Williams’ thighs as they proceed toward a round platform. As Williams walks with slow, confident steps, a procession of devotees in matching blue-ish garb and painted faces follow.\u003c/p>\n\u003cp>Williams — who is gender nonconforming, and uses the pronoun “they” — slowly covers themselves with dirt until their lower body is buried under a brown mound. After decorating the pile with flowers, Williams breaks into a fragmented monologue. “Why you always so dirty?” Williams bellows scathingly into the audience, imitating their grandmother’s harsh scoldings and rubbing dirt up and down their arms before eventually stuffing it into their mouth.\u003c/p>\n\u003cfigure id=\"attachment_12789399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12789399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbe%CC%81-e1487531792783-800x563.jpg\" alt=\"Unearthing performers marching through the Stanford campus. \" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783.jpg 1360w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Unearthing \u003c/i> performers marching through the Stanford campus. \u003ccite>(Elijah Ndoumbé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Williams proceeds to cover their body with paint — first gold, then green — and glitter, unsuspecting students continuously bike past the performance, doing a bewildered double take. But Williams’ focus never breaks.\u003c/p>\n\u003cp>Williams grew up in Newark, New Jersey — in the “hood,” in their words — among a black and brown community. There, they gradually began using movement and performance as a tool for expression. “I learned to dance at non-institutional spaces — at family barbecues, at queer clubs,” they recall. “Queer nightlife was a big part of my coming of age and my coming into my identity.\u003c/p>\n\u003cp>“It was a space where I felt that I could be freer than I could in other spaces.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After moving to California at 17 to attend Stanford University, those clubs became even more important to Williams. They would study in Palo Alto during the week, then escape to Oakland and San Francisco on the weekends to “find spaces of belonging.” They would frequent parties such as Ships in the Night and The People Party, as well as regularly compete in voguing balls at community centers in Oakland and across the Bay.\u003c/p>\n\u003cfigure id=\"attachment_12803258\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sirena3.jpg\" alt=\"Kiyan Williams.\" width=\"600\" height=\"900\" class=\"size-full wp-image-12803258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-520x780.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Kiyan Williams.\u003c/figcaption>\u003c/figure>\n\u003cp>When dancing, Williams is equally as compelling as when performing avant-garde monologues — capturing the audience with unparalleled attitude, grace and confidence. That magnetism also led Williams to go-go dancing gigs at queer night clubs that they now cite as foundational experience for their fine art practice.\u003c/p>\n\u003cp>After nearly four years at Stanford, Williams had developed a critical art practice and attracted a community of queer black and brown folks that they now describe at “chosen family.” But, even so, with only one math class requirement left between Williams and their degree, the reality of Stanford became unbearable.\u003c/p>\n\u003cp>“I was very depressed from years of microaggressions, and just being at Stanford and the pressures of what it means for someone like me, and where I’m from, to be in that kind of place,” Williams says. “I just knew intuitively: ‘I need to go and work on my emotional and mental well-being and find community.’”\u003c/p>\n\u003cp>So, Williams moved to New York City in 2014 and did just that. There, they first began developing \u003cem>Unearthing\u003c/em> — the performance they would eventually bring back to Stanford and perform on a quiet Monday in early 2017.\u003c/p>\n\u003cp>\u003cem>Unearthing\u003c/em> is an ode to transformation. By the end, Williams appears transcendent, glistening from head to toe after showering themselves in paint and glitter. It is a story of coming into one’s own, reclaiming the baggage associated with one’s identity and, in doing so, achieving a new level of self-realization.\u003c/p>\n\u003cp>“For me, the idea of unearthing is a metaphor but also a life practice of excavating our personal truths, of literally unearthing stories that are often hidden or buried or erased, which is just how black and queer history is.”\u003c/p>\n\u003cfigure id=\"attachment_12789397\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12789397\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-800x1030.jpg\" alt=\"Williams performing Unearthing at Dixon Place in New York City in 2016. \" width=\"800\" height=\"1030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-800x1030.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-375x483.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-520x670.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860.jpg 911w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Williams performing \u003ci>Unearthing\u003c/i> at Dixon Place in New York City in 2016. \u003ccite>(Cristobal Guerra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What begins as a dirt pile that blends with the color of Williams’ skin ultimately becomes an altar of fertility. “Blackness is the stuff that nurtures seeds and gives birth to revolution,” Williams proclaims from within the soil.\u003c/p>\n\u003cp>In the performance’s final moments, Williams emerges with a dance routine fit for a voguing battle. Flawlessly bouncing from one foot to the other and manipulating their wrists with geisha-like precision, Williams flips their braids through the air. Finally, spreading their arms with sass, they land in a dancer’s position and announce: “I’m Kiki!”\u003c/p>\n\u003cp>There’s a lot packed into that ending. In our interview, Williams — who speaks in an inimitable hybrid of street vernacular, scholarly vocabulary, and queer slang — explains that the routine is a reference to ball culture: specially, the tradition of each competitor introducing themselves to the audience with a short, improvised walk.