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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.pushproductions.org/soma-now-and-then/\" target=\"_blank\" rel=\"noopener\">SOMA Now and Then\u003c/a>\u003c/em> is a walking tour made out of movement and memoir, leading visitors along the back alleys of SoMa in the company of the choreographer Joe Landini. He dances while a pre-recorded narration of his sexual awakening and ongoing dalliances plays out on the headset of visitors’ smartphones. Landini tells the story of the glory days of SoMa as a haven for gay libidinal liberation, and nods towards the neighborhood’s subsequent decline, particularly the loss of a number of its leather bars and clubs.\u003c/p>\n\u003cp>Amy Lewis, who founded the dance company Push Up Something Hidden (P.U.S.H.), conceived and directed the production. This is her second piece aimed at exploring a San Francisco neighborhood with contemporary dance. Her first, \u003ca href=\"http://www.pushproductions.org/tread-the-tendernob/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tread the Tendernob\u003c/em>\u003c/a> from 2011, was also a “walking tour.” This new collaboration with Landini meets at the uneasy intersection of his personal history, dance, and the city’s busy streets.\u003c/p>\n\u003cfigure id=\"attachment_12345495\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12345495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/soma_a.jpg\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-520x390.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘SOMA Now and Then’ (Photo: Scott Carroll)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon at the start of the tour, a group of around 20 audience members gathers in a circle outside of the Eagle Bar on 12th Street. Lewis controls the audio from her mobile device as we follow a pink-hatted assistant around for an hour or so. A short prologue provides a brief collection of historical facts about SoMa, including how it used to be underwater, how redevelopment in the late 1960s made space for the leather community, and how AIDS, the closing of the local bathhouses and rising rents in the 1980s forced the leather community out.\u003c/p>\n\u003cp>As the group rambles down Ringold Street, Landini stands in front of a garage door in a large rectangle of sunlight. The performer begins to dance. In a white T-shirt and jeans, Landini wears the anonymous uniform of a gay cruiser looking for his next hookup. Instead of listening to music as he dances, we hear Landini’s disembodied voice through our headphones, codifying the various gay subcultures that thrive in SoMa’s leather bars, including fetishes like S&M, bondage and discipline (which, he notes, is not the same as S&M), watersports and fisting. Without a doubt, this is a sex-positive walking tour.\u003c/p>\n\u003cp>However, there is an discomfiting disconnect between watching Landini dance without music and listening to his voiceover playing in our heads. His arm movements — fists thumping against his chest then extending out like an archer’s — are intent on communication. But his gestures often make us feel like we’re watching someone sign in a weird physical language that none of us can interpret or understand.\u003c/p>\n\u003cfigure id=\"attachment_12345498\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12345498 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/soma_b.jpg\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-520x390.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘SOMA Now and Then’ (Photo: Scott Carroll)\u003c/figcaption>\u003c/figure>\n\u003cp>As we move from alley to side street, past sex clubs and former bathhouses, we begin to acquire a wealth of information about Landini’s sexual preferences. The example that resonates the most: he prefers to be topped by tall men because short men can’t get enough leverage to stimulate his prostate in quite the same way. After he finishes a dance accompanied by his narration, he suddenly stops, turns and continues down the street. Then we follow him from behind as if we’re cruising after a possible hookup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s as if the performer is the bottom asking to be penetrated by the audience’s gaze. We become the tops he’s looking for. If that sounds like a heavy-handed reading, consider that Landini confesses on the recording that, at this point in his life, it’s too much work to be a top. He goes on to say that the great pleasure of hanging out in the back rooms of SoMa’s bars is the lack of effort it takes to get laid. The theme of being lazy, of developing the habit for easy sex, resurfaces unapologetically and relentlessly. That all the dances feel starchy and asexual, save the very last, distances them even further from all of Landini’s attempted aural titillation.\u003c/p>\n\u003cfigure id=\"attachment_12345500\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12345500 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/soma_c.jpg\" width=\"540\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-520x693.jpg 520w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">‘SOMA Now and Then’ (Photo: Scott Carroll)\u003c/figcaption>\u003c/figure>\n\u003cp>The handout and map of the tour contains a list of over two dozen current and former SoMa gay bars and clubs. While many of these venues have closed due to rising rents, Landini doesn’t sound sentimental or elegiac. He talks about a renewed interest in the neighborhood’s gay life because of the community’s growing fatigue with the gay hookup app Grindr. The changing face of SoMa may have brought down the number of places to cruise, but according to Landini, there are still gay men meeting up and dancing in the streets unwilling to have their desires displaced or forgotten.\u003c/p>\n\u003cp>If endless sex with random strangers is the main point of Landini’s storytelling — the neighborhood here exists less as an actual place than as a painted backdrop for his fantasies and encounters — then why not bring in different dancers at the various stopping points? The dances then might add up to a coherent, even moving performance, reinforcing ideas of loss, lust, and, perhaps even transient love in the midst of all of this shuddering and copulation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘SOMA Now and Then’ runs through Sunday, Dec. 4, starting at SF Eagle in San Francisco. For tickets and information, click \u003ca href=\"http://www.pushproductions.org/soma-now-and-then/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.pushproductions.org/soma-now-and-then/\" target=\"_blank\" rel=\"noopener\">SOMA Now and Then\u003c/a>\u003c/em> is a walking tour made out of movement and memoir, leading visitors along the back alleys of SoMa in the company of the choreographer Joe Landini. He dances while a pre-recorded narration of his sexual awakening and ongoing dalliances plays out on the headset of visitors’ smartphones. Landini tells the story of the glory days of SoMa as a haven for gay libidinal liberation, and nods towards the neighborhood’s subsequent decline, particularly the loss of a number of its leather bars and clubs.\u003c/p>\n\u003cp>Amy Lewis, who founded the dance company Push Up Something Hidden (P.U.S.H.), conceived and directed the production. This is her second piece aimed at exploring a San Francisco neighborhood with contemporary dance. Her first, \u003ca href=\"http://www.pushproductions.org/tread-the-tendernob/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tread the Tendernob\u003c/em>\u003c/a> from 2011, was also a “walking tour.” This new collaboration with Landini meets at the uneasy intersection of his personal history, dance, and the city’s busy streets.\u003c/p>\n\u003cfigure id=\"attachment_12345495\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12345495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/soma_a.jpg\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_a-520x390.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘SOMA Now and Then’ (Photo: Scott Carroll)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon at the start of the tour, a group of around 20 audience members gathers in a circle outside of the Eagle Bar on 12th Street. Lewis controls the audio from her mobile device as we follow a pink-hatted assistant around for an hour or so. A short prologue provides a brief collection of historical facts about SoMa, including how it used to be underwater, how redevelopment in the late 1960s made space for the leather community, and how AIDS, the closing of the local bathhouses and rising rents in the 1980s forced the leather community out.\u003c/p>\n\u003cp>As the group rambles down Ringold Street, Landini stands in front of a garage door in a large rectangle of sunlight. The performer begins to dance. In a white T-shirt and jeans, Landini wears the anonymous uniform of a gay cruiser looking for his next hookup. Instead of listening to music as he dances, we hear Landini’s disembodied voice through our headphones, codifying the various gay subcultures that thrive in SoMa’s leather bars, including fetishes like S&M, bondage and discipline (which, he notes, is not the same as S&M), watersports and fisting. Without a doubt, this is a sex-positive walking tour.\u003c/p>\n\u003cp>However, there is an discomfiting disconnect between watching Landini dance without music and listening to his voiceover playing in our heads. His arm movements — fists thumping against his chest then extending out like an archer’s — are intent on communication. But his gestures often make us feel like we’re watching someone sign in a weird physical language that none of us can interpret or understand.\u003c/p>\n\u003cfigure id=\"attachment_12345498\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12345498 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/soma_b.jpg\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_b-520x390.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘SOMA Now and Then’ (Photo: Scott Carroll)\u003c/figcaption>\u003c/figure>\n\u003cp>As we move from alley to side street, past sex clubs and former bathhouses, we begin to acquire a wealth of information about Landini’s sexual preferences. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if the performer is the bottom asking to be penetrated by the audience’s gaze. We become the tops he’s looking for. If that sounds like a heavy-handed reading, consider that Landini confesses on the recording that, at this point in his life, it’s too much work to be a top. He goes on to say that the great pleasure of hanging out in the back rooms of SoMa’s bars is the lack of effort it takes to get laid. The theme of being lazy, of developing the habit for easy sex, resurfaces unapologetically and relentlessly. That all the dances feel starchy and asexual, save the very last, distances them even further from all of Landini’s attempted aural titillation.\u003c/p>\n\u003cfigure id=\"attachment_12345500\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12345500 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/soma_c.jpg\" width=\"540\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/soma_c-520x693.jpg 520w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">‘SOMA Now and Then’ (Photo: Scott Carroll)\u003c/figcaption>\u003c/figure>\n\u003cp>The handout and map of the tour contains a list of over two dozen current and former SoMa gay bars and clubs. While many of these venues have closed due to rising rents, Landini doesn’t sound sentimental or elegiac. He talks about a renewed interest in the neighborhood’s gay life because of the community’s growing fatigue with the gay hookup app Grindr. The changing face of SoMa may have brought down the number of places to cruise, but according to Landini, there are still gay men meeting up and dancing in the streets unwilling to have their desires displaced or forgotten.