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"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
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"content": "\u003cp>\u003cem>Text by Chloe Veltman and Video by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>Sarah Bush is wild about Oakland. The choreographer created \u003cem>\u003ca href=\"https://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>\u003c/em>, a triptych of springtime outdoor dance pieces performed in various locations around the city, as a way to celebrate her home town’s natural and urban landscapes and engage with local history.\u003c/p>\n\u003cp>In the second performance of the three, “Reach,” staged at the bucolic Woodminster Cascade on the edge of Joaquin Miller Park on Sunday, Mar. 20, members of the \u003ca href=\"https://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> embody three pioneering women with Bay Area ties whose lives intersected in the 19th century: writers Gertrude Stein and Ina Coolbrith, and dancer Isadora Duncan.\u003c/p>\n\u003cp>“They were trailblazers for their time,” Bush says of her three sources of inspiration.\u003c/p>\n\u003cp>In addition to drawing attention to the physical beauty of the landscape and reaching back through time, “Reach” also serves as a meditation on the power and strength of the female body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sarah’s choreography is very physical and demands a lot from our bodies,” says dancer Nina Wu. “I’ve never really been asked to lift other people as a woman. To be empowered to know I can is really great.”\u003c/p>\n\u003cp>\u003cem>The third installment of \u003c/em>This Land: Oakland,\u003cem> supported by the\u003c/em> \u003cem>City of Oakland’s Cultural Funding Program\u003c/em>, \u003cem>takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. Please click \u003ca href=\"https://sarahbushdance.org/2016/04/06/thisland-mlk-shoreline/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. Sarah Bush Dance Project will produce an indoor version including all three pieces from \u003c/em>This Land: Oakland\u003cem> on Sunday, May 22 at Laney College’s Odell Johnson Theater.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED dance critic Carla Escoda’s \u003ca href=\"http://ww2.kqed.org/arts/2016/03/25/sarah-bush-dance-project-celebrates-famous-oakland-women/\" target=\"_blank\" rel=\"noopener\">review \u003c/a>of the performance. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Text by Chloe Veltman and Video by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>Sarah Bush is wild about Oakland. The choreographer created \u003cem>\u003ca href=\"https://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>\u003c/em>, a triptych of springtime outdoor dance pieces performed in various locations around the city, as a way to celebrate her home town’s natural and urban landscapes and engage with local history.\u003c/p>\n\u003cp>In the second performance of the three, “Reach,” staged at the bucolic Woodminster Cascade on the edge of Joaquin Miller Park on Sunday, Mar. 20, members of the \u003ca href=\"https://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> embody three pioneering women with Bay Area ties whose lives intersected in the 19th century: writers Gertrude Stein and Ina Coolbrith, and dancer Isadora Duncan.\u003c/p>\n\u003cp>“They were trailblazers for their time,” Bush says of her three sources of inspiration.\u003c/p>\n\u003cp>In addition to drawing attention to the physical beauty of the landscape and reaching back through time, “Reach” also serves as a meditation on the power and strength of the female body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sarah’s choreography is very physical and demands a lot from our bodies,” says dancer Nina Wu. “I’ve never really been asked to lift other people as a woman. To be empowered to know I can is really great.”\u003c/p>\n\u003cp>\u003cem>The third installment of \u003c/em>This Land: Oakland,\u003cem> supported by the\u003c/em> \u003cem>City of Oakland’s Cultural Funding Program\u003c/em>, \u003cem>takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. Please click \u003ca href=\"https://sarahbushdance.org/2016/04/06/thisland-mlk-shoreline/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. Sarah Bush Dance Project will produce an indoor version including all three pieces from \u003c/em>This Land: Oakland\u003cem> on Sunday, May 22 at Laney College’s Odell Johnson Theater.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED dance critic Carla Escoda’s \u003ca href=\"http://ww2.kqed.org/arts/2016/03/25/sarah-bush-dance-project-celebrates-famous-oakland-women/\" target=\"_blank\" rel=\"noopener\">review \u003c/a>of the performance. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Ballet Excels with “Small Budget, Big Dreams” Philosophy",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">On a recent Wednesday, the Oakland Ballet studios came alive with movement and music. Choreographers Janice Garrett and Charles Moulton worked with three pairs of dancers to fine-tune a series of lifts that exploded with the intensity of a cannon blast to the unearthly sounds of medieval hymns, thrillingly spun by the women of the Oakland-based chamber vocal ensemble \u003c/span>\u003ca href=\"http://www.vajravoices.com/\">\u003cspan style=\"font-weight: 400\">Vajra Voices\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Choreographer Val Caniparoli hammered out tempi and phrasing for “Oh! Susanna,” “Beautiful Dreamer” and other 19\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century parlor songs by Stephen Foster together with another local choir, the \u003c/span>\u003ca href=\"http://bcco.org/chamber-singers\">\u003cspan style=\"font-weight: 400\">Berkeley Community Chamber Singers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And Nona Brown and her \u003c/span>\u003ca href=\"http://nonabrown.org/imc/\">\u003cspan style=\"font-weight: 400\">Inspirational Music Collective\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s rousing, modern arrangements of African American spirituals, set to choreography by Oakland Ballet’s artistic director Graham Lustig, capped the three-hour rehearsal for this triple bill of brand new work premiering Thursday, Apr. 14 in three different venues around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493631 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg\" alt=\"Oakland Ballet's 'Stone of Hope' choreographed by Graham Lustig. \" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet’s ‘Stone of Hope’ choreographed by Graham Lustig. \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an age when ballet companies are either folding or recycling the tried and tested, Lustig has stepped boldly onto a precipice. Oakland Ballet’s \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/\">\u003ci>\u003cspan style=\"font-weight: 400\">A Cappella–Our Bodies Sing\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> continues to explore intriguing new collaborations with local artists and musicians, and to test these classically trained dancers’ versatility. But will it attract the recognition and loyal following that the company earned in its glory days?\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Then…and now\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some who followed Oakland Ballet in the 1980s and 90s mourn the loss of the distinctive appeal the company had under founder Ronn Guidi. In its glory days, Oakland Ballet was renowned for the scrupulous style and drama of its revivals of Diaghilev-era ballets like Nijinsky’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Afternoon of a Faun and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Nijinska’s\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Les Noces,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and for championing mid-20\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century icons of American dance and music such as Eugene Loring’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Billy the Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Agnes de Mille’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fall River Legend\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, with close to 30 dancers in the big Diaghilev revivals and budgets of over $2 million in the mid-1990s, Oakland Ballet then had more than twice the resources that Lustig has today — 12 dancers, with an additional 10 hired for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and a $740,000 operating budget. (The comparatively modest budget, is up 15 percent on last year, though.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493635\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg\" alt=\"Coral Martin center in Oakland Ballet's 'Beautiful Dreamer'\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Martin center in Oakland Ballet’s ‘Beautiful Dreamer’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now in his seventh season at the helm of the company, Lustig appears to have navigated past the rockiest financial shoals, though funding constraints have kept seasons grievously short. He has commissioned imaginative new work from Bay Area choreographers including Amy Seiwert, Robert Moses and Sonya Delwaide. Meanwhile, his integration of ballet dancers with the hip-hop collective Turf Feinz crew and the wheelchair-bound dancers of AXIS Dance have helped to galvanize new audiences around ballet.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Heartening expansion\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it is heartening news to hear of the company’s expansion around the Bay. For the first time in 20 years, Oakland Ballet will bring this latest program to San Francisco on Thursday, Apr. 21 after its three-day run in Oakland. The company then appears in Hayward for the first time, at Chabot College, on Saturday, Apr. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Small budget, big dreams” is how Lustig sums up his philosophy. “We don’t spend what we don’t have.” What precious little the company has is also shared: for the second year, Oakland Ballet is inviting local cohorts to its \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\">\u003cspan style=\"font-weight: 400\">East Bay DANCES Festival \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">on Sunday Apr. 17. This year’s eclectic lineup includes AXIS Dance Company, Diablo Ballet, Jubilee American Dance Theatre, The Milissa Payne Project, Patty Chu’s Chinese Folk Dance, Quicksilver Dance, and Savage Jazz Dance Company.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493633 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg\" alt=\"Vincent Chavez, Emily Kerr in Oakland Ballet's 'Divining' \" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1920x1251.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Chavez, Emily Kerr in Oakland Ballet’s ‘Divining’ \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lauren Jonas, artistic director of Diablo Ballet based in Walnut Creek, credits festivals like this with extending the reach of smaller companies. “We continue to thrive by staying small,” Jonas says. “But we have to have a multi-pronged approach, performing in venues of different sizes and in different cities. We know what makes us unique and how to capitalize on that.” Jonas speaks with the confidence of someone who has the pulse of her community, whose tiny, nine-member, 22-year-old company engages in frequent conversation with its audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>A challenging landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not all dance organizations are so embedded with their communities. The Bay Area dance world is mourning the recent demise of Silicon Valley Ballet. A succession of ego clashes and financial crises felled the storied company formerly known as Ballet San Jose. \u003c/span>\u003ca href=\"http://www.sfgate.com/performance/article/Silicon-Valley-Ballet-folds-after-30-years-6877788.php\">\u003cspan style=\"font-weight: 400\">The donor class of Silicon Valley was criticized in some quarters for its philistinism\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and failure to value the artistry at its doorstep.