\u003c/p>\n\u003cp>And “Kiki” is the name that Williams began using when they began embracing their femininity. “When I was young, my cousins used to call me ‘Kiki’ and I hated it because I thought it was really feminine,” says Williams. “So then years later… I reclaimed ‘Kiki’ as a way to reclaim my childhood femininity.”\u003c/p>\n\u003cp>But “Kiyan” still feels true as well: “I’m both. I’m Kiki and I’m Kiyan at the same time.”\u003c/p>\n\u003cfigure id=\"attachment_12789400\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/142A2940.jpg\" alt=\"Unearthing, Stanford University, 2017. \" width=\"2048\" height=\"1114\" class=\"size-full wp-image-12789400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-1920x1045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-1180x642.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-960x522.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-520x283.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Unearthing\u003c/i>, Stanford University, 2017. \u003ccite>(Elijah Ndoumbé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That unapologetic fluidity and multiplicity is key to Williams’ practice. Moving seamlessly between academic and queer nightlife spaces; between variations of gender; between “fine art” practices and ballroom techniques, Williams elegantly dissolves the boundaries between those categories and exposes the assumptions and biases that frame them as distinct in the first place.\u003c/p>\n\u003cp>For Williams, weaving those worlds together is not just an art practice — it’s the product of years of personal effort shedding the narrow categories of identity into which adolescents are convinced they’re supposed to neatly fit. It’s what prepared Williams to return to Stanford and receive their degree last December. And it’s what allowed them to triumphantly proclaim an authentic version of self on the Stanford campus that warm Monday afternoon — embracing the school as a home for black, brown and queer creativity despite the systemic inequities that challenge that narrative.\u003c/p>\n\u003cp>“For a really long time I felt policed at a space like Stanford and I felt like it was a space where I couldn’t fully belong or show up as my full self… but also in queer spaces I felt a really strong otherness because I went to a place like Stanford that’s associated with wealth and access, so there was always a sense of outsiderness in whatever spaces that I showed up in,” Williams says. “But the reality is that the imagined boundaries that we feel in these different spaces are indeed very porous.\u003c/p>\n\u003cp>“Through my own practice of self-transformation, I just came to accept that wherever I am is where I belong.”\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=\"Q.Logo.Break\" 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>\u003cem>For more of Kiyan Williams’ work, visit \u003ca href=\"http://www.kiyanwilliams.com/\" target=\"_blank\" rel=\"noopener\">kiyanwilliams.com\u003c/a> or the artist’s \u003ca href=\"https://www.instagram.com/lifeisakiki/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Kiyan Williams Bridges Queer Dance Culture and Ivy League Academia | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 4pm on a typical Monday afternoon, and the Stanford campus is mostly quiet as students walk and bike around its city of red-roofed buildings, minding their own business. Suddenly, Kiyan Williams arrives on the green, with long braids spilling down a bare back, wearing only a loin cloth-like purple skirt adorned at the front with an actual octopus whose slimy tentacles brush Williams’ thighs as they proceed toward a round platform. As Williams walks with slow, confident steps, a procession of devotees in matching blue-ish garb and painted faces follow.\u003c/p>\n\u003cp>Williams — who is gender nonconforming, and uses the pronoun “they” — slowly covers themselves with dirt until their lower body is buried under a brown mound. After decorating the pile with flowers, Williams breaks into a fragmented monologue. “Why you always so dirty?” Williams bellows scathingly into the audience, imitating their grandmother’s harsh scoldings and rubbing dirt up and down their arms before eventually stuffing it into their mouth.\u003c/p>\n\u003cfigure id=\"attachment_12789399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12789399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbe%CC%81-e1487531792783-800x563.jpg\" alt=\"Unearthing performers marching through the Stanford campus. \" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing7_ElijahNdoumbé-e1487531792783.jpg 1360w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Unearthing \u003c/i> performers marching through the Stanford campus. \u003ccite>(Elijah Ndoumbé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Williams proceeds to cover their body with paint — first gold, then green — and glitter, unsuspecting students continuously bike past the performance, doing a bewildered double take. But Williams’ focus never breaks.\u003c/p>\n\u003cp>Williams grew up in Newark, New Jersey — in the “hood,” in their words — among a black and brown community. There, they gradually began using movement and performance as a tool for expression. “I learned to dance at non-institutional spaces — at family barbecues, at queer clubs,” they recall. “Queer nightlife was a big part of my coming of age and my coming into my identity.\u003c/p>\n\u003cp>“It was a space where I felt that I could be freer than I could in other spaces.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After moving to California at 17 to attend Stanford University, those clubs became even more important to Williams. They would study in Palo Alto during the week, then escape to Oakland and San Francisco on the weekends to “find spaces of belonging.” They would frequent parties such as Ships in the Night and The People Party, as well as regularly compete in voguing balls at community centers in Oakland and across the Bay.\u003c/p>\n\u003cfigure id=\"attachment_12803258\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sirena3.jpg\" alt=\"Kiyan Williams.\" width=\"600\" height=\"900\" class=\"size-full wp-image-12803258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sirena3-520x780.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Kiyan Williams.\u003c/figcaption>\u003c/figure>\n\u003cp>When dancing, Williams is equally as compelling as when performing avant-garde monologues — capturing the audience with unparalleled attitude, grace and confidence. That magnetism also led Williams to go-go dancing gigs at queer night clubs that they now cite as foundational experience for their fine art practice.