\u003c/p>\n\u003cp>If endless sex with random strangers is the main point of Landini’s storytelling — the neighborhood here exists less as an actual place than as a painted backdrop for his fantasies and encounters — then why not bring in different dancers at the various stopping points? The dances then might add up to a coherent, even moving performance, reinforcing ideas of loss, lust, and, perhaps even transient love in the midst of all of this shuddering and copulation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘SOMA Now and Then’ runs through Sunday, Dec. 4, starting at SF Eagle in San Francisco. For tickets and information, click \u003ca href=\"http://www.pushproductions.org/soma-now-and-then/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Only the cruelest of Gods would have bothered to create Vaslav Nijinsky (1889-1950), the Russian dancer who burst to fame with the groundbreaking Russian dance company Ballet Russes under the direction of the impresario Serge Diaghilev. To fashion a mind and body that approached the perfection of music and then to let it shatter and decay into madness, and all of it just before the age of film, is the work of a punk and a sadist.\u003c/p>\n\u003cp>The celebrated Russian-American dancer Mikhail Baryshnikov has had plenty of offers to play Nijinsky and has wisely, so far, said, no. Taking on an artist more myth than man is a probable path to failure. And yet as the 68-year old Baryshnikov has gently aged from the amazing dancer he was to the sly actor and conceptual artist he is today, the question of Nijinsky returned. In collaboration with the iconoclastic stage director Robert Wilson, a master of light and stillness, he may have realized that there was a different Nijinsky waiting just for him.\u003c/p>\n\u003cp>So in Cal Performances’ presentation of their touring production \u003ca href=\"https://calperformances.org/performances/2016-17/special-events/robert-wilson-mikhail-baryshnikov-letter-to-a-man.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Letter to a Man\u003c/em>\u003c/a>, Baryshnikov and Wilson begin with Nijinsky the diarist, who in the act of going mad tries to explain what it means to have the grace of God in your art, or as the man himself proclaimed in the diary he wrote in 1919 right before he was institutionalized: “I am God. I am spirit. I am a man of love.” As painful as it is to read Nijinsky’s journal, to see these rambling, chaotic thoughts staged with such rigor is to fall into a world of exasperating beauty.\u003c/p>\n\u003cfigure id=\"attachment_12329720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg\" alt=\"Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance begins with Baryshnikov sitting in a chair — a ridiculous opener for a dancer playing a dancer. His makeup and demeanor resemble nothing less than a Kabuki mask of pain and surprise. In English and Russian, he says, “I understand war because I fought with my mother-in-law.” The audience laughs at what seems an easy joke, but the laughter ceases when the sentence and the image start to mutate into fragments.\u003c/p>\n\u003cp>The lights black out and return so fast, Baryshnikov changes his expression so slightly, and the sentence keeps on breaking into bits and pieces — “I understand war,” “mother-in-law,” “fought” — to the point that you feel like you’re having a seizure. Barely anything happens and yet the scene is a sensory overload. Like most of \u003cem>Letter to a Man\u003c/em>, we only get a glimpse of Nijinsky’s genius, but his descent into madness is catalogued with an infinite and loving care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point Wilson transforms the stage into a long rectangle of light, making you feel like the black sky is weighing down on your head and the endless road before you is stretching out forever. We hear the diary entry: “I went out for a walk once and it seemed to me there was blood in the snow, and so I ran following the trail. I had the impression that somebody had killed a man but he was alive.”\u003c/p>\n\u003cp>What follows is some of the most beautiful walking you can imagine — hesitant, then leaping forward with great force, then somehow happening all over again. The choreography has the feel of a strip of film come to life. Then you notice that as Nijinsky investigates the bloody trail, right behind him, almost tiptoeing in pursuit, is his shadow, strikingly offset against a thick white fog. There seems to be no possible end or reconciliation, only the belief that a murdered man should be alive, and that a man and his shadow can never be one.\u003c/p>\n\u003cp>It’s as if the piece obsessively reminds us that the only Nijinsky we get is the one that has been violently severed from himself. At one point he takes off his jacket — a relatively simple gesture — but does it with such grace that you end up wishing that you could do the same. That doing so might be the beginning of your entrance to the divine, as it is for Nijinsky a memory of how beautiful and perfect he once was. As the scene ends the jacket takes center stage and the dancer disappears.\u003c/p>\n\u003cfigure id=\"attachment_12329719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg\" alt=\"Vaslav Nijinski (Mikhail Baryshnikov) dreams of perfection in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) dreams of perfection in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it is that split — the memory of a body, mind, and art in accordance with God — that makes \u003cem>Letter to a Man, \u003c/em>though brilliant, a difficult and rough go. Because in the end we can’t make it, and invariably come up short. Even with Baryshnikov and Wilson leading the way, two astounding and accomplished artists, they can only get us to Nijinsky the disaster. The other Nijinsky, well, he’s just a cruel rumor of heaven.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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\u003cp>\u003cem>‘Letter to a Man’ runs through Sunday, Nov. 13 at Cal Performances’ Zellerbach Hall in Berkeley. For tickets and information, \u003ca href=\"https://calperformances.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Robert Wilson and Mikhail Baryshnikov's arresting production at Cal Performances explores the famed Soviet dancer Vaslav Nijinsky's descent into madness.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only the cruelest of Gods would have bothered to create Vaslav Nijinsky (1889-1950), the Russian dancer who burst to fame with the groundbreaking Russian dance company Ballet Russes under the direction of the impresario Serge Diaghilev. To fashion a mind and body that approached the perfection of music and then to let it shatter and decay into madness, and all of it just before the age of film, is the work of a punk and a sadist.\u003c/p>\n\u003cp>The celebrated Russian-American dancer Mikhail Baryshnikov has had plenty of offers to play Nijinsky and has wisely, so far, said, no. Taking on an artist more myth than man is a probable path to failure. And yet as the 68-year old Baryshnikov has gently aged from the amazing dancer he was to the sly actor and conceptual artist he is today, the question of Nijinsky returned. In collaboration with the iconoclastic stage director Robert Wilson, a master of light and stillness, he may have realized that there was a different Nijinsky waiting just for him.\u003c/p>\n\u003cp>So in Cal Performances’ presentation of their touring production \u003ca href=\"https://calperformances.org/performances/2016-17/special-events/robert-wilson-mikhail-baryshnikov-letter-to-a-man.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Letter to a Man\u003c/em>\u003c/a>, Baryshnikov and Wilson begin with Nijinsky the diarist, who in the act of going mad tries to explain what it means to have the grace of God in your art, or as the man himself proclaimed in the diary he wrote in 1919 right before he was institutionalized: “I am God. I am spirit. I am a man of love.” As painful as it is to read Nijinsky’s journal, to see these rambling, chaotic thoughts staged with such rigor is to fall into a world of exasperating beauty.\u003c/p>\n\u003cfigure id=\"attachment_12329720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg\" alt=\"Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance begins with Baryshnikov sitting in a chair — a ridiculous opener for a dancer playing a dancer. His makeup and demeanor resemble nothing less than a Kabuki mask of pain and surprise. In English and Russian, he says, “I understand war because I fought with my mother-in-law.” The audience laughs at what seems an easy joke, but the laughter ceases when the sentence and the image start to mutate into fragments.\u003c/p>\n\u003cp>The lights black out and return so fast, Baryshnikov changes his expression so slightly, and the sentence keeps on breaking into bits and pieces — “I understand war,” “mother-in-law,” “fought” — to the point that you feel like you’re having a seizure. Barely anything happens and yet the scene is a sensory overload. Like most of \u003cem>Letter to a Man\u003c/em>, we only get a glimpse of Nijinsky’s genius, but his descent into madness is catalogued with an infinite and loving care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point Wilson transforms the stage into a long rectangle of light, making you feel like the black sky is weighing down on your head and the endless road before you is stretching out forever. We hear the diary entry: “I went out for a walk once and it seemed to me there was blood in the snow, and so I ran following the trail. I had the impression that somebody had killed a man but he was alive.”\u003c/p>\n\u003cp>What follows is some of the most beautiful walking you can imagine — hesitant, then leaping forward with great force, then somehow happening all over again. The choreography has the feel of a strip of film come to life. Then you notice that as Nijinsky investigates the bloody trail, right behind him, almost tiptoeing in pursuit, is his shadow, strikingly offset against a thick white fog. There seems to be no possible end or reconciliation, only the belief that a murdered man should be alive, and that a man and his shadow can never be one.\u003c/p>\n\u003cp>It’s as if the piece obsessively reminds us that the only Nijinsky we get is the one that has been violently severed from himself. At one point he takes off his jacket — a relatively simple gesture — but does it with such grace that you end up wishing that you could do the same. That doing so might be the beginning of your entrance to the divine, as it is for Nijinsky a memory of how beautiful and perfect he once was. As the scene ends the jacket takes center stage and the dancer disappears.\u003c/p>\n\u003cfigure id=\"attachment_12329719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg\" alt=\"Vaslav Nijinski (Mikhail Baryshnikov) dreams of perfection in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) dreams of perfection in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it is that split — the memory of a body, mind, and art in accordance with God — that makes \u003cem>Letter to a Man, \u003c/em>though brilliant, a difficult and rough go. Because in the end we can’t make it, and invariably come up short. Even with Baryshnikov and Wilson leading the way, two astounding and accomplished artists, they can only get us to Nijinsky the disaster. The other Nijinsky, well, he’s just a cruel rumor of heaven.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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\u003cp>\u003cem>‘Letter to a Man’ runs through Sunday, Nov. 13 at Cal Performances’ Zellerbach Hall in Berkeley. For tickets and information, \u003ca href=\"https://calperformances.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A New Look for an Ethiopian Princess, a French Duo, and a Young Group Joins the Circus",
"headTitle": "Cy and David’s Picks: A New Look for an Ethiopian Princess, a French Duo, and a Young Group Joins the Circus | KQED",