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, the expensive business of ballet cannot pay for itself through ticket sales. The intense daily training, the cost of maintaining and repairing dancers’ bodies, the array of specialists required to collaborate on a production, the cost of ballerinas’ handmade pointe shoes — that often disintegrate after only one performance — all add up to a fortune. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Companies like Oakland Ballet and Diablo Ballet continue to survive by sensibly downsizing while continuing to take artistic risk with new commissions, unconventional collaborations, and live music. As such, they are able to put a singular stamp on the cultural map of their communities. Their existence remains fragile, however. Unless civic and private organizations recognize these organizations’ important contributions to Bay Area prestige, their seasons will remain distressingly brief. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Oakland Ballet’s\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/spring-repertory-2016/\"> \u003cb>\u003ci>A Cappella–Our Bodies Sing\u003c/i>\u003c/b>\u003c/a>\u003cb> opens on Thursday, Apr. 14 in Oakland. The\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\"> \u003cb>East Bay DANCES Festival\u003c/b>\u003c/a>\u003cb> takes place on Sunday, Apr. 17 in Oakland.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In an age when ballet companies are either folding or recycling the tried and tested, the East Bay company has stepped boldly onto a precipice",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On a recent Wednesday, the Oakland Ballet studios came alive with movement and music. Choreographers Janice Garrett and Charles Moulton worked with three pairs of dancers to fine-tune a series of lifts that exploded with the intensity of a cannon blast to the unearthly sounds of medieval hymns, thrillingly spun by the women of the Oakland-based chamber vocal ensemble \u003c/span>\u003ca href=\"http://www.vajravoices.com/\">\u003cspan style=\"font-weight: 400\">Vajra Voices\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Choreographer Val Caniparoli hammered out tempi and phrasing for “Oh! Susanna,” “Beautiful Dreamer” and other 19\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century parlor songs by Stephen Foster together with another local choir, the \u003c/span>\u003ca href=\"http://bcco.org/chamber-singers\">\u003cspan style=\"font-weight: 400\">Berkeley Community Chamber Singers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And Nona Brown and her \u003c/span>\u003ca href=\"http://nonabrown.org/imc/\">\u003cspan style=\"font-weight: 400\">Inspirational Music Collective\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s rousing, modern arrangements of African American spirituals, set to choreography by Oakland Ballet’s artistic director Graham Lustig, capped the three-hour rehearsal for this triple bill of brand new work premiering Thursday, Apr. 14 in three different venues around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493631 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg\" alt=\"Oakland Ballet's 'Stone of Hope' choreographed by Graham Lustig. \" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet’s ‘Stone of Hope’ choreographed by Graham Lustig. \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an age when ballet companies are either folding or recycling the tried and tested, Lustig has stepped boldly onto a precipice. Oakland Ballet’s \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/\">\u003ci>\u003cspan style=\"font-weight: 400\">A Cappella–Our Bodies Sing\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> continues to explore intriguing new collaborations with local artists and musicians, and to test these classically trained dancers’ versatility. But will it attract the recognition and loyal following that the company earned in its glory days?\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Then…and now\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some who followed Oakland Ballet in the 1980s and 90s mourn the loss of the distinctive appeal the company had under founder Ronn Guidi. In its glory days, Oakland Ballet was renowned for the scrupulous style and drama of its revivals of Diaghilev-era ballets like Nijinsky’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Afternoon of a Faun and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Nijinska’s\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Les Noces,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and for championing mid-20\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century icons of American dance and music such as Eugene Loring’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Billy the Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Agnes de Mille’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fall River Legend\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, with close to 30 dancers in the big Diaghilev revivals and budgets of over $2 million in the mid-1990s, Oakland Ballet then had more than twice the resources that Lustig has today — 12 dancers, with an additional 10 hired for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and a $740,000 operating budget. (The comparatively modest budget, is up 15 percent on last year, though.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493635\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg\" alt=\"Coral Martin center in Oakland Ballet's 'Beautiful Dreamer'\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Martin center in Oakland Ballet’s ‘Beautiful Dreamer’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now in his seventh season at the helm of the company, Lustig appears to have navigated past the rockiest financial shoals, though funding constraints have kept seasons grievously short. He has commissioned imaginative new work from Bay Area choreographers including Amy Seiwert, Robert Moses and Sonya Delwaide. Meanwhile, his integration of ballet dancers with the hip-hop collective Turf Feinz crew and the wheelchair-bound dancers of AXIS Dance have helped to galvanize new audiences around ballet.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Heartening expansion\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it is heartening news to hear of the company’s expansion around the Bay. For the first time in 20 years, Oakland Ballet will bring this latest program to San Francisco on Thursday, Apr. 21 after its three-day run in Oakland. The company then appears in Hayward for the first time, at Chabot College, on Saturday, Apr. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Small budget, big dreams” is how Lustig sums up his philosophy. “We don’t spend what we don’t have.” What precious little the company has is also shared: for the second year, Oakland Ballet is inviting local cohorts to its \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\">\u003cspan style=\"font-weight: 400\">East Bay DANCES Festival \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">on Sunday Apr. 17. This year’s eclectic lineup includes AXIS Dance Company, Diablo Ballet, Jubilee American Dance Theatre, The Milissa Payne Project, Patty Chu’s Chinese Folk Dance, Quicksilver Dance, and Savage Jazz Dance Company.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493633 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg\" alt=\"Vincent Chavez, Emily Kerr in Oakland Ballet's 'Divining' \" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1920x1251.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Chavez, Emily Kerr in Oakland Ballet’s ‘Divining’ \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lauren Jonas, artistic director of Diablo Ballet based in Walnut Creek, credits festivals like this with extending the reach of smaller companies. “We continue to thrive by staying small,” Jonas says. “But we have to have a multi-pronged approach, performing in venues of different sizes and in different cities. We know what makes us unique and how to capitalize on that.” Jonas speaks with the confidence of someone who has the pulse of her community, whose tiny, nine-member, 22-year-old company engages in frequent conversation with its audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>A challenging landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not all dance organizations are so embedded with their communities. The Bay Area dance world is mourning the recent demise of Silicon Valley Ballet. A succession of ego clashes and financial crises felled the storied company formerly known as Ballet San Jose. \u003c/span>\u003ca href=\"http://www.sfgate.com/performance/article/Silicon-Valley-Ballet-folds-after-30-years-6877788.php\">\u003cspan style=\"font-weight: 400\">The donor class of Silicon Valley was criticized in some quarters for its philistinism\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and failure to value the artistry at its doorstep.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, the expensive business of ballet cannot pay for itself through ticket sales. The intense daily training, the cost of maintaining and repairing dancers’ bodies, the array of specialists required to collaborate on a production, the cost of ballerinas’ handmade pointe shoes — that often disintegrate after only one performance — all add up to a fortune. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Companies like Oakland Ballet and Diablo Ballet continue to survive by sensibly downsizing while continuing to take artistic risk with new commissions, unconventional collaborations, and live music. As such, they are able to put a singular stamp on the cultural map of their communities. Their existence remains fragile, however. Unless civic and private organizations recognize these organizations’ important contributions to Bay Area prestige, their seasons will remain distressingly brief. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Oakland Ballet’s\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/spring-repertory-2016/\"> \u003cb>\u003ci>A Cappella–Our Bodies Sing\u003c/i>\u003c/b>\u003c/a>\u003cb> opens on Thursday, Apr. 14 in Oakland. The\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\"> \u003cb>East Bay DANCES Festival\u003c/b>\u003c/a>\u003cb> takes place on Sunday, Apr. 17 in Oakland.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-performance-picks-that-go-beyond-the-completely-obvious",
"title": "Bay Area Performance Picks that go Beyond the Completely Obvious",
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"headTitle": "Bay Area Performance Picks that go Beyond the Completely Obvious | KQED",