\u003c/p>\n\u003cp>After nearly four years at Stanford, Williams had developed a critical art practice and attracted a community of queer black and brown folks that they now describe at “chosen family.” But, even so, with only one math class requirement left between Williams and their degree, the reality of Stanford became unbearable.\u003c/p>\n\u003cp>“I was very depressed from years of microaggressions, and just being at Stanford and the pressures of what it means for someone like me, and where I’m from, to be in that kind of place,” Williams says. “I just knew intuitively: ‘I need to go and work on my emotional and mental well-being and find community.’”\u003c/p>\n\u003cp>So, Williams moved to New York City in 2014 and did just that. There, they first began developing \u003cem>Unearthing\u003c/em> — the performance they would eventually bring back to Stanford and perform on a quiet Monday in early 2017.\u003c/p>\n\u003cp>\u003cem>Unearthing\u003c/em> is an ode to transformation. By the end, Williams appears transcendent, glistening from head to toe after showering themselves in paint and glitter. It is a story of coming into one’s own, reclaiming the baggage associated with one’s identity and, in doing so, achieving a new level of self-realization.\u003c/p>\n\u003cp>“For me, the idea of unearthing is a metaphor but also a life practice of excavating our personal truths, of literally unearthing stories that are often hidden or buried or erased, which is just how black and queer history is.”\u003c/p>\n\u003cfigure id=\"attachment_12789397\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12789397\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-800x1030.jpg\" alt=\"Williams performing Unearthing at Dixon Place in New York City in 2016. \" width=\"800\" height=\"1030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-800x1030.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-375x483.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860-520x670.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Unearthing_CristobalGuerra-e1487532252860.jpg 911w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Williams performing \u003ci>Unearthing\u003c/i> at Dixon Place in New York City in 2016. \u003ccite>(Cristobal Guerra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What begins as a dirt pile that blends with the color of Williams’ skin ultimately becomes an altar of fertility. “Blackness is the stuff that nurtures seeds and gives birth to revolution,” Williams proclaims from within the soil.\u003c/p>\n\u003cp>In the performance’s final moments, Williams emerges with a dance routine fit for a voguing battle. Flawlessly bouncing from one foot to the other and manipulating their wrists with geisha-like precision, Williams flips their braids through the air. Finally, spreading their arms with sass, they land in a dancer’s position and announce: “I’m Kiki!”\u003c/p>\n\u003cp>There’s a lot packed into that ending. In our interview, Williams — who speaks in an inimitable hybrid of street vernacular, scholarly vocabulary, and queer slang — explains that the routine is a reference to ball culture: specially, the tradition of each competitor introducing themselves to the audience with a short, improvised walk.\u003c/p>\n\u003cp>And “Kiki” is the name that Williams began using when they began embracing their femininity. “When I was young, my cousins used to call me ‘Kiki’ and I hated it because I thought it was really feminine,” says Williams. “So then years later… I reclaimed ‘Kiki’ as a way to reclaim my childhood femininity.”\u003c/p>\n\u003cp>But “Kiyan” still feels true as well: “I’m both. I’m Kiki and I’m Kiyan at the same time.”\u003c/p>\n\u003cfigure id=\"attachment_12789400\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/142A2940.jpg\" alt=\"Unearthing, Stanford University, 2017. \" width=\"2048\" height=\"1114\" class=\"size-full wp-image-12789400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-1920x1045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-1180x642.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-960x522.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/142A2940-520x283.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Unearthing\u003c/i>, Stanford University, 2017. \u003ccite>(Elijah Ndoumbé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That unapologetic fluidity and multiplicity is key to Williams’ practice. Moving seamlessly between academic and queer nightlife spaces; between variations of gender; between “fine art” practices and ballroom techniques, Williams elegantly dissolves the boundaries between those categories and exposes the assumptions and biases that frame them as distinct in the first place.\u003c/p>\n\u003cp>For Williams, weaving those worlds together is not just an art practice — it’s the product of years of personal effort shedding the narrow categories of identity into which adolescents are convinced they’re supposed to neatly fit. It’s what prepared Williams to return to Stanford and receive their degree last December. And it’s what allowed them to triumphantly proclaim an authentic version of self on the Stanford campus that warm Monday afternoon — embracing the school as a home for black, brown and queer creativity despite the systemic inequities that challenge that narrative.\u003c/p>\n\u003cp>“For a really long time I felt policed at a space like Stanford and I felt like it was a space where I couldn’t fully belong or show up as my full self… but also in queer spaces I felt a really strong otherness because I went to a place like Stanford that’s associated with wealth and access, so there was always a sense of outsiderness in whatever spaces that I showed up in,” Williams says. “But the reality is that the imagined boundaries that we feel in these different spaces are indeed very porous.\u003c/p>\n\u003cp>“Through my own practice of self-transformation, I just came to accept that wherever I am is where I belong.”\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=\"Q.Logo.Break\" 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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more of Kiyan Williams’ work, visit \u003ca href=\"http://www.kiyanwilliams.com/\" target=\"_blank\" rel=\"noopener\">kiyanwilliams.com\u003c/a> or the artist’s \u003ca href=\"https://www.instagram.com/lifeisakiki/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "That's What You Call a Monstrous Ballet: Liam Scarlett's 'Frankenstein'",
