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"bio": "Irene Hsiao is a writer and dancer. Her essays and poems have appeared in \u003cem>Los Angeles Review of Books\u003c/em>, \u003cem>Cambridge Quarterly, Victorian Poetry, Multi-Ethnic Literature of the US, Literary Imagination, Modern Philology, Word Riot, elimae, A Clean Well-Lighted Place, Sweet, \u003c/em>and\u003cem> SF Weekly, \u003c/em>as well as in the book\u003cem> Peter Pan In and Out of Time.\u003c/em> She has appeared with Kinetech Arts, Winifred Haun & Dancers, Alma Esperanza Cunningham Movement, Lenora Lee Dance, and other companies in the US and Asia. Her book of photography and text, \u003cem>Letter from Taipei\u003c/em>, was published in 2014. She has been awarded the Louis Martz Prize by the William Carlos Williams Society and nominated for a Pushcart Prize.",
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"slug": "show-me-yours-kid-koala-puppet-show-at-stanford-thrillpeddlers-club-inferno-and-more",
"title": "Show Me Yours: Kid Koala Puppet Show at Stanford, Thrillpeddlers’ ‘Club Inferno’ and more",
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"content": "\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>There are times when you wish the people behind a long-running or oft-reprised theatrical production would just cash in their chips and call it quits. The thought crosses my mind every time I see \u003cem>Phantom of the Opera\u003c/em> returning for yet another San Francisco run, or when I consider the fact that Catherine Russell, the lead actress in the astonishingly long-running off-Broadway theatrical thriller \u003cem>Perfect Crime,\u003c/em> has acted in more than 11,000 performances of the show since it debuted in 1987.\u003c/p>\n\u003cfigure id=\"attachment_11280572\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg\" alt=\"Noah Haydon and Peggy L'Eggs in Thrillpeddlers production of Club Inferno\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-960x655.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Haydon and Peggy L’Eggs in Thrillpeddlers production of Club Inferno \u003ccite>(Photo: David Allen / Courtesy of Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every now and again, though, a show deserves to have a long shelf-life. That’s how I feel about \u003cem>Club Inferno\u003c/em>, a feisty glam-rock musical based on Dante’s \u003cem>Divine Comedy\u003c/em>. San Francisco’s resplendently louche Thrillpeddlers theater company, which created the show, is bringing it back to the stage for the third time since it first appeared in 2000.\u003c/p>\n\u003cp>\u003cem>Club Inferno\u003c/em> had an outing last summer, which I adored for the singability of the songs, the intelligent-kitsch sense of humor, and the bonkers energy of the performances. The musical depicts Italy’s most famous Medieval poet as a pop diva. When Dante wakes up at the Gates of Hell following a terrible accident in the middle of her high-octane club act, she winds up taking a circuitous route back to the land of the living accompanied by Virgil. On the way, they run into a host of eclectic characters including Cleopatra, Karen Carpenter and — when the duo finally reaches the final circle of hell — Judy Garland. Created by Kelly Kittell and Peter Fogel and directed by Russell Blackwood, the production features many of the original cast members and heaps of Thrillpeddlers’ characteristic hedonism. \u003cstrong>\u003cem>\u003ca href=\"https://app.arts-people.com/index.php?ticketing=thril\" target=\"_blank\" rel=\"noopener\">Club Inferno\u003c/a>\u003c/em> runs Thursday, Feb. 4 through Saturday, Mar. 5; Thrillpeddlers at The Hypnodrome, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>And here are some other lively stage goings-on to give you something to talk about this week:\u003c/p>\n\u003cfigure id=\"attachment_11280573\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280573\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg\" alt=\"S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \u003ccite>(Photo: Lisema / Courtesy of New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"http://www.nctcsf.org/2015-16-season/sagittarius-ponderosa\" target=\"_blank\" rel=\"noopener\">Sagittarius Ponderosa\u003c/a>\u003c/em> at New Conservatory Theatre Center, San Francisco\u003c/strong>\u003cbr>\nA young trans man is at the heart of playwright M. J. Kaufman’s world premiere play. The drama follows the story of Archer who travels back home to eastern Oregon after he finds out that his father is dying. Between dealing with his family — the members of which still insist on calling him by his former name, Angela — and having a chance meeting with a mysterious, erudite stranger, Archer learns more about his identity and roots as well as about the evolving nature of the world around him. What sets this play apart from other trans narratives is