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"content": "\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 161870536 w=640h=360]\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RrJpLjq6XNE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\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/RrJpLjq6XNE'\n title='//www.youtube.com/embed/RrJpLjq6XNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cspan style=\"font-weight: 400\">Voguing is a type of dance inspired by the poses found on the pages of Vogue Magazine. It was popularized by queer people of color in the 1960s and 70s. “It was an outlet for people in the community to come together, to have a safe sanctuary, to have a safe place” says Joquese Whitfield, a dancer and instructor who teaches voguing at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco .\u003c/span>\u003c/p>\n\u003cp>Whitfield says there are five elements of voguing: cat walk, duck walk, spins, dips and hands. The cat walk is a stylized sashay, in which you step on the balls of your feet and swing the hips deeply. The duck walk is squatted foot kicking movements, very similar to the Russian kick. Dips involve dropping to the floor, often with one leg back and one pointing outstretched. The hands constantly in motion with big sweeping motions or quick lyrical movements.\u003c/p>\n\u003cp>\u003cstrong>Watch a video featuring the core five voguing moves:\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to Vogue with Jocquese Whitfield\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6lyUvaaxWRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Taking moves from the studio to the street\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a recent voguing workshop, heavy beats streamed out of the speakers as the students whipped their hands about at sharp angles, dropping to the floor and then strutting across the studio. Michaela Taylor was one of the students at Dance Mission Theater that day. “I’m very small, maybe five feet tall, but voguing makes me feel big!” Taylor says. “I love it. Joquese tells us that voguing is about self love, and self love is the best love. That really stuck with me.”\u003c/p>\n\u003cp>Taylor says voguing helps her overcome challenges. “I have my moments when I’m shy,” Taylor says. “When I get uncomfortable in situations I’ll just start dancing, so I can be less uncomfortable.” Although she practices at the studio, she has integrated voguing into her everyday life. “When I’m waiting on a bus or something, I’ll put in my headphones and start dancing. People will start staring at me, and I look at them like, yeah, I’m dancing.”\u003c/p>\n\u003cp>\u003cstrong>Into the mainstream\u003c/strong>\u003c/p>\n\u003cp>Voguing has gone from the underground to the mainstream. “Now you can see voguing in today’s music videos from Beyonce to Britney Spears,” Whitfield says. “People from different areas of the world vogue differently from each other but everyone has the same elements.” says Whitfield.\u003c/p>\n\u003cp>“Vogue is a dance form,” Whitfield says. “But not only is it a dance form, it’s a way of life. It’s a culture.”\u003c/p>\n\u003cfigure id=\"attachment_11470441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0396-800x533.jpg\" alt=\"IMG_0396\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Voguing at Dance Mission Theater in San Francisco. From Left to right: Rashad Pridgen, Jessica Recinos, Michaela Taylor and Johnny Nguyen. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470436\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470436 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0516-800x533.jpg\" alt=\"IMG_0516\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Michaela Taylor, Jessica Recinos, Johnny Nguyen and Rashad Pridgen freestyle (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470438\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0455-800x533.jpg\" alt=\"IMG_0455\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jessica Recinos practicing her floor work (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470432\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0585-800x533.jpg\" alt=\"IMG_0585\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Posing at the Dance Mission Theater (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470427 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0597-800x533.jpg\" alt=\"IMG_0597\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">“I’m not afraid to get in front of the camera anymore” says Michaela Taylor (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470426\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470426 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0655-800x533.jpg\" alt=\"IMG_0655\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The class took it outside the studio to Mission and 16th (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg\" alt=\"IMG_0771\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947.jpg 1574w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Michaela Taylor, Rashad Pridgen, Johnny Nguyen and Jessica Recinos. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of voguing:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.odcdance.org/press_genview.php?param=12¶m1=62\">ODC\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nTechnique classes at 7:30pm and a choreography class at 8:30pm every Thursday.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://clients.mindbodyonline.com/classic/home?studioid=15734\">Dance Mission Theater\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nClasses every Monday at 8pm, followed by “Slay Sessions”.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newstylemotherlode.com/#!about1/c1wph\">New Style Motherload\u003c/a>, Oakland \u003c/strong>\u003cbr>\nHas occasional vogue classes; check schedule for update\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cspan style=\"font-weight: 400\">Voguing is a type of dance inspired by the poses found on the pages of Vogue Magazine. It was popularized by queer people of color in the 1960s and 70s. “It was an outlet for people in the community to come together, to have a safe sanctuary, to have a safe place” says Joquese Whitfield, a dancer and instructor who teaches voguing at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco .\u003c/span>\u003c/p>\n\u003cp>Whitfield says there are five elements of voguing: cat walk, duck walk, spins, dips and hands. The cat walk is a stylized sashay, in which you step on the balls of your feet and swing the hips deeply. The duck walk is squatted foot kicking movements, very similar to the Russian kick. Dips involve dropping to the floor, often with one leg back and one pointing outstretched. The hands constantly in motion with big sweeping motions or quick lyrical movements.\u003c/p>\n\u003cp>\u003cstrong>Watch a video featuring the core five voguing moves:\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to Vogue with Jocquese Whitfield\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6lyUvaaxWRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Taking moves from the studio to the street\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a recent voguing workshop, heavy beats streamed out of the speakers as the students whipped their hands about at sharp angles, dropping to the floor and then strutting across the studio. Michaela Taylor was one of the students at Dance Mission Theater that day. “I’m very small, maybe five feet tall, but voguing makes me feel big!” Taylor says. “I love it. Joquese tells us that voguing is about self love, and self love is the best love. That really stuck with me.”\u003c/p>\n\u003cp>Taylor says voguing helps her overcome challenges. “I have my moments when I’m shy,” Taylor says. “When I get uncomfortable in situations I’ll just start dancing, so I can be less uncomfortable.” Although she practices at the studio, she has integrated voguing into her everyday life. “When I’m waiting on a bus or something, I’ll put in my headphones and start dancing. People will start staring at me, and I look at them like, yeah, I’m dancing.”\u003c/p>\n\u003cp>\u003cstrong>Into the mainstream\u003c/strong>\u003c/p>\n\u003cp>Voguing has gone from the underground to the mainstream. “Now you can see voguing in today’s music videos from Beyonce to Britney Spears,” Whitfield says. “People from different areas of the world vogue differently from each other but everyone has the same elements.” says Whitfield.\u003c/p>\n\u003cp>“Vogue is a dance form,” Whitfield says. “But not only is it a dance form, it’s a way of life. It’s a culture.”\u003c/p>\n\u003cfigure id=\"attachment_11470441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0396-800x533.jpg\" alt=\"IMG_0396\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Voguing at Dance Mission Theater in San Francisco. From Left to right: Rashad Pridgen, Jessica Recinos, Michaela Taylor and Johnny Nguyen. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470436\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470436 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0516-800x533.jpg\" alt=\"IMG_0516\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Michaela Taylor, Jessica Recinos, Johnny Nguyen and Rashad Pridgen freestyle (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470438\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0455-800x533.jpg\" alt=\"IMG_0455\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jessica Recinos practicing her floor work (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470432\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0585-800x533.jpg\" alt=\"IMG_0585\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Posing at the Dance Mission Theater (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470427 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0597-800x533.jpg\" alt=\"IMG_0597\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">“I’m not afraid to get in front of the camera anymore” says Michaela Taylor (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470426\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470426 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0655-800x533.jpg\" alt=\"IMG_0655\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The class took it outside the studio to Mission and 16th (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg\" alt=\"IMG_0771\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947.jpg 1574w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Michaela Taylor, Rashad Pridgen, Johnny Nguyen and Jessica Recinos. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of voguing:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.odcdance.org/press_genview.php?param=12¶m1=62\">ODC\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nTechnique classes at 7:30pm and a choreography class at 8:30pm every Thursday.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://clients.mindbodyonline.com/classic/home?studioid=15734\">Dance Mission Theater\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nClasses every Monday at 8pm, followed by “Slay Sessions”.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newstylemotherlode.com/#!about1/c1wph\">New Style Motherload\u003c/a>, Oakland \u003c/strong>\u003cbr>\nHas occasional vogue classes; check schedule for update\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Public media and ballet fans unite! The KQED Arts video \u003cem>A Ballerina Comes of Age \u003c/em>has been nominated in the 20\u003csup>th\u003c/sup> Annual Webby Awards – the Oscars of the Internet. \u003cstrong>\u003ca href=\"https://pv.webbyawards.com/2016/online-film-video/general-film/reality\" target=\"_blank\" rel=\"noopener\">Cast your vote\u003c/a>\u003c/strong> and help us win a Webby for public media and ballet!\u003c/p>\n\u003cp>\u003cstrong>\u003cspan style=\"color: #ff0000\">\u003ca href=\"https://pv.webbyawards.com/2016/online-film-video/general-film/reality\">CLICK HERE TO VOTE!\u003c/a>\u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=qdSSzJl-PUM\" target=\"_blank\" rel=\"noopener\">A Ballerina Comes of Age\u003c/a>, \u003c/em>directed and photographed by San Francisco-based filmmaker Abhi Singh, follows the graceful moves of then 18-year-old \u003ca href=\"http://www.mikofogarty.com/\" target=\"_blank\" rel=\"noopener\">Miko Fogarty\u003c/a> throughout picturesque Bay Area locales from the eerily-deserted streets of San Francisco’s Chinatown to the Sutro Baths. This intimate 3-minute film captures Fogarty on the cusp of the biggest transition of her life: a 5,000-mile move to the United Kingdom. Like famed American Ballet Theatre principal dancer, \u003ca href=\"http://www.pbs.org/independentlens/videos/a-ballerinas-tale-trailer/\" target=\"_blank\" rel=\"noopener\">Misty Copeland\u003c/a>, Miko is of mixed race — her father is English, her mother Japanese — and her dream is to pursue a career as a professional ballerina for the prestigious \u003ca href=\"https://www.brb.org.uk/\" target=\"_blank\" rel=\"noopener\">Birmingham Royal Ballet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_21918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21918 size-large\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/MikoBeach-gradient-3-1440x810.jpg\" alt=\"MikoBeach\" width=\"640\" height=\"360\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty at Sutro Baths\u003c/figcaption>\u003c/figure>\n\u003cp>[contextly_sidebar id=”i5X6Lkny0kqPf4ZFnqBhh54Y1gLoQ1Jh”]\u003c/p>\n\u003cp>A Stanford University MFA graduate and KQED Arts on call producer, Abhi Singh’s work has screened at several international film festivals including Sheffield Doc/Fest (UK), FIPA – Festival International de Programmes Audiovisuels (France), Sehsüchte International Film Festival (Germany), Big Sky Documentary Film Festival, Sebastapol Documentary Film Festival, Independent Film Festival Boston, and the Indian Film Festival of Los Angeles. Notable projects include his work on the Academy Award-nominated short \u003cem>White Earth\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Want to see public media and ballet triumph on that Webbys stage? \u003cstrong>\u003ca href=\"https://pv.webbyawards.com/2016/online-film-video/general-film/reality\">Cast your vote now\u003c/a>\u003c/strong>! Deadline to enter is \u003cstrong>April 21\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qdSSzJl-PUM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Public media and ballet fans unite! The KQED Arts video \u003cem>A Ballerina Comes of Age \u003c/em>has been nominated in the 20\u003csup>th\u003c/sup> Annual Webby Awards – the Oscars of the Internet. \u003cstrong>\u003ca href=\"https://pv.webbyawards.com/2016/online-film-video/general-film/reality\" target=\"_blank\" rel=\"noopener\">Cast your vote\u003c/a>\u003c/strong> and help us win a Webby for public media and ballet!