"content": "\u003cp>\u003cem>Every week, KQED’s Cy Musiker and the \u003c/em>San Francisco Chronicle\u003cem>’s David Wiegand share their picks for great events around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291386715″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>For this pre-election roundup, we have to first mention that comics \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/about.html\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are co-hosting \u003cem>One Nation Under Comedy \u003c/em>at the New Parkway on Friday night, Nov. 4th. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/1897?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now for the list.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-OFTpzCxlrM\u003c/p>\n\u003cp>\u003cstrong>Nov. 5–Dec 6:\u003c/strong> The big news is the look. \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(with three other companies) is staging a brand-new production of Verdi’s \u003cem>Aida\u003c/em>, the story of an Egyptian military commander who falls for a Nubian princess enslaved by the Pharaoh. For the production, Los Angeles street artist Retna (Marquis Lewis) has created extravagantly colorful sets full of his hieroglyphic-like designs. Leah Crocetto, a young soprano with a gorgeous voice who trained at SF Opera’s Merola program, plays Aida, while tenor Brian Jagde plays Radamès. Details \u003ca href=\"http://sfopera.com/aida\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v_GJ7eO-_AM\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6\u003c/strong>: The Bay Area is a very flamenco-friendly place, partly because of the work of \u003ca href=\"http://www.theatreflamenco.org/\" target=\"_blank\" rel=\"noopener\">Theatre Flamenco\u003c/a>, which celebrates its 50th anniversary with the show\u003cem> El Latir del Tiempo\u003c/em> (\u003cem>The Beat of Time\u003c/em>). The company traces its history back to the 1950s, when Flamenco lovers would jam at the Spaghetti Factory in North Beach. Guests for these anniversary concerts include Spanish dancer Pastora Galván, who first performed with Theatre Flamenco at the age of 15, and singer Juana la del Pipa from Jerez de la Frontera (they also make Sherry there). Artistic Director Carola Zertuche, who has revitalized the company, is also celebrating her 10th season as artistic director. Sounds like a dance party. Details \u003ca href=\"http://www.theatreflamenco.org/new-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sqM3APrfijU\u003c/p>\n\u003cp>\u003cstrong>Nov. 10\u003c/strong>: Her is a French duo, Victor Solf and Simon Carpentier, who sing in English and seem to think that smooth jazz is still a happening thing. It’s the sort of insinuating music that would be great for cocktail parties or making out on the couch — and we’re down with that. Details for their show at the Rickshaw Stop in San Francisco on Thursday are \u003ca href=\"https://www.eventbrite.com/e/popscene-presents-monarchy-london-her-paris-tickets-27768033937\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295684\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg\" alt=\"Anna May Wong - Certificate of Identity from the National Archives\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-520x220.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna May Wong – Certificate of Identity from the National Archives. \u003ccite>(Photo: Courtesy of Chinese Historical Society of America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Opens Nov. 5:\u003c/strong> The \u003ca href=\"http://chsa.org/\" target=\"_blank\" rel=\"noopener\">Chinese Historical Society of America \u003c/a>in San Francisco is the oldest museum dedicated to the Chinese American experience in the United States, and it’s reopening after a summer of renovations to its Julia Morgan-designed building with a big exhibit, \u003cem>Chinese American: Exclusion/Inclusion\u003c/em>. (The show was organized by the \u003ca href=\"http://www.nyhistory.org/exhibitions/chineseamerican\" target=\"_blank\" rel=\"noopener\">New York Historical Society\u003c/a>). It’s about what it means to be Chinese American in a country that has alternately exploited Chinese labor and barred Chinese from entry. If you think it’s a new trend to blame immigrants for crime and taking American jobs, this exhibit will show how old and wrongheaded that kind of bigotry is, an important lesson this election year. Details \u003ca href=\"http://chsa.org/support/chineseamerican/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg\" alt=\"Performer TT Robson in a new circus show at Kinetic Arts Productions\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1920x1104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-960x552.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-520x299.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer TT Robson in a new circus show at Kinetic Arts Productions. \u003ccite>(Photo: ShootThatKlown.com (Eric Gillet))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 4–Dec 18\u003c/strong>: The Kinetic Arts Center is a little circus school in West Oakland, close to the West Oakland BART station, and for the second year in a row — like a scrappy little Cirque du Soleil — they’re putting on a show. This year, it’s called \u003cem>Inversion: Circus Disobedience\u003c/em> — a play on the phrase “civil disobedience.” Director Jaron Hollander is very eloquent in explaining why circus arts are a great way to tell a story: “It takes an amazing amount of passion to climb up on that trapeze to get that height,” Hollander told me, as kids tumbled and soared around us in the center’s warehouse like buiding. “So a person that is not as limited to gravity as most of us is incredibly powerful. The expression can go physically higher. But it also is deeper. The shape of a body in the air is just powerful.” Details on what should be a terrific show for adults and kids alike are \u003ca href=\"http://www.kineticartscenter.com/shows-events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jupzFlMrdig\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 7 and 8\u003c/strong>: Har Mar Superstar (Spencer Tillmann) is something of a joker, with a serious love of everything from old school R&B, to synth-pop, to proto-punk of the 1970s. His new album channels that affection into a fake greatest hits album, \u003cem>Best Summer Ever\u003c/em>, spanning 1950-1985. My partner in the Do List David Weigand swears he looks like \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-al-molinaro-dies-at-96-20151030-story.html\" target=\"_blank\" rel=\"noopener\">Al Molinaro\u003c/a> from \u003cem>Happy Days\u003c/em> and \u003cem>The Odd Couple\u003c/em>, but he agrees the music rocks. Details for his show at the Chapel on Monday are \u003ca href=\"https://www.ticketfly.com/purchase/event/1274743?_ga=1.106442051.1748831225.1478212911&__utma=1.1748831225.1478212911.1478212911.1478212911.1&__utmb=1.1.10.1478212911&__utmc=1&__utmx=-&__utmz=1.1478212911.1.1.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=163796159\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and his show at Don Quixote’s on Tuesday in Felton are \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Every week, KQED’s Cy Musiker and the \u003c/em>San Francisco Chronicle\u003cem>’s David Wiegand share their picks for great events around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291386715″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/291386715″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For this pre-election roundup, we have to first mention that comics \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/about.html\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are co-hosting \u003cem>One Nation Under Comedy \u003c/em>at the New Parkway on Friday night, Nov. 4th. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/1897?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now for the list.\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/-OFTpzCxlrM'\n title='//www.youtube.com/embed/-OFTpzCxlrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 5–Dec 6:\u003c/strong> The big news is the look. \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(with three other companies) is staging a brand-new production of Verdi’s \u003cem>Aida\u003c/em>, the story of an Egyptian military commander who falls for a Nubian princess enslaved by the Pharaoh. For the production, Los Angeles street artist Retna (Marquis Lewis) has created extravagantly colorful sets full of his hieroglyphic-like designs. Leah Crocetto, a young soprano with a gorgeous voice who trained at SF Opera’s Merola program, plays Aida, while tenor Brian Jagde plays Radamès. Details \u003ca href=\"http://sfopera.com/aida\" 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/v_GJ7eO-_AM'\n title='//www.youtube.com/embed/v_GJ7eO-_AM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 4–6\u003c/strong>: The Bay Area is a very flamenco-friendly place, partly because of the work of \u003ca href=\"http://www.theatreflamenco.org/\" target=\"_blank\" rel=\"noopener\">Theatre Flamenco\u003c/a>, which celebrates its 50th anniversary with the show\u003cem> El Latir del Tiempo\u003c/em> (\u003cem>The Beat of Time\u003c/em>). The company traces its history back to the 1950s, when Flamenco lovers would jam at the Spaghetti Factory in North Beach. Guests for these anniversary concerts include Spanish dancer Pastora Galván, who first performed with Theatre Flamenco at the age of 15, and singer Juana la del Pipa from Jerez de la Frontera (they also make Sherry there). Artistic Director Carola Zertuche, who has revitalized the company, is also celebrating her 10th season as artistic director. Sounds like a dance party. Details \u003ca href=\"http://www.theatreflamenco.org/new-page\" 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/sqM3APrfijU'\n title='//www.youtube.com/embed/sqM3APrfijU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 10\u003c/strong>: Her is a French duo, Victor Solf and Simon Carpentier, who sing in English and seem to think that smooth jazz is still a happening thing. It’s the sort of insinuating music that would be great for cocktail parties or making out on the couch — and we’re down with that. Details for their show at the Rickshaw Stop in San Francisco on Thursday are \u003ca href=\"https://www.eventbrite.com/e/popscene-presents-monarchy-london-her-paris-tickets-27768033937\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295684\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg\" alt=\"Anna May Wong - Certificate of Identity from the National Archives\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-520x220.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna May Wong – Certificate of Identity from the National Archives. \u003ccite>(Photo: Courtesy of Chinese Historical Society of America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Opens Nov. 5:\u003c/strong> The \u003ca href=\"http://chsa.org/\" target=\"_blank\" rel=\"noopener\">Chinese Historical Society of America \u003c/a>in San Francisco is the oldest museum dedicated to the Chinese American experience in the United States, and it’s reopening after a summer of renovations to its Julia Morgan-designed building with a big exhibit, \u003cem>Chinese American: Exclusion/Inclusion\u003c/em>. (The show was organized by the \u003ca href=\"http://www.nyhistory.org/exhibitions/chineseamerican\" target=\"_blank\" rel=\"noopener\">New York Historical Society\u003c/a>). It’s about what it means to be Chinese American in a country that has alternately exploited Chinese labor and barred Chinese from entry. If you think it’s a new trend to blame immigrants for crime and taking American jobs, this exhibit will show how old and wrongheaded that kind of bigotry is, an important lesson this election year. Details \u003ca href=\"http://chsa.org/support/chineseamerican/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg\" alt=\"Performer TT Robson in a new circus show at Kinetic Arts Productions\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1920x1104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-960x552.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-520x299.