that the theme of transition is more metaphorical than literal. “I had been feeling frustrated that most queer narratives are coming-out stories and most transgender narratives are transition stories,” Kaufman is quoted as saying on the theater website \u003cem>\u003ca href=\"http://www.broadwayworld.com/san-francisco/article/FOR-THE-LOVE-OF-COMRADES-THE-KID-THING-SAGITTARIUS-PONDEROSA-and-More-Set-for-NCTCs-2015-16-Season-20150327\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a>\u003c/em>. “I wanted to create art that would acknowledge constant change as an intrinsic part of being a person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=116\" target=\"_blank\" rel=\"noopener\">Little Erik\u003c/a>\u003c/em> at Aurora Theatre, Berkeley\u003c/strong>\u003cbr>\nHenrik Ibsen wrote his play \u003cem>Little Eyolf\u003c/em> in 1894. At the time, the plotline, about a wife who supports the family while the husband stays home to write a novel and look after their kid, must have seemed crazily far-fetched. But today, the gender role-reversal feels more normal, which is in part why San Francisco dramatist, actor and director Mark Jackson became intrigued by the quirky, domestic drama. Jackson’s adaptation fully transports the action into our own times for this Aurora Theatre world premiere: Marilee Talkington plays the role of a Silicon Valley executive and Joseph Estlack takes on the part of her husband who has just returned home following a sabbatical abroad. Jackson directs. “Ibsen is really great at writing psychologically messy characters, and these characters are particularly messy,” he told the \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=content&id=284&type=review\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/em> in a recent interview about the new show.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 4: Kid Koala’s \u003cem>\u003ca href=\"https://live.stanford.edu/calendar/february-2016/kid-koalas-nufonia-must-fall\" target=\"_blank\" rel=\"noopener\">Nufonia Must Fall\u003c/a>\u003c/em> at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nKid Koala (aka Eric San) has made a career of entertaining audiences around the globe with his turntables. He’s toured with the Beastie Boys and Radiohead. But there’s a lot more to the Canadian scratch DJ’s art practice than spinning records. His enchanting 2003 graphic novel \u003cem>Nufonia Must Fall\u003c/em> about an inept robot’s attempt to woo a busy girl with his love songs has been turned into a live show featuring puppets, live music and silent film. What’s more, the audience gets to see the production crew pulling the show together in real-time before their very eyes: puppeteers animate miniature puppets, the Afiara Quartet provides the musical accompaniment on strings and piano, and Kid Koala does his stuff on the decks. Spike Jonze collaborator and \u003cem>Her\u003c/em> Oscar nominee K. K. Barrett keeps things thrumming along in his role as director. The action, skilfully edited in the moment, comes alive on a big screen above the stage with the aid of GoPro cameras that film the scenes. The show has already gotten great reviews in cities like New York and Toronto and is attracting a big crowd to Stanford.\u003c/p>\n\u003cfigure id=\"attachment_11280574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280574\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine%E2%80%99s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg\" alt=\"Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1180x804.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-960x654.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo. \u003ccite>(Photo: Berenger Zyla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 5 and Saturday, Feb. 6: Diablo Ballet presents \u003cem>\u003ca href=\"http://diabloballet.org/performances/\" target=\"_blank\" rel=\"noopener\">Precision and Balance\u003c/a>\u003c/em> at Del Valle Theatre, Walnut Creek\u003c/strong>\u003cbr>\nOne of the things I love about the Bay Area is that even small cities are able to sustain rarefied things like professional dance companies. Such is the case with Walnut Creek’s Diablo Ballet, which has been performing for and educating audiences in the East Bay since 1993. This week, the company is presenting the George Balanchine masterpiece \u003cem>Apollo\u003c/em>, which the iconic American choreographer described as his artistic coming of age. The program also includes Tina Kay Bohnstedt’s \u003cem>My Way\u003c/em>, a charismatic piece set to an arrangement of Frank Sinatra songs, as well as \u003cem>Milieu\u003c/em> by Robert Dekkers, which includes a live performance of a commissioned score by Daniel Berkman. And if you miss Diablo Ballet performing this weekend, the company will be showing select pieces from its repertoire on Feb. 19 and 20 at San Jose State University.