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"content": "\u003cp>Mary Wollstonecraft Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is nearly 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1DSZg86X0H0\u003c/p>\n\u003cp>Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story in a co-commission for the Royal Ballet and the San Francisco Ballet. It opened last year in London, and now Scarlett is overseeing the U.S. premiere here at the War Memorial Opera House in San Francisco.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrxM-jPOFQo\u003c/p>\n\u003cp>I talked to Scarlett during a break from rehearsals, asking how he gets this awkward creature, assembled from ill-fitting body parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett said. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scarlett said he’s loved the book since he was a kid, so it was an easy choice to say yes to the commission. And in the course of his adaptation, Scarlett saw new layers in \u003cem>Frankenstein\u003c/em> each time he returned to the text, which have made their way into the ballet. “Shelley had a difficult time with her family over her marriage to the poet Percy Bysshe Shelley,” he noted, “And the creature is also searching for this father figure. He doesn’t have a name in the book, so it’s a search for identity.”\u003c/p>\n\u003cp>Which makes it a very modern tale.\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=\"Q.Logo.Break\" 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>‘Frankenstein’ runs Feb. 17–26 at the War Memorial Opera House in San Francisco, produced by San Francisco Ballet. Details are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Liam Scarlett adapts the nearly 200 year-old story of Frankenstein's monster into a modern, resonant ballet.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mary Wollstonecraft Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is nearly 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity.\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/1DSZg86X0H0'\n title='//www.youtube.com/embed/1DSZg86X0H0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story in a co-commission for the Royal Ballet and the San Francisco Ballet. It opened last year in London, and now Scarlett is overseeing the U.S. premiere here at the War Memorial Opera House in San Francisco.\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/vrxM-jPOFQo'\n title='//www.youtube.com/embed/vrxM-jPOFQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I talked to Scarlett during a break from rehearsals, asking how he gets this awkward creature, assembled from ill-fitting body parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett said. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scarlett said he’s loved the book since he was a kid, so it was an easy choice to say yes to the commission. And in the course of his adaptation, Scarlett saw new layers in \u003cem>Frankenstein\u003c/em> each time he returned to the text, which have made their way into the ballet. “Shelley had a difficult time with her family over her marriage to the poet Percy Bysshe Shelley,” he noted, “And the creature is also searching for this father figure. He doesn’t have a name in the book, so it’s a search for identity.”\u003c/p>\n\u003cp>Which makes it a very modern tale.\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=\"Q.Logo.Break\" 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>‘Frankenstein’ runs Feb. 17–26 at the War Memorial Opera House in San Francisco, produced by San Francisco Ballet. Details are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-frankenstein-ballet-noise-pop-and-shack-shakers",
"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/308119957″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ta8GWrxUX34\u003c/p>\n\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZJJsvlrDqg\u003c/p>\n\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrxM-jPOFQo\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bn15IvVrprw\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYLHKpAl1vs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Annie Baker's 'John' at A.C.T., Rachel Efron and Ira Marlowe's 'Gods & Monsters' in Berkeley, 'Frankenstein' at SF Ballet and more round out this week's recommendations.",
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"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers | KQED",
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"headline": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308119957″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308119957″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\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/ta8GWrxUX34'\n title='//www.youtube.com/embed/ta8GWrxUX34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/5ZJJsvlrDqg'\n title='//www.youtube.com/embed/5ZJJsvlrDqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\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/vrxM-jPOFQo'\n title='//www.youtube.com/embed/vrxM-jPOFQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bn15IvVrprw'\n title='//www.youtube.com/embed/bn15IvVrprw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kYLHKpAl1vs'\n title='//www.youtube.com/embed/kYLHKpAl1vs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/306964570″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>One of the things we brood about here at the Do List (besides global annihilation) is the shortage of music clubs in the South Bay. And then along comes \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winterfest\u003c/a>, with its conucopia of great shows, and our mood lifts off like a Roy Ayers solo. Yes, Roy Ayers is playing his neo-soul vibes during the fest.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And check out Bay Area native Natalie Cressman’s fine trombone work, veteran San Francisco singer Mary Stallings, and dozens of other shows. Details for San Jose Jazz Winterfest are \u003ca href=\"https://sanjosejazz.org/events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now onto the rest of our show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7rzmhbiKUo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 11\u003c/strong>: Austra has such a cool, polished electronic sound, but I still feel a blast of heat off the voice of singer Katie Stelmanis, formerly of Galaxy. She’s the force behind Austra, and wrote ‘Utopia,’ the song above, for her new album \u003cem>Future Politics.