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer TT Robson in a new circus show at Kinetic Arts Productions. \u003ccite>(Photo: ShootThatKlown.com (Eric Gillet))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 4–Dec 18\u003c/strong>: The Kinetic Arts Center is a little circus school in West Oakland, close to the West Oakland BART station, and for the second year in a row — like a scrappy little Cirque du Soleil — they’re putting on a show. This year, it’s called \u003cem>Inversion: Circus Disobedience\u003c/em> — a play on the phrase “civil disobedience.” Director Jaron Hollander is very eloquent in explaining why circus arts are a great way to tell a story: “It takes an amazing amount of passion to climb up on that trapeze to get that height,” Hollander told me, as kids tumbled and soared around us in the center’s warehouse like buiding. “So a person that is not as limited to gravity as most of us is incredibly powerful. The expression can go physically higher. But it also is deeper. The shape of a body in the air is just powerful.” Details on what should be a terrific show for adults and kids alike are \u003ca href=\"http://www.kineticartscenter.com/shows-events/\" 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/jupzFlMrdig'\n title='//www.youtube.com/embed/jupzFlMrdig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 7 and 8\u003c/strong>: Har Mar Superstar (Spencer Tillmann) is something of a joker, with a serious love of everything from old school R&B, to synth-pop, to proto-punk of the 1970s. His new album channels that affection into a fake greatest hits album, \u003cem>Best Summer Ever\u003c/em>, spanning 1950-1985. My partner in the Do List David Weigand swears he looks like \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-al-molinaro-dies-at-96-20151030-story.html\" target=\"_blank\" rel=\"noopener\">Al Molinaro\u003c/a> from \u003cem>Happy Days\u003c/em> and \u003cem>The Odd Couple\u003c/em>, but he agrees the music rocks. Details for his show at the Chapel on Monday are \u003ca href=\"https://www.ticketfly.com/purchase/event/1274743?_ga=1.106442051.1748831225.1478212911&__utma=1.1748831225.1478212911.1478212911.1478212911.1&__utmb=1.1.10.1478212911&__utmc=1&__utmx=-&__utmz=1.1478212911.1.1.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=163796159\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and his show at Don Quixote’s on Tuesday in Felton are \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-electioneering-at-the-symphony-dancing-in-san-jose-and-rocking-on-treasure-island-for-the-last-time",
"title": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time",
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"headTitle": "Cy and David’s Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time | KQED",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/287543463″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This is such a rich week for picks, I wanted to start by noting a few items we couldn’t fit on the show: It’s the final weekend for \u003ca href=\"http://www.litquake.org/2016-litquake-festival\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>; the terrific R&B band \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a> is celebrating a new record with a concert Friday (10/14) at the \u003ca href=\"http://www.theuctheatre.org/event/1293891-con-brio-berkeley/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a>; \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Patrick Makuakāne’s Na Lei Hulu dance company\u003c/a> revives his \u003cem>The Natives are Restless\u003c/em> for two weekends at the Palace of Fine Arts Theatre; and there’s a \u003ca href=\"http://stmarksberkeley.org/event/fccb-fire-benefit-concert/\" target=\"_blank\" rel=\"noopener\">fundraiser on Tuesday (10/18)\u003c/a> for the fire damaged First Congregational Church in Berkeley and the music groups that played there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=czmaR4wVqoQ\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19\u003c/strong>: \u003ca href=\"http://leylamccalla.com\" target=\"_blank\" rel=\"noopener\">Leyla McCalla\u003c/a>, who explored the African American roots of folk music with the terrific Carolina Chocolate Drops, is now working solo, and finding fresh inspiration for her songs from her Haitian and family history (not to mention the fight for social justice). The songs on the album \u003cem>Day\u003c/em> are so intriguing and her cello playing is terrific. She’s touring with former band mate \u003ca href=\"https://theamericansongster.com/\" target=\"_blank\" rel=\"noopener\">Dom Flemons\u003c/a>, a terrific harp and banjo player with who brings a fresh touch to delta blues. It’s not clear who’s opening for whom, but it doesn’t matter — they’re both amazing. Check details for their shows at Felton’s \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">Don Quixote’s\u003c/a> \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and their show at Berkeley’s \u003ca href=\"http://thefreight.org/161019\" target=\"_blank\" rel=\"noopener\">Freight and Salvage here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zXvJqiyiMqQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 16 & 17\u003c/strong>: \u003ca href=\"http://hannibalburess.com/\" target=\"_blank\" rel=\"noopener\">Hannibal Buress \u003c/a>is a very funny guy. He’s one of the regulars on \u003ca href=\"http://www.cc.com/shows/broad-city\" target=\"_blank\" rel=\"noopener\">\u003cem>Broad City\u003c/em>\u003c/a>, and a former writer for \u003cem>SNL\u003c/em> (just one sketch in a year’s work, but who’s counting) and \u003cem>30 Rock\u003c/em>. He was also an early voice calling out Bill Cosby for abusing women. We have two chances to see Burress: at the Fox in Oakland on Sunday night and the Nourse Theatre in San Francisco on Monday. Details for both shows are \u003ca href=\"http://hannibalburess.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-7xaHUHyq4s\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> Music Director and Conductor Michael Morgan always packs \u003ca href=\"http://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony\u003c/a> concerts with delights. For this season opener, the cupboard is overflowing. Start with Hadleigh Adams (named by \u003ca href=\"https://www.queerty.com/top-ten-hottest-opera-hunks-who-sing-us-love-songs-in-our-dreams-20151010\" target=\"_blank\" rel=\"noopener\">Queerty as one of ten hottest opera hunks \u003c/a>in the world) singing Mahler’s hyper-romantic “Rückert Lieder,” the award-winning \u003ca href=\"http://thedelphitrio.com/\" target=\"_blank\" rel=\"noopener\">Delphi Trio \u003c/a>performing a piece by \u003ca href=\"http://www.juon.org/\" target=\"_blank\" rel=\"noopener\">Paul Juon\u003c/a>, plus Berkeley composer \u003ca href=\"http://www.famousbrandmusic.com/bio.html\" target=\"_blank\" rel=\"noopener\">Clark Suprynowicz’s \u003c/a>election piece \u003ca href=\"http://www.sfgate.com/music/article/Red-States-Blue-States-to-open-Oakland-9301861.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Red State Blue State\u003c/em> \u003c/a>written two election cycles ago. Details for the show at the Paramount Theater in Oakland are \u003ca href=\"http://www.oaklandsymphony.org/event/hadleigh-adams-sings-mahler/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12199966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199966\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg\" alt=\"The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1920x1070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-960x535.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco \u003ccite>(Photo: Courtesy of sjDANCEco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 14 & 15\u003c/strong>: Dance is still alive and well in San Jose, despite the death early this year of \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/silicon-valley-ballet-closing-its-doors/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a>. \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco, \u003c/a> celebrating its 14th season, is bringing its co-artistic director \u003ca href=\"http://www.sjsu.edu/dance/faculty_staff/faculty_staff_directory/basile_maria/\" target=\"_blank\" rel=\"noopener\">Maria Basile\u003c/a>, together with former San Jose Ballet (SVB’s predecessor) Principal Dancer \u003ca href=\"http://www.mercurynews.com/2013/04/15/ballet-san-joses-karen-gabay-retires-as-dancer/\" target=\"_blank\" rel=\"noopener\">Karen Gabay\u003c/a> and \u003ca href=\"http://abhinaya.org/\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance \u003c/a>Co. member Rasika Kumar. So modern meets, classical European, meets classical Indian dance in a piece called \u003cem>Goddesses and…\u003c/em> There’s also live music from the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>. Details for the California Theater performances are \u003ca href=\"http://www.sjdanceco.org/tickets.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dChTBCOiPKo\u003c/p>\n\u003cp>\u003cstrong>Oct. 18-Nov. 12\u003c/strong>: Every 28 hours a black man is killed in the US by a police officer or someone using a stand your ground law. That statistic has been challenged, but it gets at the essential truth — that black and brown men and women are often treated very differently than whites by police. Last year the \u003ca href=\"http://www.oneminuteplayfestival.com/\" target=\"_blank\" rel=\"noopener\">One Minute Play Festival\u003c/a> and \u003ca href=\"https://www.osfashland.org/en.aspx\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> staged an evening of 70 or so one minute plays about race and policing in America called \u003cem>Every 28 Hours,\u003c/em> and now a coalition of Bay Area theater companies are doing the same, including \u003ca href=\"http://www.faultlinetheater.com/\" target=\"_blank\" rel=\"noopener\">Faultline\u003c/a>, A.C.T., Berkeley Rep, Crowded Fire, Campo Santo and Lorraine Hansberry, where Steven Anthony Jones is artistic director. Jones told me that working with this material reminded him a lot of the lectures he used to give his sons:\u003c/p>\n\u003cp>“During that period in their lives when they were younger, saying to them, ‘make sure the taillights work,’ etc. etc. and ‘don’t speed,’ and you hope your kids don’t get stopped. Because it can go very wrong, from the most routine kind of a circumstance.” \u003ca href=\"https://www.eventbrite.com/e/every-28-hours-a-bay-area-collaboration-tickets-27847954983\" target=\"_blank\" rel=\"noopener\">Details for Every 28 Hours are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9C5F5JYjYGM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: There are lots of good reasons to go to the Treasure Island Music Festival (TIMF) this weekend: a chance to hear Ice Cube singing “Life in California”(it’s not the Fred Rogers version), or Mura Masa, or Oakland rapper \u003ca href=\"https://www.facebook.com/itskamaiyah/\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>, or Car Seat Headrest, or just to ride on the ferris wheel with those grand views of the Bay. This year it’ll be a different view, from the east side looking at Oakland, where you could try to guess at the festival’s future home. San Francisco’s plans to develop the island mean that TIMF is looking for a new home. Do take public transit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Philip Glass, Young Jean Lee, the Paul Dresher Ensemble, Dead Prez and more.",
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"title": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time | KQED",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Philip Glass, Young Jean Lee, the Paul Dresher Ensemble, Dead Prez and more.",
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"headline": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time",