\u003c/p>\n\u003cp>Also worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29 – Thursday, Feb. 4: Broadway San Jose presents \u003cem>\u003ca href=\"http://broadwaysanjose.com/wizard-of-oz/\" target=\"_blank\" rel=\"noopener\">The Wizard of Oz\u003c/a>\u003c/em> at San Jose Center for the Performing Arts, San Jose\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Mark Foehringer Dance Project presents \u003cem>\u003ca href=\"https://www.odcdance.org/performance.php?param=304\" target=\"_blank\" rel=\"noopener\">Body of Work\u003c/a>\u003c/em> at ODC, San Francisco\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: \u003ca href=\"http://www.asianart.org/campaign/lunar-new-year-2016?week=20160118\" target=\"_blank\" rel=\"noopener\">Lunar New Year Celebration\u003c/a> at the Asian Art Museum, San Francisco\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>There are times when you wish the people behind a long-running or oft-reprised theatrical production would just cash in their chips and call it quits. The thought crosses my mind every time I see \u003cem>Phantom of the Opera\u003c/em> returning for yet another San Francisco run, or when I consider the fact that Catherine Russell, the lead actress in the astonishingly long-running off-Broadway theatrical thriller \u003cem>Perfect Crime,\u003c/em> has acted in more than 11,000 performances of the show since it debuted in 1987.\u003c/p>\n\u003cfigure id=\"attachment_11280572\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg\" alt=\"Noah Haydon and Peggy L'Eggs in Thrillpeddlers production of Club Inferno\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-960x655.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Haydon and Peggy L’Eggs in Thrillpeddlers production of Club Inferno \u003ccite>(Photo: David Allen / Courtesy of Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every now and again, though, a show deserves to have a long shelf-life. That’s how I feel about \u003cem>Club Inferno\u003c/em>, a feisty glam-rock musical based on Dante’s \u003cem>Divine Comedy\u003c/em>. San Francisco’s resplendently louche Thrillpeddlers theater company, which created the show, is bringing it back to the stage for the third time since it first appeared in 2000.\u003c/p>\n\u003cp>\u003cem>Club Inferno\u003c/em> had an outing last summer, which I adored for the singability of the songs, the intelligent-kitsch sense of humor, and the bonkers energy of the performances. The musical depicts Italy’s most famous Medieval poet as a pop diva. When Dante wakes up at the Gates of Hell following a terrible accident in the middle of her high-octane club act, she winds up taking a circuitous route back to the land of the living accompanied by Virgil. On the way, they run into a host of eclectic characters including Cleopatra, Karen Carpenter and — when the duo finally reaches the final circle of hell — Judy Garland. Created by Kelly Kittell and Peter Fogel and directed by Russell Blackwood, the production features many of the original cast members and heaps of Thrillpeddlers’ characteristic hedonism. \u003cstrong>\u003cem>\u003ca href=\"https://app.arts-people.com/index.php?ticketing=thril\" target=\"_blank\" rel=\"noopener\">Club Inferno\u003c/a>\u003c/em> runs Thursday, Feb. 4 through Saturday, Mar. 5; Thrillpeddlers at The Hypnodrome, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>And here are some other lively stage goings-on to give you something to talk about this week:\u003c/p>\n\u003cfigure id=\"attachment_11280573\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280573\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg\" alt=\"S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \u003ccite>(Photo: Lisema / Courtesy of New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"http://www.nctcsf.org/2015-16-season/sagittarius-ponderosa\" target=\"_blank\" rel=\"noopener\">Sagittarius Ponderosa\u003c/a>\u003c/em> at New Conservatory Theatre Center, San Francisco\u003c/strong>\u003cbr>\nA young trans man is at the heart of playwright M. J. Kaufman’s world premiere play. The drama follows the story of Archer who travels back home to eastern Oregon after he finds out that his father is dying. Between dealing with his family — the members of which still insist on calling him by his former name, Angela — and having a chance meeting with a mysterious, erudite stranger, Archer learns more about his identity and roots as well as about the evolving nature of the world around him. What sets this play apart from other trans narratives is that the theme of transition is more metaphorical than literal. “I had been feeling frustrated that most queer narratives are coming-out stories and most transgender narratives are transition stories,” Kaufman is quoted as saying on the theater website \u003cem>\u003ca