\u003c/p>\n\u003cp>\u003cstrong>\u003cspan style=\"color: #ff0000\">\u003ca href=\"https://pv.webbyawards.com/2016/online-film-video/general-film/reality\">CLICK HERE TO VOTE!\u003c/a>\u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=qdSSzJl-PUM\" target=\"_blank\" rel=\"noopener\">A Ballerina Comes of Age\u003c/a>, \u003c/em>directed and photographed by San Francisco-based filmmaker Abhi Singh, follows the graceful moves of then 18-year-old \u003ca href=\"http://www.mikofogarty.com/\" target=\"_blank\" rel=\"noopener\">Miko Fogarty\u003c/a> throughout picturesque Bay Area locales from the eerily-deserted streets of San Francisco’s Chinatown to the Sutro Baths. This intimate 3-minute film captures Fogarty on the cusp of the biggest transition of her life: a 5,000-mile move to the United Kingdom. Like famed American Ballet Theatre principal dancer, \u003ca href=\"http://www.pbs.org/independentlens/videos/a-ballerinas-tale-trailer/\" target=\"_blank\" rel=\"noopener\">Misty Copeland\u003c/a>, Miko is of mixed race — her father is English, her mother Japanese — and her dream is to pursue a career as a professional ballerina for the prestigious \u003ca href=\"https://www.brb.org.uk/\" target=\"_blank\" rel=\"noopener\">Birmingham Royal Ballet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_21918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21918 size-large\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/MikoBeach-gradient-3-1440x810.jpg\" alt=\"MikoBeach\" width=\"640\" height=\"360\">\u003cfigcaption class=\"wp-caption-text\">Miko Fogarty at Sutro Baths\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A Stanford University MFA graduate and KQED Arts on call producer, Abhi Singh’s work has screened at several international film festivals including Sheffield Doc/Fest (UK), FIPA – Festival International de Programmes Audiovisuels (France), Sehsüchte International Film Festival (Germany), Big Sky Documentary Film Festival, Sebastapol Documentary Film Festival, Independent Film Festival Boston, and the Indian Film Festival of Los Angeles. Notable projects include his work on the Academy Award-nominated short \u003cem>White Earth\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Now through Saturday, Apr. 23: \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Ludlow Londonderry\u003c/a> at \u003c/em>\u003c/b>\u003cstrong>Z Space, San Francisco\u003c/strong>\u003cbr>\nThe world premiere of a surreal, interactive comedy by national award-winning San Francisco playwright Peter Sinn Nachtrieb inspired in part by tours of kitsch historic mansions like Hearst Castle and the Winchester Mystery House. Stars Danny Scheie in a role written specifically for the Bay Area veteran actor.\u003c/p>\n\u003cp>\u003cstrong>Also at Z Space, Wednesday, Apr. 6 – Tuesday, Apr. 12: \u003cem>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nMaster puppeteer Julian Crouch \u003cspan style=\"font-weight: 400\">(who did the \u003c/span>\u003cspan style=\"font-weight: 400\">Tony-nominated scenic design for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003cspan style=\"font-weight: 400\"> and Lascivious Biddies rock band member, SF native, and Jay Z/Beyonce collaborator Saskia Lane join forces for a \u003c/span>\u003cspan style=\"font-weight: 400\">quirky table-top puppet show that weaves a beautiful story \u003c/span>\u003cspan style=\"font-weight: 400\">from ordinary things: crumpled brown paper, found objects, shadows and a mound of sand.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ESHFuipJsUM\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Apr. 10: Capacitor presents \u003cem>\u003ca href=\"http://www.capacitor.org/when-we-were-small/\" target=\"_blank\" rel=\"noopener\">When We Were Small\u003c/a>\u003c/em>\u003c/b> \u003cstrong>at\u003c/strong> \u003cb>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\n\u003c/b>The Bay Area-based performing arts company presents a new show at the intersection of dance and circus arts looking at what it’s like to experience the world when you’re two years old.\u003c/p>\n\u003cp>\u003cb>Now through Saturday,\u003c/b>\u003cb> Dec. 31: History San Jose presents \u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener\">Tattooed & Tenacious: Inked Women in California’s History\u003c/a> \u003c/em>\u003c/b>\u003cb>at the Pasetta House, History Park, San Jose\u003cbr>\n\u003c/b>A quirky and fascinating exhibition of photos, art work and artifacts relating to the little-known culture of female tattoo wearers and artists in the Golden State.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 9 and Sunday, Apr. 10: Early music supergroups from England — \u003ca href=\"http://calperformances.org/performances/2015-16/early-music/tallis-scholars.php\" target=\"_blank\" rel=\"noopener\">The Tallis Scholars\u003c/a> and \u003ca href=\"http://sfems.org/?page_id=7325\" target=\"_blank\" rel=\"noopener\">Stile Antico\u003c/a>, First Congregational Church, Berkeley\u003c/strong>\u003cbr>\nBinge out on Renaissance hits over a single weekend with a pair of concerts by two of the world’s foremost early music ensembles: Cal Performances presents the august British vocal ensemble The Tallis Scholars (Apr. 9) and the San Francisco Early Music Society hosts a visit from hip, young Stile Antico, also from England (Apr. 10).\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Apr. 5: \u003c/strong>\u003cb>\u003ca href=\"http://www.sfartscommission.org/event/celebration-honoring-2016-mayors-art-award-recipient-armistead-maupin/\" target=\"_blank\" rel=\"noopener\">Armistead Maupin in conversation with Jewelle Gomez\u003c/a> at Herbst Theatre, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The \u003ci>Tales of the City\u003c/i>\u003c/span>\u003cspan style=\"font-weight: 400\"> author appears in conversation with writer Jewelle Gomez to celebrate his receipt of the \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.sfartscommission.org/2016/02/mayor-lee-announces-armistead-maupin-as-recipient-of-2016-mayors-art-award/\">2016 Mayor’s Art Award\u003c/a>, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco’s highest artistic prize. Maupin is the first author to win this accolade. The event is free.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Now through Saturday, Apr. 23: \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Ludlow Londonderry\u003c/a> at \u003c/em>\u003c/b>\u003cstrong>Z Space, San Francisco\u003c/strong>\u003cbr>\nThe world premiere of a surreal, interactive comedy by national award-winning San Francisco playwright Peter Sinn Nachtrieb inspired in part by tours of kitsch historic mansions like Hearst Castle and the Winchester Mystery House. Stars Danny Scheie in a role written specifically for the Bay Area veteran actor.\u003c/p>\n\u003cp>\u003cstrong>Also at Z Space, Wednesday, Apr. 6 – Tuesday, Apr. 12: \u003cem>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nMaster puppeteer Julian Crouch \u003cspan style=\"font-weight: 400\">(who did the \u003c/span>\u003cspan style=\"font-weight: 400\">Tony-nominated scenic design for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003cspan style=\"font-weight: 400\"> and Lascivious Biddies rock band member, SF native, and Jay Z/Beyonce collaborator Saskia Lane join forces for a \u003c/span>\u003cspan style=\"font-weight: 400\">quirky table-top puppet show that weaves a beautiful story \u003c/span>\u003cspan style=\"font-weight: 400\">from ordinary things: crumpled brown paper, found objects, shadows and a mound of sand.\u003c/span>\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/ESHFuipJsUM'\n title='//www.youtube.com/embed/ESHFuipJsUM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Now through Sunday, Apr. 10: Capacitor presents \u003cem>\u003ca href=\"http://www.capacitor.org/when-we-were-small/\" target=\"_blank\" rel=\"noopener\">When We Were Small\u003c/a>\u003c/em>\u003c/b> \u003cstrong>at\u003c/strong> \u003cb>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\n\u003c/b>The Bay Area-based performing arts company presents a new show at the intersection of dance and circus arts looking at what it’s like to experience the world when you’re two years old.\u003c/p>\n\u003cp>\u003cb>Now through Saturday,\u003c/b>\u003cb> Dec. 31: History San Jose presents \u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener\">Tattooed & Tenacious: Inked Women in California’s History\u003c/a> \u003c/em>\u003c/b>\u003cb>at the Pasetta House, History Park, San Jose\u003cbr>\n\u003c/b>A quirky and fascinating exhibition of photos, art work and artifacts relating to the little-known culture of female tattoo wearers and artists in the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 9 and Sunday, Apr. 10: Early music supergroups from England — \u003ca href=\"http://calperformances.org/performances/2015-16/early-music/tallis-scholars.php\" target=\"_blank\" rel=\"noopener\">The Tallis Scholars\u003c/a> and \u003ca href=\"http://sfems.org/?page_id=7325\" target=\"_blank\" rel=\"noopener\">Stile Antico\u003c/a>, First Congregational Church, Berkeley\u003c/strong>\u003cbr>\nBinge out on Renaissance hits over a single weekend with a pair of concerts by two of the world’s foremost early music ensembles: Cal Performances presents the august British vocal ensemble The Tallis Scholars (Apr. 9) and the San Francisco Early Music Society hosts a visit from hip, young Stile Antico, also from England (Apr. 10).\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Apr. 5: \u003c/strong>\u003cb>\u003ca href=\"http://www.sfartscommission.org/event/celebration-honoring-2016-mayors-art-award-recipient-armistead-maupin/\" target=\"_blank\" rel=\"noopener\">Armistead Maupin in conversation with Jewelle Gomez\u003c/a> at Herbst Theatre, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The \u003ci>Tales of the City\u003c/i>\u003c/span>\u003cspan style=\"font-weight: 400\"> author appears in conversation with writer Jewelle Gomez to celebrate his receipt of the \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.sfartscommission.org/2016/02/mayor-lee-announces-armistead-maupin-as-recipient-of-2016-mayors-art-award/\">2016 Mayor’s Art Award\u003c/a>, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco’s highest artistic prize. Maupin is the first author to win this accolade. The event is free.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Steppin’ is a mellowed-out version of Lindy Hop that came out of Chicago in the 1970s and has since become popular in the Bay Area. The dance form is about creating a constant flow between partners. It’s is especially popular in cities with large African-American communities, where with a little soul and hip-hop sprinkled in, it’s winning over dancers from ages 20 to 70.\u003c/p>\n\u003cp>\u003cem>\u003cb>Watch Mitzi Mock’s video about the steppin’ scene growing in the San Francisco Bay Area:\u003c/b>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o038-PkJ0YU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Bay Area steppin’ enthusiast Paula Miller talk about how steppin’ helped her and her daughter recover from cancer:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://soundcloud.com/kqed-arts/participate-steppin-and-the-journey-towards-recovery\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\u003c/aside>\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of steppin’:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.juststeppin.com/Dance_Class.html\" target=\"_blank\" rel=\"noopener\">Legends Nightclub\u003c/a>, 3702 Lone Tree Way, Antioch\u003c/strong>\u003cbr>\nClasses are every Tuesday from 6:30-8pm, followed by a steppin’ set.