"datePublished": "2016-10-13T17:07:08-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/287543463″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/287543463″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is such a rich week for picks, I wanted to start by noting a few items we couldn’t fit on the show: It’s the final weekend for \u003ca href=\"http://www.litquake.org/2016-litquake-festival\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>; the terrific R&B band \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a> is celebrating a new record with a concert Friday (10/14) at the \u003ca href=\"http://www.theuctheatre.org/event/1293891-con-brio-berkeley/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a>; \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Patrick Makuakāne’s Na Lei Hulu dance company\u003c/a> revives his \u003cem>The Natives are Restless\u003c/em> for two weekends at the Palace of Fine Arts Theatre; and there’s a \u003ca href=\"http://stmarksberkeley.org/event/fccb-fire-benefit-concert/\" target=\"_blank\" rel=\"noopener\">fundraiser on Tuesday (10/18)\u003c/a> for the fire damaged First Congregational Church in Berkeley and the music groups that played there.\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/czmaR4wVqoQ'\n title='//www.youtube.com/embed/czmaR4wVqoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 18 & 19\u003c/strong>: \u003ca href=\"http://leylamccalla.com\" target=\"_blank\" rel=\"noopener\">Leyla McCalla\u003c/a>, who explored the African American roots of folk music with the terrific Carolina Chocolate Drops, is now working solo, and finding fresh inspiration for her songs from her Haitian and family history (not to mention the fight for social justice). The songs on the album \u003cem>Day\u003c/em> are so intriguing and her cello playing is terrific. She’s touring with former band mate \u003ca href=\"https://theamericansongster.com/\" target=\"_blank\" rel=\"noopener\">Dom Flemons\u003c/a>, a terrific harp and banjo player with who brings a fresh touch to delta blues. It’s not clear who’s opening for whom, but it doesn’t matter — they’re both amazing. Check details for their shows at Felton’s \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">Don Quixote’s\u003c/a> \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and their show at Berkeley’s \u003ca href=\"http://thefreight.org/161019\" target=\"_blank\" rel=\"noopener\">Freight and Salvage 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/zXvJqiyiMqQ'\n title='//www.youtube.com/embed/zXvJqiyiMqQ'\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>Oct. 16 & 17\u003c/strong>: \u003ca href=\"http://hannibalburess.com/\" target=\"_blank\" rel=\"noopener\">Hannibal Buress \u003c/a>is a very funny guy. He’s one of the regulars on \u003ca href=\"http://www.cc.com/shows/broad-city\" target=\"_blank\" rel=\"noopener\">\u003cem>Broad City\u003c/em>\u003c/a>, and a former writer for \u003cem>SNL\u003c/em> (just one sketch in a year’s work, but who’s counting) and \u003cem>30 Rock\u003c/em>. He was also an early voice calling out Bill Cosby for abusing women. We have two chances to see Burress: at the Fox in Oakland on Sunday night and the Nourse Theatre in San Francisco on Monday. Details for both shows are \u003ca href=\"http://hannibalburess.com/calendar/\" 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/-7xaHUHyq4s'\n title='//www.youtube.com/embed/-7xaHUHyq4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 14:\u003c/strong> Music Director and Conductor Michael Morgan always packs \u003ca href=\"http://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony\u003c/a> concerts with delights. For this season opener, the cupboard is overflowing. Start with Hadleigh Adams (named by \u003ca href=\"https://www.queerty.com/top-ten-hottest-opera-hunks-who-sing-us-love-songs-in-our-dreams-20151010\" target=\"_blank\" rel=\"noopener\">Queerty as one of ten hottest opera hunks \u003c/a>in the world) singing Mahler’s hyper-romantic “Rückert Lieder,” the award-winning \u003ca href=\"http://thedelphitrio.com/\" target=\"_blank\" rel=\"noopener\">Delphi Trio \u003c/a>performing a piece by \u003ca href=\"http://www.juon.org/\" target=\"_blank\" rel=\"noopener\">Paul Juon\u003c/a>, plus Berkeley composer \u003ca href=\"http://www.famousbrandmusic.com/bio.html\" target=\"_blank\" rel=\"noopener\">Clark Suprynowicz’s \u003c/a>election piece \u003ca href=\"http://www.sfgate.com/music/article/Red-States-Blue-States-to-open-Oakland-9301861.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Red State Blue State\u003c/em> \u003c/a>written two election cycles ago. Details for the show at the Paramount Theater in Oakland are \u003ca href=\"http://www.oaklandsymphony.org/event/hadleigh-adams-sings-mahler/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12199966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199966\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg\" alt=\"The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1920x1070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-960x535.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco \u003ccite>(Photo: Courtesy of sjDANCEco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 14 & 15\u003c/strong>: Dance is still alive and well in San Jose, despite the death early this year of \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/silicon-valley-ballet-closing-its-doors/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a>. \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco, \u003c/a> celebrating its 14th season, is bringing its co-artistic director \u003ca href=\"http://www.sjsu.edu/dance/faculty_staff/faculty_staff_directory/basile_maria/\" target=\"_blank\" rel=\"noopener\">Maria Basile\u003c/a>, together with former San Jose Ballet (SVB’s predecessor) Principal Dancer \u003ca href=\"http://www.mercurynews.com/2013/04/15/ballet-san-joses-karen-gabay-retires-as-dancer/\" target=\"_blank\" rel=\"noopener\">Karen Gabay\u003c/a> and \u003ca href=\"http://abhinaya.org/\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance \u003c/a>Co. member Rasika Kumar. So modern meets, classical European, meets classical Indian dance in a piece called \u003cem>Goddesses and…\u003c/em> There’s also live music from the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>. Details for the California Theater performances are \u003ca href=\"http://www.sjdanceco.org/tickets.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/dChTBCOiPKo'\n title='//www.youtube.com/embed/dChTBCOiPKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 18-Nov. 12\u003c/strong>: Every 28 hours a black man is killed in the US by a police officer or someone using a stand your ground law. That statistic has been challenged, but it gets at the essential truth — that black and brown men and women are often treated very differently than whites by police. Last year the \u003ca href=\"http://www.oneminuteplayfestival.com/\" target=\"_blank\" rel=\"noopener\">One Minute Play Festival\u003c/a> and \u003ca href=\"https://www.osfashland.org/en.aspx\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> staged an evening of 70 or so one minute plays about race and policing in America called \u003cem>Every 28 Hours,\u003c/em> and now a coalition of Bay Area theater companies are doing the same, including \u003ca href=\"http://www.faultlinetheater.com/\" target=\"_blank\" rel=\"noopener\">Faultline\u003c/a>, A.C.T., Berkeley Rep, Crowded Fire, Campo Santo and Lorraine Hansberry, where Steven Anthony Jones is artistic director. Jones told me that working with this material reminded him a lot of the lectures he used to give his sons:\u003c/p>\n\u003cp>“During that period in their lives when they were younger, saying to them, ‘make sure the taillights work,’ etc. etc. and ‘don’t speed,’ and you hope your kids don’t get stopped. Because it can go very wrong, from the most routine kind of a circumstance.” \u003ca href=\"https://www.eventbrite.com/e/every-28-hours-a-bay-area-collaboration-tickets-27847954983\" target=\"_blank\" rel=\"noopener\">Details for Every 28 Hours 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/9C5F5JYjYGM'\n title='//www.youtube.com/embed/9C5F5JYjYGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: There are lots of good reasons to go to the Treasure Island Music Festival (TIMF) this weekend: a chance to hear Ice Cube singing “Life in California”(it’s not the Fred Rogers version), or Mura Masa, or Oakland rapper \u003ca href=\"https://www.facebook.com/itskamaiyah/\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>, or Car Seat Headrest, or just to ride on the ferris wheel with those grand views of the Bay. This year it’ll be a different view, from the east side looking at Oakland, where you could try to guess at the festival’s future home. San Francisco’s plans to develop the island mean that TIMF is looking for a new home. Do take public transit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyond-the-physical-body-with-dancer-gerald-casel",
"title": "Beyond the Physical Body with Dancer Gerald Casel",
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"headTitle": "Beyond the Physical Body with Dancer Gerald Casel | KQED",
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"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>October in the Bay Area signals many shifts: students head back to school; it’s the month we’re most likely to experience temperatures resembling “real” summer; a certain \u003ca href=\"http://www.mccoveychronicles.com/2016/10/2/13142036/sf-giants-clinch-recap\" target=\"_blank\" rel=\"noopener\">up-and-down baseball team\u003c/a> somehow worms its way into the postseason.\u003c/p>\n\u003cp>With the lion’s share of major music festivals in our rearview mirror, fall is also the time when smaller fests and community-oriented parties really shine. And there’s none, perhaps, that’s seeped in fierce local pride quite like the annual \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a>, which takes place in Oakland this year on Saturday, Oct. 8.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AV0mcg9rXA\u003c/p>\n\u003cp>Now in its ninth year, Life is Living sees West Oakland’s DeFremery Park transformed into an admission-free party with a purpose, in which workshops on social and environmental justice, youth access to arts education, and a celebration of this \u003ca href=\"https://www.youtube.com/watch?v=jXuSL9UsdN8\" target=\"_blank\" rel=\"noopener\">oft-misunderstood neighborhood\u003c/a> all come together against a backdrop of live entertainment by local hip-hop artists and poets from Youth Speaks.\u003c/p>\n\u003cp>This year’s fest promises to be a special one: October 2016 marks the 50th anniversary of the founding of the \u003ca href=\"https://ww2.kqed.org/arts/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a>. The lineup reflects that theme, kicking off with free breakfast at 10am in the “Food Justice Wellness Zone,” and culminating with Oakland’s reigning hip-hop radicals The Coup headlining the main stage at 5pm. Other can’t-miss appearances include a Prince tribute from \u003ca href=\"http://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener\">Ryan Nicole\u003c/a> and \u003ca href=\"https://www.facebook.com/soulmechanix/\" target=\"_blank\" rel=\"noopener\">Soul Mechanix\u003c/a>; traditional Senegalese, Congolese, Haitian and West African dances all day in the “Africa in Oakland” stage; two different sets from Azariah Cole-Shephard, aka Oakland’s \u003ca href=\"http://youthspeaks.org/poetlaureate/\" target=\"_blank\" rel=\"noopener\">2016 Youth Poet Laureate\u003c/a>; live theater from the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a>; and a kids’ zone hosted by \u003ca href=\"http://emilybutterfly.com/\" target=\"_blank\" rel=\"noopener\">Emily Butterfly\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12155325\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg\" alt=\"Ryan Nicole.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12155325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Nicole.\u003c/figcaption>\u003c/figure>\n\u003cp>Also: after years of locals referring to the park as “Little Bobby Hutton Park” to commemorate the \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Hutton\" target=\"_blank\" rel=\"noopener\">young Black Panther shot by police\u003c/a>, the City of Oakland last month \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2016/09/26/town-business-finding-a-new-police-chief-bobby-hutton-grove-saving-oaklands-sros\" target=\"_blank\" rel=\"noopener\">officially dedicated\u003c/a> a portion of the park as “Bobby Hutton Grove.” The rest of October will see a plethora of Black Panther-related events around the Bay Area; watch this space for more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Life is Living Festival’s Tribute to the Black Panthers takes place on Saturday, Oct. 8, at DeFremery Park, 1651 Adeline St., Oakland. 10am–7pm. \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ_gFyB6GnA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>October in the Bay Area signals many shifts: students head back to school; it’s the month we’re most likely to experience temperatures resembling “real” summer; a certain \u003ca href=\"http://www.mccoveychronicles.com/2016/10/2/13142036/sf-giants-clinch-recap\" target=\"_blank\" rel=\"noopener\">up-and-down baseball team\u003c/a> somehow worms its way into the postseason.