href=\"http://www.broadwayworld.com/san-francisco/article/FOR-THE-LOVE-OF-COMRADES-THE-KID-THING-SAGITTARIUS-PONDEROSA-and-More-Set-for-NCTCs-2015-16-Season-20150327\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a>\u003c/em>. “I wanted to create art that would acknowledge constant change as an intrinsic part of being a person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=116\" target=\"_blank\" rel=\"noopener\">Little Erik\u003c/a>\u003c/em> at Aurora Theatre, Berkeley\u003c/strong>\u003cbr>\nHenrik Ibsen wrote his play \u003cem>Little Eyolf\u003c/em> in 1894. At the time, the plotline, about a wife who supports the family while the husband stays home to write a novel and look after their kid, must have seemed crazily far-fetched. But today, the gender role-reversal feels more normal, which is in part why San Francisco dramatist, actor and director Mark Jackson became intrigued by the quirky, domestic drama. Jackson’s adaptation fully transports the action into our own times for this Aurora Theatre world premiere: Marilee Talkington plays the role of a Silicon Valley executive and Joseph Estlack takes on the part of her husband who has just returned home following a sabbatical abroad. Jackson directs. “Ibsen is really great at writing psychologically messy characters, and these characters are particularly messy,” he told the \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=content&id=284&type=review\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/em> in a recent interview about the new show.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 4: Kid Koala’s \u003cem>\u003ca href=\"https://live.stanford.edu/calendar/february-2016/kid-koalas-nufonia-must-fall\" target=\"_blank\" rel=\"noopener\">Nufonia Must Fall\u003c/a>\u003c/em> at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nKid Koala (aka Eric San) has made a career of entertaining audiences around the globe with his turntables. He’s toured with the Beastie Boys and Radiohead. But there’s a lot more to the Canadian scratch DJ’s art practice than spinning records. His enchanting 2003 graphic novel \u003cem>Nufonia Must Fall\u003c/em> about an inept robot’s attempt to woo a busy girl with his love songs has been turned into a live show featuring puppets, live music and silent film. What’s more, the audience gets to see the production crew pulling the show together in real-time before their very eyes: puppeteers animate miniature puppets, the Afiara Quartet provides the musical accompaniment on strings and piano, and Kid Koala does his stuff on the decks. Spike Jonze collaborator and \u003cem>Her\u003c/em> Oscar nominee K. K. Barrett keeps things thrumming along in his role as director. The action, skilfully edited in the moment, comes alive on a big screen above the stage with the aid of GoPro cameras that film the scenes. The show has already gotten great reviews in cities like New York and Toronto and is attracting a big crowd to Stanford.\u003c/p>\n\u003cfigure id=\"attachment_11280574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280574\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine%E2%80%99s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg\" alt=\"Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1180x804.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-960x654.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo. \u003ccite>(Photo: Berenger Zyla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 5 and Saturday, Feb. 6: Diablo Ballet presents \u003cem>\u003ca href=\"http://diabloballet.org/performances/\" target=\"_blank\" rel=\"noopener\">Precision and Balance\u003c/a>\u003c/em> at Del Valle Theatre, Walnut Creek\u003c/strong>\u003cbr>\nOne of the things I love about the Bay Area is that even small cities are able to sustain rarefied things like professional dance companies. Such is the case with Walnut Creek’s Diablo Ballet, which has been performing for and educating audiences in the East Bay since 1993. This week, the company is presenting the George Balanchine masterpiece \u003cem>Apollo\u003c/em>, which the iconic American choreographer described as his artistic coming of age. The program also includes Tina Kay Bohnstedt’s \u003cem>My Way\u003c/em>, a charismatic piece set to an arrangement of Frank Sinatra songs, as well as \u003cem>Milieu\u003c/em> by Robert Dekkers, which includes a live performance of a commissioned score by Daniel Berkman. And if you miss Diablo Ballet performing this weekend, the company will be showing select pieces from its repertoire on Feb. 19 and 20 at San Jose State University.\u003c/p>\n\u003cp>Also worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29 – Thursday, Feb. 4: Broadway San Jose presents \u003cem>\u003ca href=\"http://broadwaysanjose.com/wizard-of-oz/\" target=\"_blank\" rel=\"noopener\">The Wizard of Oz\u003c/a>\u003c/em> at San Jose Center for the Performing Arts, San Jose\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Mark Foehringer Dance Project presents \u003cem>\u003ca href=\"https://www.odcdance.org/performance.php?param=304\" target=\"_blank\" rel=\"noopener\">Body of Work\u003c/a>\u003c/em> at ODC, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: \u003ca href=\"http://www.asianart.org/campaign/lunar-new-year-2016?week=20160118\" target=\"_blank\" rel=\"noopener\">Lunar New Year Celebration\u003c/a> at the Asian Art Museum, San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Surrealist Ballet inspired by Rene Magritte at SF Ballet",