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center\u003c/a>, 1428 Alice St, Oakland.\u003c/strong>\u003cbr>\nOffers classes Mondays from 7:30-9:30pm and Wednesday 7-9pm.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.steppersonly.com/class.htm\" target=\"_blank\" rel=\"noopener\">Steppers Only\u003c/a>, 1428 Alice Street, Oakland\u003c/strong>\u003cbr>\nClasses offered on Monday, Wednesday and Saturday evening.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.yelp.com/biz/lakeside-lounge-oakland\" target=\"_blank\" rel=\"noopener\">Lakeside Lounge\u003c/a>, 338 E 18th St., Oakland\u003c/strong>\u003cbr>\nThe Gentlemen Steppers offer an intro lesson from 6:30-7pm, followed by a steppin’ set the rest of the night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zendenyoga.com/\" target=\"_blank\" rel=\"noopener\">The Zen Den\u003c/a>, 821 Texas St Ste B, Fairfield\u003c/strong>\u003cbr>\nA \u003ca href=\"http://www.meetup.com/Oakland-Bay-Area-Beyond-Chicago-Steppin-Meetup/events/229425993/\" target=\"_blank\" rel=\"noopener\">four-week workshop\u003c/a> beginning Sunday, April 3.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Steppin’ is a mellowed-out version of Lindy Hop that came out of Chicago in the 1970s and has since become popular in the Bay Area. The dance form is about creating a constant flow between partners. It’s is especially popular in cities with large African-American communities, where with a little soul and hip-hop sprinkled in, it’s winning over dancers from ages 20 to 70.\u003c/p>\n\u003cp>\u003cem>\u003cb>Watch Mitzi Mock’s video about the steppin’ scene growing in the San Francisco Bay Area:\u003c/b>\u003c/em>\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/o038-PkJ0YU'\n title='//www.youtube.com/embed/o038-PkJ0YU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Listen to Bay Area steppin’ enthusiast Paula Miller talk about how steppin’ helped her and her daughter recover from cancer:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://soundcloud.com/kqed-arts/participate-steppin-and-the-journey-towards-recovery\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\u003c/aside>\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of steppin’:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.juststeppin.com/Dance_Class.html\" target=\"_blank\" rel=\"noopener\">Legends Nightclub\u003c/a>, 3702 Lone Tree Way, Antioch\u003c/strong>\u003cbr>\nClasses are every Tuesday from 6:30-8pm, followed by a steppin’ set.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center\u003c/a>, 1428 Alice St, Oakland.\u003c/strong>\u003cbr>\nOffers classes Mondays from 7:30-9:30pm and Wednesday 7-9pm.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.steppersonly.com/class.htm\" target=\"_blank\" rel=\"noopener\">Steppers Only\u003c/a>, 1428 Alice Street, Oakland\u003c/strong>\u003cbr>\nClasses offered on Monday, Wednesday and Saturday evening.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.yelp.com/biz/lakeside-lounge-oakland\" target=\"_blank\" rel=\"noopener\">Lakeside Lounge\u003c/a>, 338 E 18th St., Oakland\u003c/strong>\u003cbr>\nThe Gentlemen Steppers offer an intro lesson from 6:30-7pm, followed by a steppin’ set the rest of the night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zendenyoga.com/\" target=\"_blank\" rel=\"noopener\">The Zen Den\u003c/a>, 821 Texas St Ste B, Fairfield\u003c/strong>\u003cbr>\nA \u003ca href=\"http://www.meetup.com/Oakland-Bay-Area-Beyond-Chicago-Steppin-Meetup/events/229425993/\" target=\"_blank\" rel=\"noopener\">four-week workshop\u003c/a> beginning Sunday, April 3.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "audio-diary-mother-daughter-survive-cancer-with-the-help-of-steppin",
"title": "Audio: Mother & Daughter Survive Cancer with the Help of Steppin'",
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"headTitle": "Audio: Mother & Daughter Survive Cancer with the Help of Steppin’ | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Paula Miller has been hearing about steppin’ for years. Last year, the retired social worker made the jump and joined Ron Brown’s class in Antioch.\u003c/p>\n\u003cp>“Now that I’m in this part of my life, recovering from cancer, stepping seems like a perfect thing to do,” says Miller. “I’m discovering my body and feeling all the muscles awakening.”\u003c/p>\n\u003cp>Steppin’ is a type of partner dance that hails from Chicago. The form is accompanied by old-school R&B and is popular among African-American communities. “Steppin’ is everywhere, in Southern California, Texas, Georgia and all over the Bay,” says Miller. “I want to be ready to go to all of these steppin’ events. They’re just everywhere.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Miller talk about how steppin’ helped her and her daughter recover from cancer:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/256354190″ 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>In 2014, Miller’s daughter called to tell her she’d been diagnosed with breast cancer. “I immediately flew back out to California to take care of her,” Miller says. Then, six months later, Miller herself was diagnosed with breast cancer. “My daughter went from patient to caretaker and I went from caretaker to patient,” Miller says. “We both became each other’s caretaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch Mitzi Mock’s video for KQED Arts about the history, basics and pleasure of steppin’:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Steppin' Keeps Social Dance Alive | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/o038-PkJ0YU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Bouncing back from cancer\u003c/strong>\u003c/p>\n\u003cp>Miller ended her chemotherapy treatment in May 2015. But the treatment gave her memory loss and left her physically depleted. Her therapist recommended a regimen of weight bearing exercise, like walking. But Miller came up with another idea. “I thought, steppin’ can take the place of walking!” Miller says. \u003cspan style=\"line-height: 1.5\">“Sometimes I’m tired and the fatigue level is very high. But because the stepping is so fun, I just don’t want to stop.”\u003c/span>\u003c/p>\n\u003cp>Miller and her daughter joined the steppin’ class together. Currently, her daughter is taking a break from the class to act in a play, but she still dances in the living room with her mom to remember the steps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few people in Miller’s steppin’ class know about her condition. “I’m so happy I joined the steppin’ class,” Miller says. “Getting into steppin’ has opened my world up to a whole new family. Everyone is so welcoming and patient, even though they don’t know my story.”\u003c/p>\n\u003cfigure id=\"attachment_11456111\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11456111\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg\" alt=\"Paula Miller spinning at her steppin' class\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Miller spinning at her steppin’ class \u003ccite>(Photo: Mitzi Mock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout aligncenter\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\n",
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"excerpt": "The old-school R&B-infused dance form provides health and happiness after a tough fight with breast cancer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Paula Miller has been hearing about steppin’ for years. Last year, the retired social worker made the jump and joined Ron Brown’s class in Antioch.\u003c/p>\n\u003cp>“Now that I’m in this part of my life, recovering from cancer, stepping seems like a perfect thing to do,” says Miller. “I’m discovering my body and feeling all the muscles awakening.”\u003c/p>\n\u003cp>Steppin’ is a type of partner dance that hails from Chicago. The form is accompanied by old-school R&B and is popular among African-American communities. “Steppin’ is everywhere, in Southern California, Texas, Georgia and all over the Bay,” says Miller. “I want to be ready to go to all of these steppin’ events. They’re just everywhere.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Miller talk about how steppin’ helped her and her daughter recover from cancer:\u003c/em>\u003c/strong>\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/256354190″&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/256354190″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 2014, Miller’s daughter called to tell her she’d been diagnosed with breast cancer. “I immediately flew back out to California to take care of her,” Miller says. Then, six months later, Miller herself was diagnosed with breast cancer. “My daughter went from patient to caretaker and I went from caretaker to patient,” Miller says. “We both became each other’s caretaker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch Mitzi Mock’s video for KQED Arts about the history, basics and pleasure of steppin’:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Steppin' Keeps Social Dance Alive | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/o038-PkJ0YU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Bouncing back from cancer\u003c/strong>\u003c/p>\n\u003cp>Miller ended her chemotherapy treatment in May 2015. But the treatment gave her memory loss and left her physically depleted. Her therapist recommended a regimen of weight bearing exercise, like walking. But Miller came up with another idea. “I thought, steppin’ can take the place of walking!” Miller says. \u003cspan style=\"line-height: 1.5\">“Sometimes I’m tired and the fatigue level is very high. But because the stepping is so fun, I just don’t want to stop.”\u003c/span>\u003c/p>\n\u003cp>Miller and her daughter joined the steppin’ class together. Currently, her daughter is taking a break from the class to act in a play, but she still dances in the living room with her mom to remember the steps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few people in Miller’s steppin’ class know about her condition. “I’m so happy I joined the steppin’ class,” Miller says. “Getting into steppin’ has opened my world up to a whole new family. Everyone is so welcoming and patient, even though they don’t know my story.”\u003c/p>\n\u003cfigure id=\"attachment_11456111\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11456111\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg\" alt=\"Paula Miller spinning at her steppin' class\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Miller spinning at her steppin’ class \u003ccite>(Photo: Mitzi Mock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout aligncenter\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-bolero-for-silicon-valley-nashville-twang-and-a-flamin-groovies-reunion",