\u003c/p>\n\u003cp>With the lion’s share of major music festivals in our rearview mirror, fall is also the time when smaller fests and community-oriented parties really shine. And there’s none, perhaps, that’s seeped in fierce local pride quite like the annual \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a>, which takes place in Oakland this year on Saturday, Oct. 8.\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/2AV0mcg9rXA'\n title='//www.youtube.com/embed/2AV0mcg9rXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now in its ninth year, Life is Living sees West Oakland’s DeFremery Park transformed into an admission-free party with a purpose, in which workshops on social and environmental justice, youth access to arts education, and a celebration of this \u003ca href=\"https://www.youtube.com/watch?v=jXuSL9UsdN8\" target=\"_blank\" rel=\"noopener\">oft-misunderstood neighborhood\u003c/a> all come together against a backdrop of live entertainment by local hip-hop artists and poets from Youth Speaks.\u003c/p>\n\u003cp>This year’s fest promises to be a special one: October 2016 marks the 50th anniversary of the founding of the \u003ca href=\"https://ww2.kqed.org/arts/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a>. The lineup reflects that theme, kicking off with free breakfast at 10am in the “Food Justice Wellness Zone,” and culminating with Oakland’s reigning hip-hop radicals The Coup headlining the main stage at 5pm. Other can’t-miss appearances include a Prince tribute from \u003ca href=\"http://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener\">Ryan Nicole\u003c/a> and \u003ca href=\"https://www.facebook.com/soulmechanix/\" target=\"_blank\" rel=\"noopener\">Soul Mechanix\u003c/a>; traditional Senegalese, Congolese, Haitian and West African dances all day in the “Africa in Oakland” stage; two different sets from Azariah Cole-Shephard, aka Oakland’s \u003ca href=\"http://youthspeaks.org/poetlaureate/\" target=\"_blank\" rel=\"noopener\">2016 Youth Poet Laureate\u003c/a>; live theater from the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a>; and a kids’ zone hosted by \u003ca href=\"http://emilybutterfly.com/\" target=\"_blank\" rel=\"noopener\">Emily Butterfly\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12155325\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg\" alt=\"Ryan Nicole.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12155325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ryan.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Nicole.\u003c/figcaption>\u003c/figure>\n\u003cp>Also: after years of locals referring to the park as “Little Bobby Hutton Park” to commemorate the \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Hutton\" target=\"_blank\" rel=\"noopener\">young Black Panther shot by police\u003c/a>, the City of Oakland last month \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2016/09/26/town-business-finding-a-new-police-chief-bobby-hutton-grove-saving-oaklands-sros\" target=\"_blank\" rel=\"noopener\">officially dedicated\u003c/a> a portion of the park as “Bobby Hutton Grove.” The rest of October will see a plethora of Black Panther-related events around the Bay Area; watch this space for more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life is Living Festival’s Tribute to the Black Panthers takes place on Saturday, Oct. 8, at DeFremery Park, 1651 Adeline St., Oakland. 10am–7pm. \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>. \u003c/em>\u003c/p>\n\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/fZ_gFyB6GnA'\n title='//www.youtube.com/embed/fZ_gFyB6GnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "a-flash-mob-in-san-francisco-with-a-shining-star-of-flamenco",
"title": "A Flash Mob in San Francisco with a Shining Star of Flamenco",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/285304383″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://www.farruquito.eu/en/\" target=\"_blank\" rel=\"noopener\">Farruquito \u003c/a>is such a big deal in the world of flamenco, that like Beyoncé or Sting, he goes by just one name. He’s tall, dark and sexy. And he moves, \u003ca href=\"http://www.nytimes.com/2016/03/12/arts/dance/review-farruquito-flamenco-from-a-soaring-eagle.html\" target=\"_blank\" rel=\"noopener\">one critic wrote, like an eagle in flight.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11364719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s fascinating to see Farruquito, born Juan Manuel Fernández Montoya, slow his dancing down in the video he made a few months ago to demonstrate the choreography for a series of flash mobs staged first at the \u003ca href=\"http://www.labienal.com/en/\" target=\"_blank\" rel=\"noopener\">Biennial of Flamenco in Sevilla\u003c/a> in early September, and \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">this week in San Francisco\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-K6vj12-Tc\u003c/p>\n\u003cp>“Is everybody excited,” asked Nina Menendez, founder and director of the\u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\"> Bay Area Flamenco Festival\u003c/a>, of the 15 people attending a rehearsal last week for a flash mob scheduled for Friday, Sep. 30, at 6pm in UN Plaza, ahead of a performance by Farruquito on Saturday, Oct. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Whoo-hoo” came the the reply, as people stripped off layers of clothes, and spread out before the wall length mirror at \u003ca href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance Studios\u003c/a>.\u003c/p>\n\u003cp>The students were a pretty sophisticated group of amateurs; many have been dancing flamenco for years, and most had seen Farruquito perform at least once.\u003c/p>\n\u003cp>“It’s almost like he keeps you guessing,” said Daniel Genera, probably the oldest student and definitely the only man in the group. “You don’t know what he’ll do next. It’s wild, but it’s very controlled and clean. And that’s what I love about it.”\u003c/p>\n\u003cfigure id=\"attachment_12131484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131484\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/024-800x495.jpg\" alt=\"Daniel Genera prepares for a Farruquito flamenco flashmob\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Genera prepares for a Farruquito flamenco flash mob \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Genera stayed in the back row, his eyes on the mirror and rehearsal leader\u003ca href=\"http://aguaclaraflamenco.com/\" target=\"_blank\" rel=\"noopener\"> Clara Rodriguez\u003c/a>. She’s a longtime Bay Area flamenco teacher, who pulled up her skirt, in a classic Flamenco pose, to show off her footwork.\u003c/p>\n\u003cp>When I asked Rodriguez about the prospect of dancing with Farruquito, she sounded almost giddy, “I’m so excited. He’s been like my idol forever.”\u003c/p>\n\u003cp>Farruquito makes it all look so easy in the video, but everyone struggled at first to master the quick skips, the arching arms, the sudden weight shifts and leaps he demonstrated.\u003c/p>\n\u003cp>“I know it’s hard,” Rodriguez assured the group. “Don’t get scared.”\u003c/p>\n\u003cfigure id=\"attachment_12131677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg\" alt=\"Clara Rodriguez leads the flash mob rehearsal\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1180x705.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1920x1147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-960x574.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara Rodriguez leads the flash mob rehearsal \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And 30 minutes of sweat-inducing work later, the dancers had gained some confidence, and the clapping and foot work became more coordinated.\u003c/p>\n\u003cp>“We’re getting it, we’re getting it,” Rodriguez encouraged. “It’s the hardest step in the whole piece, so don’t go ‘Oh my God.’ It took me a whole week to figure it out. Try it again.”\u003c/p>\n\u003cp>Finally, at about 11pm, Rodriguez led two complete run-throughs of the almost 4-minute dance, and then ended the rehearsal.\u003c/p>\n\u003cp>As they gulped down tea from a thermos, I talked with the dancers about why they love flamenco so much. For Clara De Bece, it’s the inclusiveness, “Everyone is welcome,” she said, even people who don’t fit a certain body type, or carry a bit more weight than, say, the average ballet student.”\u003c/p>\n\u003cp>“I have classmates,” De Bece said, “who are like 70 years old and they’re dancing and they look great. And you can express yourself no matter what stage of your life you’re in. You don’t have to be anybody else. You can have your own style. With this type of dance.”\u003c/p>\n\u003cp>De Bece and Genera are Mexican-American, and I discovered that many in the class are immigrants from Spain or Latin America, drawn to a dance style that melds Romani, Spanish, North African, Sephardic and even Indian traditions.\u003c/p>\n\u003cfigure id=\"attachment_12131876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131876\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg\" alt=\"The dancers are getting the hang of Farruquitos choreography\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-960x626.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dancers are getting the hang of Farruquitos choreography \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from Argentina with Armenian roots,” Micaela Nerguizian told me, “and Flamenco captures the Latin and the Middle eastern in me.”\u003c/p>\n\u003cp>Nerguizian has been dancing flamenco for 8 years, but she said she doesn’t worry too much about technique.\u003c/p>\n\u003cp>“I’m here to have fun,” Nerguizuizian said. “That’s the most important part of all. It’s really about feeling it inside you…and just dancing your heart out.”\u003c/p>\n\u003cp>Watching the rehearsal, I knew I couldn’t have put more than two steps together without forgetting what’s next. But “in flamenco,” Rodriguez said, “it’s not about how much you can do, but what you do with what you already have.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good advice for anyone still thinking about joining the \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">flashmob on Friday.\u003c/a>\u003c/p>\n\n",
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"excerpt": "Farruquito, via videos, shows a group of amateur dancers how its done ahead of a flash mob performance -- and his own show -- this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/285304383″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/285304383″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.farruquito.eu/en/\" target=\"_blank\" rel=\"noopener\">Farruquito \u003c/a>is such a big deal in the world of flamenco, that like Beyoncé or Sting, he goes by just one name. He’s tall, dark and sexy. And he moves, \u003ca href=\"http://www.nytimes.com/2016/03/12/arts/dance/review-farruquito-flamenco-from-a-soaring-eagle.html\" target=\"_blank\" rel=\"noopener\">one critic wrote, like an eagle in flight.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11364719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s fascinating to see Farruquito, born Juan Manuel Fernández Montoya, slow his dancing down in the video he made a few months ago to demonstrate the choreography for a series of flash mobs staged first at the \u003ca href=\"http://www.labienal.com/en/\" target=\"_blank\" rel=\"noopener\">Biennial of Flamenco in Sevilla\u003c/a> in early September, and \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">this week in San Francisco\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/s-K6vj12-Tc'\n title='//www.youtube.com/embed/s-K6vj12-Tc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Is everybody excited,” asked Nina Menendez, founder and director of the\u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\"> Bay Area Flamenco Festival\u003c/a>, of the 15 people attending a rehearsal last week for a flash mob scheduled for Friday, Sep. 30, at 6pm in UN Plaza, ahead of a performance by Farruquito on Saturday, Oct. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Whoo-hoo” came the the reply, as people stripped off layers of clothes, and spread out before the wall length mirror at \u003ca href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance Studios\u003c/a>.\u003c/p>\n\u003cp>The students were a pretty sophisticated group of amateurs; many have been dancing flamenco for years, and most had seen Farruquito perform at least once.\u003c/p>\n\u003cp>“It’s almost like he keeps you guessing,” said Daniel Genera, probably the oldest student and definitely the only man in the group. “You don’t know what he’ll do next. It’s wild, but it’s very controlled and clean. And that’s what I love about it.”\u003c/p>\n\u003cfigure id=\"attachment_12131484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131484\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/024-800x495.jpg\" alt=\"Daniel Genera prepares for a Farruquito flamenco flashmob\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/024-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Genera prepares for a Farruquito flamenco flash mob \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Genera stayed in the back row, his eyes on the mirror and rehearsal leader\u003ca href=\"http://aguaclaraflamenco.com/\" target=\"_blank\" rel=\"noopener\"> Clara Rodriguez\u003c/a>. She’s a longtime Bay Area flamenco teacher, who pulled up her skirt, in a classic Flamenco pose, to show off her footwork.\u003c/p>\n\u003cp>When I asked Rodriguez about the prospect of dancing with Farruquito, she sounded almost giddy, “I’m so excited. He’s been like my idol forever.”\u003c/p>\n\u003cp>Farruquito makes it all look so easy in the video, but everyone struggled at first to master the quick skips, the arching arms, the sudden weight shifts and leaps he demonstrated.\u003c/p>\n\u003cp>“I know it’s hard,” Rodriguez assured the group. “Don’t get scared.”\u003c/p>\n\u003cfigure id=\"attachment_12131677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg\" alt=\"Clara Rodriguez leads the flash mob rehearsal\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1180x705.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-1920x1147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/023-e1475098355304-960x574.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara Rodriguez leads the flash mob rehearsal \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And 30 minutes of sweat-inducing work later, the dancers had gained some confidence, and the clapping and foot work became more coordinated.\u003c/p>\n\u003cp>“We’re getting it, we’re getting it,” Rodriguez encouraged. “It’s the hardest step in the whole piece, so don’t go ‘Oh my God.’ It took me a whole week to figure it out. Try it again.”\u003c/p>\n\u003cp>Finally, at about 11pm, Rodriguez led two complete run-throughs of the almost 4-minute dance, and then ended the rehearsal.\u003c/p>\n\u003cp>As they gulped down tea from a thermos, I talked with the dancers about why they love flamenco so much. For Clara De Bece, it’s the inclusiveness, “Everyone is welcome,” she said, even people who don’t fit a certain body type, or carry a bit more weight than, say, the average ballet student.”\u003c/p>\n\u003cp>“I have classmates,” De Bece said, “who are like 70 years old and they’re dancing and they look great. And you can express yourself no matter what stage of your life you’re in. You don’t have to be anybody else. You can have your own style. With this type of dance.”\u003c/p>\n\u003cp>De Bece and Genera are Mexican-American, and I discovered that many in the class are immigrants from Spain or Latin America, drawn to a dance style that melds Romani, Spanish, North African, Sephardic and even Indian traditions.\u003c/p>\n\u003cfigure id=\"attachment_12131876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12131876\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg\" alt=\"The dancers are getting the hang of Farruquitos choreography\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/012-e1475101885261-960x626.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dancers are getting the hang of Farruquitos choreography \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from Argentina with Armenian roots,” Micaela Nerguizian told me, “and Flamenco captures the Latin and the Middle eastern in me.”\u003c/p>\n\u003cp>Nerguizian has been dancing flamenco for 8 years, but she said she doesn’t worry too much about technique.\u003c/p>\n\u003cp>“I’m here to have fun,” Nerguizuizian said. “That’s the most important part of all. It’s really about feeling it inside you…and just dancing your heart out.”\u003c/p>\n\u003cp>Watching the rehearsal, I knew I couldn’t have put more than two steps together without forgetting what’s next. But “in flamenco,” Rodriguez said, “it’s not about how much you can do, but what you do with what you already have.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good advice for anyone still thinking about joining the \u003ca href=\"https://www.facebook.com/events/322697698065141/\" target=\"_blank\" rel=\"noopener\">flashmob on Friday.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Not Your Grandma's Hula: New Book Looks at the Evolution of Hawaiian Dance",
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"content": "\u003cp>The stereotypical image of a hula dancer often features a woman in a grass skirt on a beach. But Patrick Makuakāne says that’s a far cry from 21st-century hula. The Hawaii-raised and San Francisco-based hula master’s shows are elaborate stage productions weaving in everything from opera and electronic music to ’90s pop. His newest show, “The Natives Are Restless,” looks at the overthrow of the Hawaiian monarchy and the native resistance that followed. He and his dance troupe, Na Lei Hulu, are also the subject of a new book by the same title, by local author Constance Hale. She and Makuakāne join us to talk about the evolution of hula and what it means to be Hawaiian in the 21st century.\u003c/p>\n\u003cp>\u003cstrong>Related Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://naleihulu.org/\">Nā Lei Hulu\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.amazon.com/Natives-Are-Restless-Francisco-twenty-first/dp/1943006067/ref=sr_1_1?ie=UTF8&qid=1471536384&sr=8-1&keywords=the+natives+are+restless+constance+hale\">“The Natives Are Restless” (book)\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The stereotypical image of a hula dancer often features a woman in a grass skirt on a beach. But Patrick Makuakāne says that's a far cry from 21st-century hula. The Hawaii-raised and San Francisco-based hula master's shows are elaborate stage productions weaving in everything from opera and electronic music to 90s pop. His newest show, \"The Natives Are Restless,\" looks at the overthrow of the Hawaiian monarchy and the native resistance that followed. He and his dance troupe, Na Lei Hulu, are also the subject of a new book by the same title, by local author Constance Hale. She and Makuakāne join us to talk about the evolution of hula and what it means to be Hawaiian in the 21st century. ",
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"bio": "kuma hulu and director, Na Lei Hulu; \"The Natives Are Restless\""
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"slug": "cy-and-davids-picks-free-comedy-a-rock-and-roll-summit-and-mariachi-for-mexican-independence-day",
"title": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/283091934″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nffe0hVnD5o\u003c/p>\n\u003cp>\u003cstrong>Sept. 17\u003c/strong>: How nice to start at the top of Mt. Tamalpais with Sound Summit, an annual concert sponsored by the \u003ca href=\"http://soundsummit.net/roots-and-branches/\" target=\"_blank\" rel=\"noopener\">Roots & Branches Conservancy\u003c/a> for the benefit of fire prevention, water conservation and visitor services on Mt. Tam. The headliners are \u003ca href=\"http://wilcoworld.net/schmilco/\" target=\"_blank\" rel=\"noopener\">Wilco\u003c/a>, fresh from a stint at the Fillmore, plus \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\" rel=\"noopener\">Los Lobos\u003c/a>, the Stone Foxes, and Bill Frisell doing his album \u003cem>Guitar in the Space Age\u003c/em>, which ought to sound very cool in the Mountain Theater around 4000 feet up. Bring a cushion and warm clothes. Details \u003ca href=\"http://soundsummit.net/info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12073247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12073247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg\" alt=\"Nick Cave's soundsuits in the work 'Drive By'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Cave’s soundsuits in the work ‘Drive By’ \u003ccite>(Photo: James Prinz/courtesy of Jack Shainman Gallery and the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 14 – Aug. 14, 2017\u003c/strong>: The Anderson Collection at Stanford is hosting a show by the boundary-pushing Nick Cave, an African American artist who makes funny sculptures that are like giant, glittery sock pockets decorated with beads, buttons, sequins, and human hair. Sometimes he puts dancers in the suits (Cave trained with Alvin Ailey) and calls it performance art. Whatever you call it, it’s very cool stuff and very worth a visit to Stanford. Both the Anderson Collection and the Cantor are always free, so it’s one of our Cheap Thrills this week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x196SS9Cl58\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept 16 & 17\u003c/strong>:\u003ca href=\"http://angelicasllc.com/\" target=\"_blank\" rel=\"noopener\"> Angelica’s in Redwood City\u003c/a> is a kind of throwback, a supper club where you can go for dinner and a show. With help from Redwood City, they’re trying something ambitious these next two days in celebration of Mexican Independence Day (Sept. 16), a Mariachi Festival with \u003ca href=\"https://www.facebook.com/pages/Coro-Redes-Y-Cantos-de-Chapala/103881039701283\" target=\"_blank\" rel=\"noopener\">Coro Redes Y Cantos de Chapala\u003c/a>, a chorus of men and women from Jalisco in Mexico, and Mariachi Los Reyes de Los Angeles (mariachi bravado). The \u003cem>Chronicle\u003c/em> featured a s\u003ca href=\"http://www.sfchronicle.com/music/article/Making-the-case-for-mariachi-9208635.php\" target=\"_blank\" rel=\"noopener\">pread on local mariachi in the pink section\u003c/a> a few days ago, if you want to learn more. Details for Angelica’s Mariachi Festival are \u003ca href=\"http://angelicasllc.com/event.cfm?id=244876&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12073442 size-medium aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Sept. 2 – Oct. 2\u003c/strong>: \u003cem>Dear Master\u003c/em> was the play that gave birth to the Aurora Theater, now celebrating its 25th season. Local actor Barbara Oliver was looking for show in which she could play something other than a granny or nanny, and she worked with author Dorothy Bryant to create a play out of the letters about politics, life and art between Gustave Flaubert and the cross-dressing proto-feminist George Sand. Kimberly King and Michael Ray Wisely play the authors in this new production. It’s not really a romantic tale. Sand was 20 years older, and they never met. But director Joy Carlin told me audiences are loving it. “It seems to pack a wallop, it’s just people reading letters, but people seem to get very emotional over it.” Details \u003ca href=\"https://www.auroratheatre.org/index.php?\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073446\" class=\"wp-caption aligncenter\" style=\"max-width: 476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12073446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png\" alt=\"Robert Hawkins entertains the Comedy Day audience\" width=\"476\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-400x240.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-1180x709.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-960x577.