"headTitle": "Surrealist Ballet inspired by Rene Magritte at SF Ballet | KQED",
"content": "\u003cp>Surrealist painter René Magritte developed an iconography of ordinary objects: anonymous men in bowler hats, apples hovering in the interval between the eye and its aim, pipes and pillars that smirk at bids to make them things or symbols. However, Magritte’s best trick is what he does with context, as with his flat bright skies of puffy clouds that lurk within or beyond us, or the flummoxing picture frames that act as windows to the world or frustrating, impenetrable walls. These ploys ask us to consider whether life is something we encounter or create.\u003c/p>\n\u003cp>When stripped of plot, ballet is an art that matches the sensibility of these paintings. It’s an art form that makes our known anatomy extraordinary through improbable acts against the laws of physics and a limited vocabulary of recurrent shapes. The meeting of movement and surrealist imagery drives Yuri Possokhov’s mesmerizing \u003cem>Magrittomania\u003c/em> (2000), the central piece of \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>’s first program of the 2016 season. This work, plus two others — Helgi Tomasson’s \u003cem>7 for Eight\u003c/em> and \u003cem>Pas/Parts\u003c/em> by William Forsythe — are on view through Friday Feb. 5 at the War Memorial Opera House in San Francisco.\u003c/p>\n\u003cp>The sound of rushing water opens \u003cem>Magrittomania\u003c/em>. Then the curtain rises on a screen projected with an image of the cookie-cutter “raining” men from Magritte’s famous 1953 painting \u003cem>Golconda\u003c/em>. The image draws a laugh from the audience, though the liquid hiss of the soundscape is a reminder of Magritte’s mother’s suicide by drowning. A man in a bowler hat (the reliably grave principal dancer Davit Karapetyan), at first silhouetted by the scrim, pulls open a panel to find a column of sky. Gargantuan green apples — another key piece of imagery from Magritte’s art work — suspend themselves in the air, obscuring the faces of a sudden assemblage of dancers. Joined on stage by an array of identically clad male dancers, Karapetyan confronts his doubles as they playfully shadow, launch, and catch him.\u003c/p>\n\u003cp>The images on stage inherently pose the same questions that Magritte coaxed out of canvas: is the real world within or beyond the space depicted? Is the body we view our own or another’s? May we move it? Does it breathe? And it’s not just the choreography that evokes the spirit of Magritte: Yuri Krasavin’s musical score quotes and perverts Beethoven with the same unsettling familiarity and deferral of meaning as the rest of the surreal project.\u003c/p>\n\u003cfigure id=\"attachment_11277564\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11277564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg\" alt=\"Yuan Yuan Tan in Yuri Possokhov's Magrittomania at San Francisco Ballet\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuan Yuan Tan in Yuri Possokhov’s ‘Magrittomania’ at San Francisco Ballet \u003ccite>(Photo: Erik Tomasson / San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mood darkens when the figure of principal ballerina Yuan Yuan Tan appears in red, her left arm wrapped behind her back like a broken wing as she inscribes the stage with long arcs to the limping strains of an abbreviated version of Beethoven’s \u003cem>Für Elise\u003c/em>. Then a translucent veil is drawn over and tied about her head for a duet both tender and explicit inspired by Magritte’s paintings of shrouded lovers straining blindly towards one another. Just as Magritte’s iconic \u003cem>Treachery of Images\u003c/em> obstinately declares a painted pipe is not a pipe (“ceci n’est pas une pipe”) the act on stage refers to and negates itself because ballet always does wear a veil, the way a lift is a substitute for carnal embrace and spiritual rapture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a final spectacle, Tan enters bearing a massive, menacing apple that weighs her down. The voluminous prop just as abruptly deflates, delivering all by giving us nothing—an eruption of vacancy to test the boundaries of presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San Francisco Ballet’s Program 1 is on view at the War Memorial Opera House, San Francisco through Friday, Feb. 5. \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Surrealist painter René Magritte developed an iconography of ordinary objects: anonymous men in bowler hats, apples hovering in the interval between the eye and its aim, pipes and pillars that smirk at bids to make them things or symbols. However, Magritte’s best trick is what he does with context, as with his flat bright skies of puffy clouds that lurk within or beyond us, or the flummoxing picture frames that act as windows to the world or frustrating, impenetrable walls. These ploys ask us to consider whether life is something we encounter or create.