"title": "Cy and David's Picks: A Bolero for Silicon Valley, Nashville Twang, and a Flamin’ Groovies Reunion",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160401.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yMTv_Y0Zrl4\u003c/p>\n\u003cp>\u003cstrong>April 7 – 17: \u003c/strong>J\u003ca href=\"http://www.nycballet.com/Dancers/Dancers-Bios/Justin-Peck.aspx\" target=\"_blank\" rel=\"noopener\">ustin Peck\u003c/a> may be the hottest young choreographer in ballet, his work marked by what the\u003cem> New Yorker\u003c/em> recently called \u003ca href=\"http://www.newyorker.com/magazine/2016/02/29/justin-peck-revitalizes-ballet\" target=\"_blank\" rel=\"noopener\">“speed, exuberance and vigor.\u003c/a>” He’s both a soloist and resident choreographer at \u003ca href=\"http://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>, and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet \u003c/a>has snagged the world premiere of Peck’s newest dance, set to and named for Sufjan Steven’s wonderful film score \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VFF-QEvDOcY\" target=\"_blank\" rel=\"noopener\">In the Countenance of Kings\u003c/a>\u003c/em>. Also on the bill is the return of Christopher Wheeldon’s \u003cem>Continuum\u003c/em>, and Balanchine’s\u003cem> Theme and Variations. \u003c/em>Details \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJTngYUWuOk\u003c/p>\n\u003cp>\u003cstrong>Continuing through April 23:\u003c/strong> We’re always up for a new work by Bay Area playwright \u003ca href=\"http://www.peternachtrieb.com/index.html\" target=\"_blank\" rel=\"noopener\">Peter Sinn Nachtrieb\u003c/a>. \u003cem>The Totalitarians\u003c/em> from 2014 was a scarily funny and prescient satire of political campaigns. Now \u003ca href=\"http://zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space \u003c/a>is premiering Nachtrieb’s newest work, featuring the great actor and master of snark, \u003ca href=\"http://www.dannyscheie.com/http___www.dannyscheie.com/Acting.html\" target=\"_blank\" rel=\"noopener\">Danny Schieie\u003c/a>. \u003cem>House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em> is an immersive one-man play — where the audience follows Scheie through the former home of a wealthy couple who have come to a mysterious end, and including some plot element about a stick of butter, as depicted in the video above. One caveat, of a sort, Nachtrieb warns “this show contains explicit material and is intended for immature adults only.” Details \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sa1rYqgi_WY\u003c/p>\n\u003cp>\u003cstrong>April 7:\u003c/strong> \u003ca href=\"http://www.thebandescondido.com/\" target=\"_blank\" rel=\"noopener\">Escondido \u003c/a>was one of the small bands that made a big impact at \u003ca href=\"http://www.sxsw.com/\" target=\"_blank\" rel=\"noopener\">SXSW\u003c/a>. The duo of Tyler James and Jessica Maros have no connection to the Southern California beach town, they hooked up in Nashville, and feature a great twang sound with the occasional trumpet. James has said he wants the duo to sound like Clint Eastwood was playing pop songs at a Nashville honkytonk. It is kind of twang noir, and it’s a \u003cstrong>Cheap Thrill!,\u003c/strong> just $12 to see them at the \u003ca href=\"http://www.rickshawstop.com/event/1080743-escondido-san-francisco/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop on Thursday.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11453417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11453417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg\" alt=\"Choreographer Larry Keigwin leads participants through the 'Bolero Silicon Valley' casting call at Bing Concert Hall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Choreographer Larry Keigwin leads participants through the ‘Bolero Silicon Valley’ casting call at Bing Concert Hall \u003ccite>(Photo: Florentina Mocanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 2 – 3: \u003c/strong>Choreographer\u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\"> Larry Keigwin\u003c/a> has taken his \u003cem>Bolero\u003c/em> to eleven cities across the country, from New York to Santa Barbara, tailoring each one to the culture and quotidian life of each location. In Santa Barbara, the dancers surfed and chased a lifeguard. At Stanford’s \u003ca href=\"https://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener\">Bing Hall\u003c/a>, Keigwin told the \u003cem>Mercury News\u003c/em>, he imagines a \u003cem>Bolero Silicon Valley\u003c/em> that’s like a tech circus, with people in office chairs, at their computers, or cellphones. Among the cast of 70 or so, students from East Palo Alto’s Eastside College Prep School, members of Stanford’s drone club, and a student music and dance collective. Details \u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b8eP81-fhvk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 7:\u003c/strong> Travel with us now back to 1971, when the \u003ca href=\"https://www.facebook.com/Flamin-Groovies-85760453541/\" target=\"_blank\" rel=\"noopener\">Flamin’ Groovies \u003c/a>released\u003ca href=\"https://en.wikipedia.org/wiki/Teenage_Head_(Flamin%27_Groovies_album)\" target=\"_blank\" rel=\"noopener\"> \u003cem>Teenage Head\u003c/em>\u003c/a>. It was the same year that the Rolling Stones released\u003cem> Sticky Fingers. \u003c/em>The Stones’ Mick Jagger reportedly said\u003cem> Teenage Head \u003c/em>was the better record. But the Groovies never made it big, and founder and lead singer Roy Loney left the band, even as guitarist Cyril Jordan and the Groovies made another power pop classic,\u003cem> Shake Some Action. \u003c/em>Now the Groovies, including co-founders Loney and Jordan are getting back together for a show at the Chapel in San Francisco, ahead of a European tour and just in time for their 50th anniversary. We asked Roy Loney why classic rock, like \u003cem>Teenage Head\u003c/em>, with its simple chord structure, ages so well. “There’s no reason to go beyond three chords,” Loney said. “If you know how to handle those three chords. It’s simple. It’s to the point. I think of it as primitive rock with taste.” Details for the Chapel show are \u003ca href=\"http://www.thechapelsf.com/event/1089339-flamin-groovies-50th-san-francisco/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a> If you miss this show, you can catch The Groovies at \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo \u003c/a>in in Oakland in June.\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/yMTv_Y0Zrl4'\n title='//www.youtube.com/embed/yMTv_Y0Zrl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 7 – 17: \u003c/strong>J\u003ca href=\"http://www.nycballet.com/Dancers/Dancers-Bios/Justin-Peck.aspx\" target=\"_blank\" rel=\"noopener\">ustin Peck\u003c/a> may be the hottest young choreographer in ballet, his work marked by what the\u003cem> New Yorker\u003c/em> recently called \u003ca href=\"http://www.newyorker.com/magazine/2016/02/29/justin-peck-revitalizes-ballet\" target=\"_blank\" rel=\"noopener\">“speed, exuberance and vigor.\u003c/a>” He’s both a soloist and resident choreographer at \u003ca href=\"http://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>, and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet \u003c/a>has snagged the world premiere of Peck’s newest dance, set to and named for Sufjan Steven’s wonderful film score \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VFF-QEvDOcY\" target=\"_blank\" rel=\"noopener\">In the Countenance of Kings\u003c/a>\u003c/em>. Also on the bill is the return of Christopher Wheeldon’s \u003cem>Continuum\u003c/em>, and Balanchine’s\u003cem> Theme and Variations. \u003c/em>Details \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" 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/cJTngYUWuOk'\n title='//www.youtube.com/embed/cJTngYUWuOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through April 23:\u003c/strong> We’re always up for a new work by Bay Area playwright \u003ca href=\"http://www.peternachtrieb.com/index.html\" target=\"_blank\" rel=\"noopener\">Peter Sinn Nachtrieb\u003c/a>. \u003cem>The Totalitarians\u003c/em> from 2014 was a scarily funny and prescient satire of political campaigns. Now \u003ca href=\"http://zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space \u003c/a>is premiering Nachtrieb’s newest work, featuring the great actor and master of snark, \u003ca href=\"http://www.dannyscheie.com/http___www.dannyscheie.com/Acting.html\" target=\"_blank\" rel=\"noopener\">Danny Schieie\u003c/a>. \u003cem>House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em> is an immersive one-man play — where the audience follows Scheie through the former home of a wealthy couple who have come to a mysterious end, and including some plot element about a stick of butter, as depicted in the video above. One caveat, of a sort, Nachtrieb warns “this show contains explicit material and is intended for immature adults only.” Details \u003ca href=\"http://zspace.org/new-work/house-tour\" 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/sa1rYqgi_WY'\n title='//www.youtube.com/embed/sa1rYqgi_WY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 7:\u003c/strong> \u003ca href=\"http://www.thebandescondido.com/\" target=\"_blank\" rel=\"noopener\">Escondido \u003c/a>was one of the small bands that made a big impact at \u003ca href=\"http://www.sxsw.com/\" target=\"_blank\" rel=\"noopener\">SXSW\u003c/a>. The duo of Tyler James and Jessica Maros have no connection to the Southern California beach town, they hooked up in Nashville, and feature a great twang sound with the occasional trumpet. James has said he wants the duo to sound like Clint Eastwood was playing pop songs at a Nashville honkytonk. It is kind of twang noir, and it’s a \u003cstrong>Cheap Thrill!,\u003c/strong> just $12 to see them at the \u003ca href=\"http://www.rickshawstop.com/event/1080743-escondido-san-francisco/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop on Thursday.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11453417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11453417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg\" alt=\"Choreographer Larry Keigwin leads participants through the 'Bolero Silicon Valley' casting call at Bing Concert Hall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Choreographer Larry Keigwin leads participants through the ‘Bolero Silicon Valley’ casting call at Bing Concert Hall \u003ccite>(Photo: Florentina Mocanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 2 – 3: \u003c/strong>Choreographer\u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\"> Larry Keigwin\u003c/a> has taken his \u003cem>Bolero\u003c/em> to eleven cities across the country, from New York to Santa Barbara, tailoring each one to the culture and quotidian life of each location. In Santa Barbara, the dancers surfed and chased a lifeguard. At Stanford’s \u003ca href=\"https://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener\">Bing Hall\u003c/a>, Keigwin told the \u003cem>Mercury News\u003c/em>, he imagines a \u003cem>Bolero Silicon Valley\u003c/em> that’s like a tech circus, with people in office chairs, at their computers, or cellphones. Among the cast of 70 or so, students from East Palo Alto’s Eastside College Prep School, members of Stanford’s drone club, and a student music and dance collective. Details \u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" 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/b8eP81-fhvk'\n title='//www.youtube.com/embed/b8eP81-fhvk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 7:\u003c/strong> Travel with us now back to 1971, when the \u003ca href=\"https://www.facebook.com/Flamin-Groovies-85760453541/\" target=\"_blank\" rel=\"noopener\">Flamin’ Groovies \u003c/a>released\u003ca href=\"https://en.wikipedia.org/wiki/Teenage_Head_(Flamin%27_Groovies_album)\" target=\"_blank\" rel=\"noopener\"> \u003cem>Teenage Head\u003c/em>\u003c/a>. It was the same year that the Rolling Stones released\u003cem> Sticky Fingers. \u003c/em>The Stones’ Mick Jagger reportedly said\u003cem> Teenage Head \u003c/em>was the better record. But the Groovies never made it big, and founder and lead singer Roy Loney left the band, even as guitarist Cyril Jordan and the Groovies made another power pop classic,\u003cem> Shake Some Action. \u003c/em>Now the Groovies, including co-founders Loney and Jordan are getting back together for a show at the Chapel in San Francisco, ahead of a European tour and just in time for their 50th anniversary. We asked Roy Loney why classic rock, like \u003cem>Teenage Head\u003c/em>, with its simple chord structure, ages so well. “There’s no reason to go beyond three chords,” Loney said. “If you know how to handle those three chords. It’s simple. It’s to the point. I think of it as primitive rock with taste.” Details for the Chapel show are \u003ca href=\"http://www.thechapelsf.com/event/1089339-flamin-groovies-50th-san-francisco/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a> If you miss this show, you can catch The Groovies at \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo \u003c/a>in in Oakland in June.