\u003c/em> She’s working with Maya Postepski, Dorian Wolf, and Ryan Wonsiak, and they make quite a wall of beautiful sounds. Details for Austra’s show at the Mezzanine in San Francisco are \u003ca href=\"http://mezzaninesf.com/events/austra/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=riupQGCF5a8\u003cbr>\n\u003cstrong>Feb. 11\u003c/strong>: Tap dancing hasn’t been cool in a long time, but I’m partial to this deeply American art form, born out of the same stew of influences that created jazz, and with a similar attention to rhythm, beat and improvisation. Here’s a chance to show tap some love. Rhythmic Circus is a troupe out of Minneapolis with a showoff style and a production called \u003cem>Feet Don’t Fail Me Now \u003c/em>(slightly misquoting \u003ca href=\"https://en.wikipedia.org/wiki/Feets,_Don't_Fail_Me_Now_(disambiguation)\" target=\"_blank\" rel=\"noopener\">Stepin Fetchit’s line\u003c/a>.) Details for their show at the Palo Alto JCC are \u003ca href=\"https://paloaltojcc.org/Events/rhythmic-circus\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12743888\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12743888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg\" alt=\"Lou Harrison \" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-768x587.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1020x780.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1180x902.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-960x734.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-240x183.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-375x287.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-520x398.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Harrison \u003ccite>(Photo: Courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–18:\u003c/strong> Lou Harrison was the very definition of an American maverick. An early champion of Charles Ives and the challenging twelve-tone compositions of Schoenberg, his own music evolved into a lush and melodic tapestry of influences, including Gamelan from Bali and Indonesia, Native American music and jazz. He was a pacifist and activist against nuclear war, a fan of Esperanto, a calligrapher, and an out gay man at a time when that was still a large risk. Conductor and pianist Dennis Russell Davies calls him a great craftsman. “He could write beautiful twelve-tone dissonant music, he was at home in a Renaissance style,” Davies said. “Lou was not only gifted but also very well educated as a musician and composer. And I miss him very much, he was a good friend, and I’ve never forgotten the lessons I learned.” A number of music organizations (including SF Symphony’s SoundBox, in a \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">magnificent program\u003c/a> last month) have been celebrating Harrison, with Bay Area concerts through June. Here’s the most comprehensive\u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\"> list\u003c/a> from the folks at \u003ca href=\"http://otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a>, which is staging what should be an extraordinary Harrison \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">concert on Feb. 18\u003c/a>, where Davies will conduct.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0oUoHtCTs4o\u003c/p>\n\u003cp>\u003cstrong>Feb. 10–12\u003c/strong>: The other big Lou Harrison event this month is the world premiere of Choreographer Nancy Karp’s \u003cem>Memory/Place\u003c/em> at ODC in San Francisco, featuring Harrison’s \u003cem>Grand Duo for Violin and Piano \u003c/em>(among other pieces). Karp’s ambitious evening-length dance is accompanied live by cellist Gianna Abondolo, pianist Sarah Cahill and violinist Kate Stenberg, with a set design by artist \u003ca href=\"http://www.theklahammond.com/\" target=\"_blank\" rel=\"noopener\">Thekla Hammond\u003c/a>. Details for this show at ODC in San Francisco are\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12744706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg\" alt=\"Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12744706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.’ \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 26:\u003c/strong> San Jose author \u003ca href=\"http://khaledhosseini.com/\" target=\"_blank\" rel=\"noopener\">Khaled Hosseini\u003c/a>’s \u003cem>A Thousand Splendid Suns \u003c/em>is about a mother/daughter like friendship between two women in Kabul, Afghanistan, and the abuse they endure from a patriarchal society. It’s now a brand new play, adapted for the stage by Irish-Indian playwright Ursula Rani Sarma, a co-commission from the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (and \u003ca href=\"https://www.theatrecalgary.com/2016-17/a-thousand-splendid-suns\" target=\"_blank\" rel=\"noopener\">Theatre Calgary\u003c/a>). Hosseini\u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-thousand-splendid-suns-20170122-htmlstory.html\" target=\"_blank\" rel=\"noopener\"> told the \u003cem>Los Angeles Times\u003c/em> \u003c/a>he’s hoping the show can be a dramatic reminder of our shared humanity, at a time when the Trump Administration seems to be scapegoating Muslims. Details for the play’s run at ACT in San Francisco are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/a_thousand_splendid_suns.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mArupnjf8rk\u003c/p>\n\u003cp>\u003cstrong>Feb. 16\u003c/strong>: Variety shows and vaudeville are hip again. And Wesley Stace, a.k.a. John Wesley Harding, gets some credit. He’s been touring his ‘Cabinet of Wonders’ literary-variety mashup for a while now, featuring a rotating cast of performers. For this show at San Francisco’s JCC, he’s booked a remarkable troupe, including Joan Baez; screenwriter and novelist Barry Gifford; comedians Caitlin Gill and Bobcat Goldthwait (a team known as the Crabapples in Los Angeles); Ryan Miller from Guster; local hero Thao Nguyen and Langhorne Slim. Details \u003ca href=\"https://www.jccsf.org/arts-ideas/cabinet-of-wonders/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFgz9aiiZlQ\u003c/p>\n\u003cp>\u003cstrong>Feb. 11 and 12\u003c/strong>: Cherry Glazerr is Clementine Creevy, who’s just put out her second album, \u003cem>Apocalipstick,\u003c/em> at the age of 19 (making us feel soooo old and underachieving). She’s an L.A. girl with the history of women’s punk and grunge in her bones, and I just love when she howls, “I was a lone wolf,” at the top of the song “Told You I’d Be with the Guys.” Cherry Glazerr plays shows at Slim’s in San Francisco, details \u003ca href=\"http://www.slimspresents.com/event/cherry-glazerr-slims-w-slow-hollows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and at the Catalyst in Santa Cruz, details \u003ca href=\"http://www.catalystclub.com/event/1377312-cherry-glazerr-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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\n",