\u003c/p>\n\u003cp>When stripped of plot, ballet is an art that matches the sensibility of these paintings. It’s an art form that makes our known anatomy extraordinary through improbable acts against the laws of physics and a limited vocabulary of recurrent shapes. The meeting of movement and surrealist imagery drives Yuri Possokhov’s mesmerizing \u003cem>Magrittomania\u003c/em> (2000), the central piece of \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>’s first program of the 2016 season. This work, plus two others — Helgi Tomasson’s \u003cem>7 for Eight\u003c/em> and \u003cem>Pas/Parts\u003c/em> by William Forsythe — are on view through Friday Feb. 5 at the War Memorial Opera House in San Francisco.\u003c/p>\n\u003cp>The sound of rushing water opens \u003cem>Magrittomania\u003c/em>. Then the curtain rises on a screen projected with an image of the cookie-cutter “raining” men from Magritte’s famous 1953 painting \u003cem>Golconda\u003c/em>. The image draws a laugh from the audience, though the liquid hiss of the soundscape is a reminder of Magritte’s mother’s suicide by drowning. A man in a bowler hat (the reliably grave principal dancer Davit Karapetyan), at first silhouetted by the scrim, pulls open a panel to find a column of sky. Gargantuan green apples — another key piece of imagery from Magritte’s art work — suspend themselves in the air, obscuring the faces of a sudden assemblage of dancers. Joined on stage by an array of identically clad male dancers, Karapetyan confronts his doubles as they playfully shadow, launch, and catch him.\u003c/p>\n\u003cp>The images on stage inherently pose the same questions that Magritte coaxed out of canvas: is the real world within or beyond the space depicted? Is the body we view our own or another’s? May we move it? Does it breathe? And it’s not just the choreography that evokes the spirit of Magritte: Yuri Krasavin’s musical score quotes and perverts Beethoven with the same unsettling familiarity and deferral of meaning as the rest of the surreal project.\u003c/p>\n\u003cfigure id=\"attachment_11277564\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11277564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg\" alt=\"Yuan Yuan Tan in Yuri Possokhov's Magrittomania at San Francisco Ballet\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuan Yuan Tan in Yuri Possokhov’s ‘Magrittomania’ at San Francisco Ballet \u003ccite>(Photo: Erik Tomasson / San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mood darkens when the figure of principal ballerina Yuan Yuan Tan appears in red, her left arm wrapped behind her back like a broken wing as she inscribes the stage with long arcs to the limping strains of an abbreviated version of Beethoven’s \u003cem>Für Elise\u003c/em>. Then a translucent veil is drawn over and tied about her head for a duet both tender and explicit inspired by Magritte’s paintings of shrouded lovers straining blindly towards one another. Just as Magritte’s iconic \u003cem>Treachery of Images\u003c/em> obstinately declares a painted pipe is not a pipe (“ceci n’est pas une pipe”) the act on stage refers to and negates itself because ballet always does wear a veil, the way a lift is a substitute for carnal embrace and spiritual rapture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a final spectacle, Tan enters bearing a massive, menacing apple that weighs her down. The voluminous prop just as abruptly deflates, delivering all by giving us nothing—an eruption of vacancy to test the boundaries of presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San Francisco Ballet’s Program 1 is on view at the War Memorial Opera House, San Francisco through Friday, Feb. 5. \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Could things be looking up for the \u003ca href=\"http://siliconvalleyballet.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a> (SVB)?\u003c/p>\n\u003cp>After a tempestuous 2015, including a \u003ca href=\"http://ww2.kqed.org/news/2015/03/06/ballet-san-jose-says-it-needs-cash-to-avoid-closing\" target=\"_blank\" rel=\"noopener\">near-shutdown in March\u003c/a> and the\u003ca href=\"https://www.sfcv.org/music-news/ballet-san-jose-chief-resigns#sthash.29bVAfiQ.dpuf\" target=\"_blank\" rel=\"noopener\"> departure of a chief executive\u003c/a> in June, the ballet formerly known as Ballet San Jose has set off on a high-profile, eight-city tour of Spain.