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2.png 1200w\" sizes=\"(max-width: 476px) 100vw, 476px\">\u003cfigcaption class=\"wp-caption-text\">Robert Hawkins entertains the Comedy Day audience \u003ccite>(Photo: Dan Dion/Comedy Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 18\u003c/strong>: Comedy Day is back in Golden Gate Park. This free (Cheap Thrill) event is a chance to see veterans of the Bay Area comedy scene and new ones you haven’t heard of yet. Johnny Steele, Will Durst, Donald Lacey, Natasha Muse, Loren Kraut, Kabir Kabeezy Singh, Joshua Raoul Brody, (retired politico) Tom Ammiano, and a bunch more are scheduled to perform. The wine is from the Pat Paulson Vineyards, founded by the late Pat Paulson, a regular decades ago on the Smothers Brothers and a joke candidate for President in 1968. So it’s bound to be have an amusing but pointedly satirical bouquet. Details for the Sharon Meadows show on Sunday from noon to 5pm are \u003ca href=\"http://comedyday.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4KbPdFZ24F4\u003c/p>\n\u003cp>\u003cstrong>Sept 17\u003c/strong>: \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">Xenia Rubinos \u003c/a>was walking around her neighborhood in Brooklyn one day when she noticed that no matter the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album \u003cem>Black Terry Cat\u003c/em> and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday show at the Independent are \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J8oozqllph4\u003c/p>\n\u003cp>\u003cstrong>Sept. 21 – 25\u003c/strong>: T\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\">he Berkeley Old time Music Convention\u003c/a> is both a conference for the artists and a chance for music lovers to hear some of the best in bluegrass and traditional music. There are workshops and concerts, plus clogging with Berkeley’s \u003ca href=\"http://www.evieladin.com/\" target=\"_blank\" rel=\"noopener\">Evie Ladin\u003c/a>. That’s worth it alone. Many events are at Berkeley’s \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight and Salvage \u003c/a>are free. Details\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073637\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12073637\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg\" alt=\"Art, films, and native gardens at Vallejo's Visions of the Wild \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Art, films, and native gardens at Vallejo’s Visions of the Wild \u003ccite>(Photo: Courtesy of Visions of the Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 15 – 18\u003c/strong>: You only have to go to Vallejo to find wilderness this week. \u003ca href=\"http://visionsofthewild.org//\" target=\"_blank\" rel=\"noopener\">Visions of the Wild\u003c/a> is in its third year of filling Vallejo gardens, theaters and galleries with film, art shows, and speakers. Plus there’s field trips and a chance to join in \u003ca href=\"https://www.savesfbay.org/secure/zero?tfa_32=GAD_POL_zeroCCD&gclid=CIGQuL64ks8CFUqSfgodNH0Mdw\" target=\"_blank\" rel=\"noopener\">Coastal Cleanup Day\u003c/a> (keep that plastic out of the Bay). Nature sound mensch \u003ca href=\"http://www.wildsanctuary.com/\" target=\"_blank\" rel=\"noopener\">Bernie Krause\u003c/a> will speak, as well \u003ca href=\"https://ww2.kqed.org/science/about/\" target=\"_blank\" rel=\"noopener\">KQED Science Editor Craig Miller\u003c/a>. And most events are free. Details \u003ca href=\"http://visionsofthewild.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day | KQED",
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"headline": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/283091934″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/283091934″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\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/nffe0hVnD5o'\n title='//www.youtube.com/embed/nffe0hVnD5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 17\u003c/strong>: How nice to start at the top of Mt. Tamalpais with Sound Summit, an annual concert sponsored by the \u003ca href=\"http://soundsummit.net/roots-and-branches/\" target=\"_blank\" rel=\"noopener\">Roots & Branches Conservancy\u003c/a> for the benefit of fire prevention, water conservation and visitor services on Mt. Tam. The headliners are \u003ca href=\"http://wilcoworld.net/schmilco/\" target=\"_blank\" rel=\"noopener\">Wilco\u003c/a>, fresh from a stint at the Fillmore, plus \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\" rel=\"noopener\">Los Lobos\u003c/a>, the Stone Foxes, and Bill Frisell doing his album \u003cem>Guitar in the Space Age\u003c/em>, which ought to sound very cool in the Mountain Theater around 4000 feet up. Bring a cushion and warm clothes. Details \u003ca href=\"http://soundsummit.net/info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12073247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12073247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg\" alt=\"Nick Cave's soundsuits in the work 'Drive By'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Cave’s soundsuits in the work ‘Drive By’ \u003ccite>(Photo: James Prinz/courtesy of Jack Shainman Gallery and the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 14 – Aug. 14, 2017\u003c/strong>: The Anderson Collection at Stanford is hosting a show by the boundary-pushing Nick Cave, an African American artist who makes funny sculptures that are like giant, glittery sock pockets decorated with beads, buttons, sequins, and human hair. Sometimes he puts dancers in the suits (Cave trained with Alvin Ailey) and calls it performance art. Whatever you call it, it’s very cool stuff and very worth a visit to Stanford. Both the Anderson Collection and the Cantor are always free, so it’s one of our Cheap Thrills this week.\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/x196SS9Cl58'\n title='//www.youtube.com/embed/x196SS9Cl58'\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>Sept 16 & 17\u003c/strong>:\u003ca href=\"http://angelicasllc.com/\" target=\"_blank\" rel=\"noopener\"> Angelica’s in Redwood City\u003c/a> is a kind of throwback, a supper club where you can go for dinner and a show. With help from Redwood City, they’re trying something ambitious these next two days in celebration of Mexican Independence Day (Sept. 16), a Mariachi Festival with \u003ca href=\"https://www.facebook.com/pages/Coro-Redes-Y-Cantos-de-Chapala/103881039701283\" target=\"_blank\" rel=\"noopener\">Coro Redes Y Cantos de Chapala\u003c/a>, a chorus of men and women from Jalisco in Mexico, and Mariachi Los Reyes de Los Angeles (mariachi bravado). The \u003cem>Chronicle\u003c/em> featured a s\u003ca href=\"http://www.sfchronicle.com/music/article/Making-the-case-for-mariachi-9208635.php\" target=\"_blank\" rel=\"noopener\">pread on local mariachi in the pink section\u003c/a> a few days ago, if you want to learn more. Details for Angelica’s Mariachi Festival are \u003ca href=\"http://angelicasllc.com/event.cfm?id=244876&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12073442 size-medium aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Sept. 2 – Oct. 2\u003c/strong>: \u003cem>Dear Master\u003c/em> was the play that gave birth to the Aurora Theater, now celebrating its 25th season. Local actor Barbara Oliver was looking for show in which she could play something other than a granny or nanny, and she worked with author Dorothy Bryant to create a play out of the letters about politics, life and art between Gustave Flaubert and the cross-dressing proto-feminist George Sand. Kimberly King and Michael Ray Wisely play the authors in this new production. It’s not really a romantic tale. Sand was 20 years older, and they never met. But director Joy Carlin told me audiences are loving it. “It seems to pack a wallop, it’s just people reading letters, but people seem to get very emotional over it.” Details \u003ca href=\"https://www.auroratheatre.org/index.php?\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073446\" class=\"wp-caption aligncenter\" style=\"max-width: 476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12073446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png\" alt=\"Robert Hawkins entertains the Comedy Day audience\" width=\"476\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-400x240.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-1180x709.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-960x577.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2.png 1200w\" sizes=\"(max-width: 476px) 100vw, 476px\">\u003cfigcaption class=\"wp-caption-text\">Robert Hawkins entertains the Comedy Day audience \u003ccite>(Photo: Dan Dion/Comedy Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 18\u003c/strong>: Comedy Day is back in Golden Gate Park. This free (Cheap Thrill) event is a chance to see veterans of the Bay Area comedy scene and new ones you haven’t heard of yet. Johnny Steele, Will Durst, Donald Lacey, Natasha Muse, Loren Kraut, Kabir Kabeezy Singh, Joshua Raoul Brody, (retired politico) Tom Ammiano, and a bunch more are scheduled to perform. The wine is from the Pat Paulson Vineyards, founded by the late Pat Paulson, a regular decades ago on the Smothers Brothers and a joke candidate for President in 1968. So it’s bound to be have an amusing but pointedly satirical bouquet. Details for the Sharon Meadows show on Sunday from noon to 5pm are \u003ca href=\"http://comedyday.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/4KbPdFZ24F4'\n title='//www.youtube.com/embed/4KbPdFZ24F4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept 17\u003c/strong>: \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">Xenia Rubinos \u003c/a>was walking around her neighborhood in Brooklyn one day when she noticed that no matter the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album \u003cem>Black Terry Cat\u003c/em> and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday show at the Independent are \u003ca href=\"http://www.xeniarubinos.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/J8oozqllph4'\n title='//www.youtube.com/embed/J8oozqllph4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 21 – 25\u003c/strong>: T\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\">he Berkeley Old time Music Convention\u003c/a> is both a conference for the artists and a chance for music lovers to hear some of the best in bluegrass and traditional music. There are workshops and concerts, plus clogging with Berkeley’s \u003ca href=\"http://www.evieladin.com/\" target=\"_blank\" rel=\"noopener\">Evie Ladin\u003c/a>. That’s worth it alone. Many events are at Berkeley’s \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight and Salvage \u003c/a>are free. Details\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073637\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12073637\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg\" alt=\"Art, films, and native gardens at Vallejo's Visions of the Wild \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Art, films, and native gardens at Vallejo’s Visions of the Wild \u003ccite>(Photo: Courtesy of Visions of the Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 15 – 18\u003c/strong>: You only have to go to Vallejo to find wilderness this week. \u003ca href=\"http://visionsofthewild.org//\" target=\"_blank\" rel=\"noopener\">Visions of the Wild\u003c/a> is in its third year of filling Vallejo gardens, theaters and galleries with film, art shows, and speakers. Plus there’s field trips and a chance to join in \u003ca href=\"https://www.savesfbay.org/secure/zero?tfa_32=GAD_POL_zeroCCD&gclid=CIGQuL64ks8CFUqSfgodNH0Mdw\" target=\"_blank\" rel=\"noopener\">Coastal Cleanup Day\u003c/a> (keep that plastic out of the Bay). Nature sound mensch \u003ca href=\"http://www.wildsanctuary.com/\" target=\"_blank\" rel=\"noopener\">Bernie Krause\u003c/a> will speak, as well \u003ca href=\"https://ww2.kqed.org/science/about/\" target=\"_blank\" rel=\"noopener\">KQED Science Editor Craig Miller\u003c/a>. And most events are free. Details \u003ca href=\"http://visionsofthewild.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big",
"title": "Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282596322\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>[contextly_sidebar id=\"NPpjN80NLp1II4W4eKPTHelQoJDUWime\"]\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"large\" ids=\"11085204,11085327\"]\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/282596322&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/282596322'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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