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"excerpt": "This week, the Do List loves bands Austra and Cherry Glazerr, composers like Lou Harrison, and a new play based on Khaled Hosseini's 'A Thousand Splendid Suns.' Bonus: tap dancing!",
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"title": "Cy and David's Picks: Lou Harrison at 100, Austra's Icy Warm Sound, and Cherry Glazerr's Teen Punk | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/306964570″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/306964570″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the things we brood about here at the Do List (besides global annihilation) is the shortage of music clubs in the South Bay. And then along comes \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winterfest\u003c/a>, with its conucopia of great shows, and our mood lifts off like a Roy Ayers solo. Yes, Roy Ayers is playing his neo-soul vibes during the fest.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And check out Bay Area native Natalie Cressman’s fine trombone work, veteran San Francisco singer Mary Stallings, and dozens of other shows. Details for San Jose Jazz Winterfest are \u003ca href=\"https://sanjosejazz.org/events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now onto the rest of our show.\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/7rzmhbiKUo0'\n title='//www.youtube.com/embed/7rzmhbiKUo0'\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 11\u003c/strong>: Austra has such a cool, polished electronic sound, but I still feel a blast of heat off the voice of singer Katie Stelmanis, formerly of Galaxy. She’s the force behind Austra, and wrote ‘Utopia,’ the song above, for her new album \u003cem>Future Politics.\u003c/em> She’s working with Maya Postepski, Dorian Wolf, and Ryan Wonsiak, and they make quite a wall of beautiful sounds. Details for Austra’s show at the Mezzanine in San Francisco are \u003ca href=\"http://mezzaninesf.com/events/austra/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=riupQGCF5a8\u003cbr>\n\u003cstrong>Feb. 11\u003c/strong>: Tap dancing hasn’t been cool in a long time, but I’m partial to this deeply American art form, born out of the same stew of influences that created jazz, and with a similar attention to rhythm, beat and improvisation. Here’s a chance to show tap some love. Rhythmic Circus is a troupe out of Minneapolis with a showoff style and a production called \u003cem>Feet Don’t Fail Me Now \u003c/em>(slightly misquoting \u003ca href=\"https://en.wikipedia.org/wiki/Feets,_Don't_Fail_Me_Now_(disambiguation)\" target=\"_blank\" rel=\"noopener\">Stepin Fetchit’s line\u003c/a>.) Details for their show at the Palo Alto JCC are \u003ca href=\"https://paloaltojcc.org/Events/rhythmic-circus\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12743888\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12743888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg\" alt=\"Lou Harrison \" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-768x587.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1020x780.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1180x902.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-960x734.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-240x183.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-375x287.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-520x398.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Harrison \u003ccite>(Photo: Courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–18:\u003c/strong> Lou Harrison was the very definition of an American maverick. An early champion of Charles Ives and the challenging twelve-tone compositions of Schoenberg, his own music evolved into a lush and melodic tapestry of influences, including Gamelan from Bali and Indonesia, Native American music and jazz. He was a pacifist and activist against nuclear war, a fan of Esperanto, a calligrapher, and an out gay man at a time when that was still a large risk. Conductor and pianist Dennis Russell Davies calls him a great craftsman. “He could write beautiful twelve-tone dissonant music, he was at home in a Renaissance style,” Davies said. “Lou was not only gifted but also very well educated as a musician and composer. And I miss him very much, he was a good friend, and I’ve never forgotten the lessons I learned.” A number of music organizations (including SF Symphony’s SoundBox, in a \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">magnificent program\u003c/a> last month) have been celebrating Harrison, with Bay Area concerts through June. Here’s the most comprehensive\u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\"> list\u003c/a> from the folks at \u003ca href=\"http://otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a>, which is staging what should be an extraordinary Harrison \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">concert on Feb. 18\u003c/a>, where Davies will conduct.\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/0oUoHtCTs4o'\n title='//www.youtube.com/embed/0oUoHtCTs4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 10–12\u003c/strong>: The other big Lou Harrison event this month is the world premiere of Choreographer Nancy Karp’s \u003cem>Memory/Place\u003c/em> at ODC in San Francisco, featuring Harrison’s \u003cem>Grand Duo for Violin and Piano \u003c/em>(among other pieces). Karp’s ambitious evening-length dance is accompanied live by cellist Gianna Abondolo, pianist Sarah Cahill and violinist Kate Stenberg, with a set design by artist \u003ca href=\"http://www.theklahammond.com/\" target=\"_blank\" rel=\"noopener\">Thekla Hammond\u003c/a>. Details for this show at ODC in San Francisco are\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12744706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg\" alt=\"Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12744706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.’ \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 26:\u003c/strong> San Jose author \u003ca href=\"http://khaledhosseini.com/\" target=\"_blank\" rel=\"noopener\">Khaled Hosseini\u003c/a>’s \u003cem>A Thousand Splendid Suns \u003c/em>is about a mother/daughter like friendship between two women in Kabul, Afghanistan, and the abuse they endure from a patriarchal society. It’s now a brand new play, adapted for the stage by Irish-Indian playwright Ursula Rani Sarma, a co-commission from the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (and \u003ca href=\"https://www.theatrecalgary.com/2016-17/a-thousand-splendid-suns\" target=\"_blank\" rel=\"noopener\">Theatre Calgary\u003c/a>). Hosseini\u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-thousand-splendid-suns-20170122-htmlstory.html\" target=\"_blank\" rel=\"noopener\"> told the \u003cem>Los Angeles Times\u003c/em> \u003c/a>he’s hoping the show can be a dramatic reminder of our shared humanity, at a time when the Trump Administration seems to be scapegoating Muslims. Details for the play’s run at ACT in San Francisco are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/a_thousand_splendid_suns.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mArupnjf8rk'\n title='//www.youtube.com/embed/mArupnjf8rk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 16\u003c/strong>: Variety shows and vaudeville are hip again. And Wesley Stace, a.k.a. John Wesley Harding, gets some credit. He’s been touring his ‘Cabinet of Wonders’ literary-variety mashup for a while now, featuring a rotating cast of performers. For this show at San Francisco’s JCC, he’s booked a remarkable troupe, including Joan Baez; screenwriter and novelist Barry Gifford; comedians Caitlin Gill and Bobcat Goldthwait (a team known as the Crabapples in Los Angeles); Ryan Miller from Guster; local hero Thao Nguyen and Langhorne Slim. Details \u003ca href=\"https://www.jccsf.org/arts-ideas/cabinet-of-wonders/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GFgz9aiiZlQ'\n title='//www.youtube.com/embed/GFgz9aiiZlQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 11 and 12\u003c/strong>: Cherry Glazerr is Clementine Creevy, who’s just put out her second album, \u003cem>Apocalipstick,\u003c/em> at the age of 19 (making us feel soooo old and underachieving). She’s an L.A. girl with the history of women’s punk and grunge in her bones, and I just love when she howls, “I was a lone wolf,” at the top of the song “Told You I’d Be with the Guys.” Cherry Glazerr plays shows at Slim’s in San Francisco, details \u003ca href=\"http://www.slimspresents.com/event/cherry-glazerr-slims-w-slow-hollows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and at the Catalyst in Santa Cruz, details \u003ca href=\"http://www.catalystclub.com/event/1377312-cherry-glazerr-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>",
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"title": "Nancy Karp Captures the Immigration Crisis through Dance",
"headTitle": "Nancy Karp Captures the Immigration Crisis through Dance | KQED",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bay Area-based choreographer Nancy Karp lives part of the year in Sicily. From there, she has had a front-row seat on the migrant crisis happening across the middle east and Europe. Karp’s observations inspired her to create a new dance work about mass migration, \u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\">\u003cem>Memory/Place\u003c/em>\u003c/a>. The piece gets its world premiere at ODC theater in San Francisco from Friday, Feb. 10–Sunday, Feb. 12.\u003c/span>\u003c/p>\n\u003cp>KQED asked Karp to share her thoughts about the work and its relationship to the fraught politics around immigration unfolding in this country.\u003c/p>\n\u003cfigure id=\"attachment_12717304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12717304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-800x451.jpg\" alt=\"A scene from ‘Memory/Place’\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Memory/Place.’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does \u003cem>Memory/Place\u003c/em> say about current immigration politics?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The piece attempts to illustrate the human plight of migration without being literal or obvious. The purpose of my art is to transcend the political, in pursuit of universal themes as a way to express the tumultuous nature of human experience. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How does this work fit into your body of work thus far?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The thrust of my work for many years has been to celebrate everyday life events through abstraction. This is the third large-scale, evening-length work I have created so far. In this work there is a synthesis of my choreographic ideas and processes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Can you describe a signature dance move and/or design element in the work that speaks to the immigration theme?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the elements that I am addressing is that of boundaries. In keeping with the issue of boundaries I have focused on the extreme edges of the performance space. I work with movement ideas as metaphor, such as disrupting one’s sense of place, experiencing a sense of dislocation and, feelings of isolation and exclusion. Here, I am investigating the neglected or often forgotten edges and corners of the stage and finding the dancers’ physical limits in the space.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are the expected outcomes of the project?\u003c/b>\u003c/p>\n\u003cp>To move the audience to view the migration issue in new and perhaps more sympathetic ways. I hope to tour the work in the future.