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a> On a recent evening at Stanford, an army of amateur dancers gathered at Bing Concert Hall to rehearse for the latest version of an interactive dance work, \u003cem>\u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">Boléro Silicon Valley\u003c/a>\u003c/em>. Among their number was Stanford web developer Anne Shore, who hadn’t given a public performance in decades.\u003c/p>\n\u003cp>“My last performance was in the second grade, and I was a frog,” Shore said. Shore is from Ukraine originally and heavily into folk dancing. But she generally practices her art form in rec rooms, not in front of a live audience at a theater that seats more than 800 people.\u003c/p>\n\u003cp>\u003cstrong>Sitting in the dark is not enough\u003c/strong>\u003c/p>\n\u003cp>In this age of engagement, where arts lovers aren’t simply content with sitting watching pros perform in the dark, it’s often not enough for dance companies to merely put on a show; they’re sometimes inviting audience members to join in on stage. The trend for audience participation in professional arts endeavors is growing, and the event at Stanford is no exception.\u003c/p>\n\u003cp>New York choreographer \u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\">Larry Keigwin\u003c/a> began pairing civilians with Maurice Ravel’s famous orchestral piece \u003cem>Boléro\u003c/em> nearly 10 years ago\u003cem>. \u003c/em>He’s since mounted some version of the production all over the country, such as in Santa Barbara and Denver.\u003c/p>\n\u003cfigure id=\"attachment_11445585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11445585 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-800x600.jpg\" alt='\"You know, I’ve always been attracted to the piece of music. It’s this iconic score. And I wanted to have real people, and not dancers,\" says New York choreographer Larry Keigwin about teaching \"real people\" to dance Maurice Ravel’s Boléro.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You know, I’ve always been attracted to the piece of music. It’s this iconic score. And I wanted to have real people, and not dancers,” says New York choreographer Larry Keigwin about teaching “real people” to dance Maurice Ravel’s ‘Boléro.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keigwin picked \u003cem>Boléro \u003c/em>as the music for this project because the work is so well known and because it builds slowly and steadily over 15 minutes, culminating in a big, satisfying\u003cem> \u003c/em>finish. “\u003cem>Boléro\u003c/em> is fascinating, because it is, in essence, repetitive,” said Katrina Hong, a staff researcher at Stanford medical school and participant in the production. “But it’s so intricate, and it develops over time and picks up the pace a little bit and just, it’s intense.”\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp> Keigwin also said \u003cem>Boléro\u003c/em> also lends itself to just about any staging idea. For each production of the piece, Keigwin has developed the choreography on site, choosing simple moves likely to resonate with the local audience. “Celebrating the local community with real participants from the community,” Keigwin said. “So we create it with them, for them, and about them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>All About Tech\u003c/strong>\u003c/p>\n\u003cp>The Silicon Valley version is all about connection and disconnection, which is to say, smart phones. Keigwin has the dancers march about on stage, pretending to have conversations, oblivious to everyone around them, until they pause to take selfies with each other.\u003c/p>\n\u003cp>This isn’t the first crowd-sourced dance performance at Stanford, and it’s safe to say it won’t be amateur dancer Ken Moffeit’s last. He’s a particle physicist, recently retired from Stanford’s SLAC National Accelerator Lab. “When you try it out and you see how you make a performance in a couple of weeks, how that whole operation takes place, you appreciate things in a different way than whenever you see a live performance,” Moffeit said.\u003c/p>\n\u003cfigure id=\"attachment_11445700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11445700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-800x600.jpg\" alt='Doing the \"washing machine,\" a warm up exercise, before learning moves to pair with Maurice Ravel’s Boléro.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doing the “washing machine,” a warm up exercise, before learning moves to pair with Maurice Ravel’s ‘Boléro.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dance companies across the Bay Area are capitalizing on the public’s desire to do more than sit in the dark. As part of its annual \u003ca href=\"http://calperformances.org/performances/2015-16/dance/alvin-ailey-american-dance-theater.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> residency, the New York-based Alvin Ailey American Dance Theater, for instance, is teaching sections of the company repertoire for a flash-mob on campus. Later this month, \u003ca href=\"http://oaklandballet.org/wp/\" target=\"_blank\" rel=\"noopener\">Oakland Ballet\u003c/a> hosts an open technique class.\u003c/p>\n\u003cp>Meanwhile, the upcoming annual dance extravaganza \u003ca href=\"http://bayareandw.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance Week\u003c/a> includes tons of public participation: 10 days of workshops, classes, and open rehearsals. “It’s really a simple concept that we borrowed from the visual arts community about open studios, opening your doors,” said Wayne Hazard, who runs \u003ca href=\"http://dancersgroup.org/\" target=\"_blank\" rel=\"noopener\">Dancers Group\u003c/a> of San Francisco and organizes Dance Week.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/256661644″ 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>Getting the audience involved is not an optional for for performing arts organizations today, Hazzard said: “We’re all sort of overwhelmed these days with options, you know, in terms of what you can read and what you can access. And everybody’s saying “Come! See me! Pay for me!” There’s over 800 companies in our region. That goes from classical Indian to classical ballet and classical Cambodian dance. I mean, the range of activities here is phenomenal.”\u003c/p>\n\u003cp>So slip on some comfortable shoes and sign up for a dance event near you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Anne, Ken and Keigwin+Company perform \u003cem>Boléro Silicon Valley\u003c/em> at Stanford’s Bing Concert Hall on Saturday, Apr. 2 and Sunday, Apr. 3. More information \u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a> On a recent evening at Stanford, an army of amateur dancers gathered at Bing Concert Hall to rehearse for the latest version of an interactive dance work, \u003cem>\u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">Boléro Silicon Valley\u003c/a>\u003c/em>. Among their number was Stanford web developer Anne Shore, who hadn’t given a public performance in decades.\u003c/p>\n\u003cp>“My last performance was in the second grade, and I was a frog,” Shore said. Shore is from Ukraine originally and heavily into folk dancing. But she generally practices her art form in rec rooms, not in front of a live audience at a theater that seats more than 800 people.\u003c/p>\n\u003cp>\u003cstrong>Sitting in the dark is not enough\u003c/strong>\u003c/p>\n\u003cp>In this age of engagement, where arts lovers aren’t simply content with sitting watching pros perform in the dark, it’s often not enough for dance companies to merely put on a show; they’re sometimes inviting audience members to join in on stage. The trend for audience participation in professional arts endeavors is growing, and the event at Stanford is no exception.\u003c/p>\n\u003cp>New York choreographer \u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\">Larry Keigwin\u003c/a> began pairing civilians with Maurice Ravel’s famous orchestral piece \u003cem>Boléro\u003c/em> nearly 10 years ago\u003cem>. \u003c/em>He’s since mounted some version of the production all over the country, such as in Santa Barbara and Denver.\u003c/p>\n\u003cfigure id=\"attachment_11445585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11445585 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-800x600.jpg\" alt='\"You know, I’ve always been attracted to the piece of music. It’s this iconic score. And I wanted to have real people, and not dancers,\" says New York choreographer Larry Keigwin about teaching \"real people\" to dance Maurice Ravel’s Boléro.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18889_IMG_1367-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You know, I’ve always been attracted to the piece of music. It’s this iconic score. And I wanted to have real people, and not dancers,” says New York choreographer Larry Keigwin about teaching “real people” to dance Maurice Ravel’s ‘Boléro.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keigwin picked \u003cem>Boléro \u003c/em>as the music for this project because the work is so well known and because it builds slowly and steadily over 15 minutes, culminating in a big, satisfying\u003cem> \u003c/em>finish. “\u003cem>Boléro\u003c/em> is fascinating, because it is, in essence, repetitive,” said Katrina Hong, a staff researcher at Stanford medical school and participant in the production. “But it’s so intricate, and it develops over time and picks up the pace a little bit and just, it’s intense.”\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp> Keigwin also said \u003cem>Boléro\u003c/em> also lends itself to just about any staging idea. For each production of the piece, Keigwin has developed the choreography on site, choosing simple moves likely to resonate with the local audience. “Celebrating the local community with real participants from the community,” Keigwin said. “So we create it with them, for them, and about them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>All About Tech\u003c/strong>\u003c/p>\n\u003cp>The Silicon Valley version is all about connection and disconnection, which is to say, smart phones. Keigwin has the dancers march about on stage, pretending to have conversations, oblivious to everyone around them, until they pause to take selfies with each other.\u003c/p>\n\u003cp>This isn’t the first crowd-sourced dance performance at Stanford, and it’s safe to say it won’t be amateur dancer Ken Moffeit’s last. He’s a particle physicist, recently retired from Stanford’s SLAC National Accelerator Lab. “When you try it out and you see how you make a performance in a couple of weeks, how that whole operation takes place, you appreciate things in a different way than whenever you see a live performance,” Moffeit said.\u003c/p>\n\u003cfigure id=\"attachment_11445700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11445700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-800x600.jpg\" alt='Doing the \"washing machine,\" a warm up exercise, before learning moves to pair with Maurice Ravel’s Boléro.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18885_IMG_1306-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doing the “washing machine,” a warm up exercise, before learning moves to pair with Maurice Ravel’s ‘Boléro.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dance companies across the Bay Area are capitalizing on the public’s desire to do more than sit in the dark. As part of its annual \u003ca href=\"http://calperformances.org/performances/2015-16/dance/alvin-ailey-american-dance-theater.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> residency, the New York-based Alvin Ailey American Dance Theater, for instance, is teaching sections of the company repertoire for a flash-mob on campus. Later this month, \u003ca href=\"http://oaklandballet.org/wp/\" target=\"_blank\" rel=\"noopener\">Oakland Ballet\u003c/a> hosts an open technique class.\u003c/p>\n\u003cp>Meanwhile, the upcoming annual dance extravaganza \u003ca href=\"http://bayareandw.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance Week\u003c/a> includes tons of public participation: 10 days of workshops, classes, and open rehearsals. “It’s really a simple concept that we borrowed from the visual arts community about open studios, opening your doors,” said Wayne Hazard, who runs \u003ca href=\"http://dancersgroup.org/\" target=\"_blank\" rel=\"noopener\">Dancers Group\u003c/a> of San Francisco and organizes Dance Week.\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/256661644″&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/256661644″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Getting the audience involved is not an optional for for performing arts organizations today, Hazzard said: “We’re all sort of overwhelmed these days with options, you know, in terms of what you can read and what you can access. And everybody’s saying “Come! See me! Pay for me!” There’s over 800 companies in our region. That goes from classical Indian to classical ballet and classical Cambodian dance. I mean, the range of activities here is phenomenal.”\u003c/p>\n\u003cp>So slip on some comfortable shoes and sign up for a dance event near you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Anne, Ken and Keigwin+Company perform \u003cem>Boléro Silicon Valley\u003c/em> at Stanford’s Bing Concert Hall on Saturday, Apr. 2 and Sunday, Apr. 3. More information \u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sarah-bush-dance-project-celebrates-famous-oakland-women",