\u003c/p>\n\u003cfigure id=\"attachment_12717307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12717307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsher%C3%A9e-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-800x453.jpg\" alt=\"A scene from ‘Memory/Place’\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541.jpg 1355w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Memory/Place.’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How will you know if you have gotten the message across?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through observing the audience’s response and also from a Q&A following performances.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Are you planning to make more work about immigration after this piece? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I am not planning to make more work with the immigration issue specifically. My next project will be addressing discord in our world in a new way. I am devoted to the pursuit of beauty as an action to combat the malevolence in the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s a short video about \u003cem>Memory/Place. \u003c/em>\u003c/span>\u003cspan style=\"font-weight: 400\">It includes footage from a recent rehearsal at ODC theater. \u003c/span>\u003cspan style=\"font-weight: 400\">The music is by Kui Dong; performances by Kate Stenberg and Gianna Abondolo.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nancy Karp + Dancers at ODC: Memory/Place\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0oUoHtCTs4o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\">\u003cem>Memory/Place\u003c/em>\u003c/a> gets its world premiere at ODC theater in San Francisco from Friday, Feb. 10–Sunday, Feb. 12. Tickets and information \u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bay Area-based choreographer Nancy Karp lives part of the year in Sicily. From there, she has had a front-row seat on the migrant crisis happening across the middle east and Europe. Karp’s observations inspired her to create a new dance work about mass migration, \u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\">\u003cem>Memory/Place\u003c/em>\u003c/a>. The piece gets its world premiere at ODC theater in San Francisco from Friday, Feb. 10–Sunday, Feb. 12.\u003c/span>\u003c/p>\n\u003cp>KQED asked Karp to share her thoughts about the work and its relationship to the fraught politics around immigration unfolding in this country.\u003c/p>\n\u003cfigure id=\"attachment_12717304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12717304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-800x451.jpg\" alt=\"A scene from ‘Memory/Place’\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Amy-Lewis-in-Memory-Place.-Photo-by-John-Hefti-e1486148566207.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Memory/Place.’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does \u003cem>Memory/Place\u003c/em> say about current immigration politics?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The piece attempts to illustrate the human plight of migration without being literal or obvious. The purpose of my art is to transcend the political, in pursuit of universal themes as a way to express the tumultuous nature of human experience. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How does this work fit into your body of work thus far?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The thrust of my work for many years has been to celebrate everyday life events through abstraction. This is the third large-scale, evening-length work I have created so far. In this work there is a synthesis of my choreographic ideas and processes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Can you describe a signature dance move and/or design element in the work that speaks to the immigration theme?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the elements that I am addressing is that of boundaries. In keeping with the issue of boundaries I have focused on the extreme edges of the performance space. I work with movement ideas as metaphor, such as disrupting one’s sense of place, experiencing a sense of dislocation and, feelings of isolation and exclusion. Here, I am investigating the neglected or often forgotten edges and corners of the stage and finding the dancers’ physical limits in the space.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are the expected outcomes of the project?\u003c/b>\u003c/p>\n\u003cp>To move the audience to view the migration issue in new and perhaps more sympathetic ways. I hope to tour the work in the future.\u003c/p>\n\u003cfigure id=\"attachment_12717307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12717307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsher%C3%A9e-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-800x453.jpg\" alt=\"A scene from ‘Memory/Place’\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Nancy-Karp.-Sonsherée-Giles-in-Memory-Place.-Photo-by-John-Hefti-2-1-e1486148758541.jpg 1355w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Memory/Place.’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How will you know if you have gotten the message across?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through observing the audience’s response and also from a Q&A following performances.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Are you planning to make more work about immigration after this piece? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I am not planning to make more work with the immigration issue specifically. My next project will be addressing discord in our world in a new way. I am devoted to the pursuit of beauty as an action to combat the malevolence in the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s a short video about \u003cem>Memory/Place. \u003c/em>\u003c/span>\u003cspan style=\"font-weight: 400\">It includes footage from a recent rehearsal at ODC theater. \u003c/span>\u003cspan style=\"font-weight: 400\">The music is by Kui Dong; performances by Kate Stenberg and Gianna Abondolo.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nancy Karp + Dancers at ODC: Memory/Place\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0oUoHtCTs4o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\">\u003cem>Memory/Place\u003c/em>\u003c/a> gets its world premiere at ODC theater in San Francisco from Friday, Feb. 10–Sunday, Feb. 12. Tickets and information \u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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