"title": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece",
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"content": "\u003cp>The weather gods shed tears just as performers Nina Wu, Chelsea Hill and Nicole Casado of the \u003ca href=\"http://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> began to ascend the massive stone staircase at Oakland’s Woodminster Cascade last Sunday afternoon, Mar. 20. Grey skies did nothing to dim the grandeur of the surrounding redwoods, Monterey cypress, olive and eucalyptus stands. Clad in starkly chic blouses and voluminous layered skirts in black and white – attire one might think wholly unsuited to a wilderness expedition – these graceful, intrepid young women scrambled and leapt and rolled and grappled their way up the 242 granite steps, dodging hypothetical bullets and slaying imaginary dragons en route.\u003c/p>\n\u003cp>The musings of three pioneering Bay Area women artists — Gertrude Stein, Isadora Duncan, and Ina Coolbrith — whose lives intersected in the late 19th century, punctuate Sarah Bush’s “Reach,” the second in a triptych of springtime outdoor performances celebrating the wilds of Oakland,\u003cem> \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The first part was performed a month ago. Dubbed “Recreate,” it featured a quintet of ninjas in hoodies and sweats who seized the Lake Merritt waterfront, under the stern gaze of the Greco-Deco Alameda County Court House. Majestic vocalist Gina Breedlove held sway, delivering an urban jungle scat. In a witty moment, the dancers swung their legs over the waterfront railing and hung upside down, the sparkling lagoon as their backdrop, while Breedlove intoned, “We are learning to breathe underwater.”\u003c/p>\n\u003cp>\u003cem>Watch a short video excerpt of “Recreate”, performed at Lake Merritt on Sunday, Feb. 21:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sarah Bush Dance Project - Lake Merritt Feb 21st - 2016\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/INN2Nx1UlB0?list=PLOtgZHVTLKeNfnXEZpc_mqXb-qmDC-kNd\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For this second site-specific work, the choice of Woodminster Cascade on the edge of Joaquin Miller Park provided a bracing contrast to the concrete, metal and water of downtown Oakland. The park’s history led Bush to identify Coolbrith, California’s first poet laureate and the first poet laureate of any American state, as an inspiration for her dance piece. Coolbrith, a highly influential figure in the San Francisco literary world, was a close friend and rumored lover of eccentric poet Joaquin Miller. Miller bought the 500 acres that eventually became Joaquin Miller Park in the 1880s. He extensively planted the land and made his home there.\u003c/p>\n\u003cp>Coolbrith was a generous mentor to many Bay Area writers and artists, including the dancer Isadora Duncan, the second woman to inspire Bush’s piece. For her third inspiration, Bush picked Stein, who grew up in Oakland. Stein wrote an appreciation of Duncan that began, “Even if one was one she might be like some other one.” As it canters along, Stein’s tribute appears to simulate the hypnotic rhythms, the antinomy of Duncan’s dancing, which radiated both discipline and freedom.\u003c/p>\n\u003cfigure id=\"attachment_11433243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433243\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg\" alt='A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, \"Reach\", at Woodminster Cascade, Joaquin Miller Park, Oakland' width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, “Reach”, at Woodminster Cascade, Joaquin Miller Park, Oakland \u003ccite>(Photo: Lisa Harding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, too, does Bush’s elegant, muscular choreography in “Reach,” danced with controlled abandon. The three dancers swept up the staircase, their movements writ large against the massive architecture and scenery even as their figures grew smaller. Those miraculous skirts billowed like sails on the clipper ships that plied the trade routes during the California Gold Rush. The dancers hoisted each other on their backs when the going got rough, and scaled the mighty stone parapets, arching into backbends, fearlessly lifting their faces to the rain. The silky strains of Zhalisa Clarke’s violin, together with Anita Lofton’s plangent guitar and smoky voice, propelled them on their journey between the readings from Stein, Coolbrith and Duncan.\u003c/p>\n\u003cp>At the close of the piece, the dancers stood poised on a rampart, tossing pieces of notepaper to the wind. Were they pages of autobiography? Love letters? Poems? Rulebooks?\u003c/p>\n\u003cp>The third and final episode of \u003cem>This Land: Oakland\u003c/em> takes place at the Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. “Recall” features musician and activist Melanie DeMore, who will take the dancers and audience through a Gullah stick pounding ritual, combined with spirituals and songs of protest and peace. As with the other two works in the series, Bush hopes to activate the surroundings in a memorable way. “We will, as a community, turn the whole place into a living, breathing drum,” Bush says.\u003c/p>\n\u003cp>\u003cstrong>To find out more about the third installment of\u003cem> This Land: Oakland, \u003c/em>which takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17, please click \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The second part of Sarah Bush Dance Project's compelling 'This Land: Oakland' looks at the connections between 3 famous women with Bay Area ties",
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"title": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece | KQED",
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"headline": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weather gods shed tears just as performers Nina Wu, Chelsea Hill and Nicole Casado of the \u003ca href=\"http://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> began to ascend the massive stone staircase at Oakland’s Woodminster Cascade last Sunday afternoon, Mar. 20. Grey skies did nothing to dim the grandeur of the surrounding redwoods, Monterey cypress, olive and eucalyptus stands. Clad in starkly chic blouses and voluminous layered skirts in black and white – attire one might think wholly unsuited to a wilderness expedition – these graceful, intrepid young women scrambled and leapt and rolled and grappled their way up the 242 granite steps, dodging hypothetical bullets and slaying imaginary dragons en route.\u003c/p>\n\u003cp>The musings of three pioneering Bay Area women artists — Gertrude Stein, Isadora Duncan, and Ina Coolbrith — whose lives intersected in the late 19th century, punctuate Sarah Bush’s “Reach,” the second in a triptych of springtime outdoor performances celebrating the wilds of Oakland,\u003cem> \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The first part was performed a month ago. Dubbed “Recreate,” it featured a quintet of ninjas in hoodies and sweats who seized the Lake Merritt waterfront, under the stern gaze of the Greco-Deco Alameda County Court House. Majestic vocalist Gina Breedlove held sway, delivering an urban jungle scat. In a witty moment, the dancers swung their legs over the waterfront railing and hung upside down, the sparkling lagoon as their backdrop, while Breedlove intoned, “We are learning to breathe underwater.”\u003c/p>\n\u003cp>\u003cem>Watch a short video excerpt of “Recreate”, performed at Lake Merritt on Sunday, Feb. 21:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sarah Bush Dance Project - Lake Merritt Feb 21st - 2016\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/INN2Nx1UlB0?list=PLOtgZHVTLKeNfnXEZpc_mqXb-qmDC-kNd\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For this second site-specific work, the choice of Woodminster Cascade on the edge of Joaquin Miller Park provided a bracing contrast to the concrete, metal and water of downtown Oakland. The park’s history led Bush to identify Coolbrith, California’s first poet laureate and the first poet laureate of any American state, as an inspiration for her dance piece. Coolbrith, a highly influential figure in the San Francisco literary world, was a close friend and rumored lover of eccentric poet Joaquin Miller. Miller bought the 500 acres that eventually became Joaquin Miller Park in the 1880s. He extensively planted the land and made his home there.\u003c/p>\n\u003cp>Coolbrith was a generous mentor to many Bay Area writers and artists, including the dancer Isadora Duncan, the second woman to inspire Bush’s piece. For her third inspiration, Bush picked Stein, who grew up in Oakland. Stein wrote an appreciation of Duncan that began, “Even if one was one she might be like some other one.” As it canters along, Stein’s tribute appears to simulate the hypnotic rhythms, the antinomy of Duncan’s dancing, which radiated both discipline and freedom.\u003c/p>\n\u003cfigure id=\"attachment_11433243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433243\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg\" alt='A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, \"Reach\", at Woodminster Cascade, Joaquin Miller Park, Oakland' width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, “Reach”, at Woodminster Cascade, Joaquin Miller Park, Oakland \u003ccite>(Photo: Lisa Harding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, too, does Bush’s elegant, muscular choreography in “Reach,” danced with controlled abandon. The three dancers swept up the staircase, their movements writ large against the massive architecture and scenery even as their figures grew smaller. Those miraculous skirts billowed like sails on the clipper ships that plied the trade routes during the California Gold Rush. The dancers hoisted each other on their backs when the going got rough, and scaled the mighty stone parapets, arching into backbends, fearlessly lifting their faces to the rain. The silky strains of Zhalisa Clarke’s violin, together with Anita Lofton’s plangent guitar and smoky voice, propelled them on their journey between the readings from Stein, Coolbrith and Duncan.\u003c/p>\n\u003cp>At the close of the piece, the dancers stood poised on a rampart, tossing pieces of notepaper to the wind. Were they pages of autobiography? Love letters? Poems? Rulebooks?\u003c/p>\n\u003cp>The third and final episode of \u003cem>This Land: Oakland\u003c/em> takes place at the Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. “Recall” features musician and activist Melanie DeMore, who will take the dancers and audience through a Gullah stick pounding ritual, combined with spirituals and songs of protest and peace. As with the other two works in the series, Bush hopes to activate the surroundings in a memorable way. “We will, as a community, turn the whole place into a living, breathing drum,” Bush says.\u003c/p>\n\u003cp>\u003cstrong>To find out more about the third installment of\u003cem> This Land: Oakland, \u003c/em>which takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17, please click \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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