\u003c/p>\n\u003cp>SVB’s Artistic Director \u003ca href=\"http://siliconvalleyballet.org/jose-manuel-carreno/\" target=\"_blank\" rel=\"noopener\">José Manuel Carreño\u003c/a> describes the trip as “a wonderful opportunity for the company to gain international exposure.” Upon return, the San Jose-based company will perform the works for local audiences, including \u003cem>Pas de Deux \u003c/em>choreographed by Carreño, \u003cem>Glow-Stop\u003c/em> (2006) by Jorma Elo, \u003cem>Prism\u003c/em> (2014) by Annabelle Lopez-Ochoa, and \u003cem>Minus 16\u003c/em> (1999) by Ohad Naharin.\u003c/p>\n\u003cp>\u003cem>Pas De Deux\u003c/em> is Carreño’s first piece of choreography for SVB. The former American Ballet Theatre dancer garnered positive headlines with his decision to \u003ca href=\"http://ww2.kqed.org/arts/2015/10/14/silicon-valley-ballet-makes-history-with-cuban-giselle/\" target=\"_blank\" rel=\"noopener\">produce a legendary Cuban version of \u003cem>Giselle \u003c/em>\u003c/a>last fall\u003cem>. \u003c/em>But the Spanish tour is his biggest coup yet. Executive director Millicent Powers explains it was on a trip to Cuba that Carreño struck up a conversation that led to this trip to Spain, involving a couple dozen dancers. The tour is being financed by largely paid for by the Spanish presenter Solano y Garcia Productions.\u003c/p>\n\u003cfigure id=\"attachment_11275920\" class=\"wp-caption alignleft\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11275920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18203_Jos%C3%A9-Manuel-Carre%C3%B1o-qut-400x600.jpg\" alt=\"José Manuel Carreño, Silicon Valley Ballet Artistic Director\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut.jpg 500w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Silicon Valley Ballet Artistic Director \u003ccite>(Courtesy Silicon Valley Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Powers says the regional company broke even last year, and expects to again this year. But there is no cash for extras. For example, SVB is not in a position to pay for live music for the foreseeable future. The production of \u003cem>Giselle\u003c/em> last fall used recorded music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For The Nutcracker alone,” Powers says, “it would have added 30 percent to our direct costs. We couldn’t justify raising ticket prices beyond what’s affordable for the community. We’re looking forward to [live music], but probably not this season.”\u003c/p>\n\u003cp>Since the departure of Alan Hineline last summer, management duties have been split between Raymond Rodriguez, who runs operations, and Dalia Rawson, who runs SVB’s schools. The educational arm of the organization serves roughly 400 students in San Jose and Palo Alto through pre-professional classes as well as summer intensives\u003c/p>\n\u003cp>“We do earn over half our income, from ticket sales and teaching,” Powers says. The company also makes money from corporate events, like sending a troupe to perform at a \u003cem>Nutcracker\u003c/em>-themed party for YouTube.\u003c/p>\n\u003cp>“I do feel that the company has gathered some new momentum with the grassroots fundraising campaign and the personal efforts of Jose Manuel Carreño,” says Mary Ellen Hunt, a dance writer for the \u003cem>San Francisco Chronicle\u003c/em>. “Right now, from an artistic point of view, it’s a solid, mid-range company with an attractive roster of dancers and repertoire that has some adventurous as well as safe choices on the list.” Hunt adds that if the company can right itself financially, “there could be some exciting years for the company ahead artistically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, because SVB is visiting Spain during the festival off-season, that means lots of theaters are open and available. Powers says she figures the dancers will get a big kick performing on major stages like \u003ca href=\"http://www.teatroscanal.com/\" target=\"_blank\" rel=\"noopener\">Teatro del Canal\u003c/a> in Madrid. “Those stages are just gorgeous,” she says. Not to mention government-funded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Could things be looking up for the \u003ca href=\"http://siliconvalleyballet.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a> (SVB)?\u003c/p>\n\u003cp>After a tempestuous 2015, including a \u003ca href=\"http://ww2.kqed.org/news/2015/03/06/ballet-san-jose-says-it-needs-cash-to-avoid-closing\" target=\"_blank\" rel=\"noopener\">near-shutdown in March\u003c/a> and the\u003ca href=\"https://www.sfcv.org/music-news/ballet-san-jose-chief-resigns#sthash.29bVAfiQ.dpuf\" target=\"_blank\" rel=\"noopener\"> departure of a chief executive\u003c/a> in June, the ballet formerly known as Ballet San Jose has set off on a high-profile, eight-city tour of Spain.\u003c/p>\n\u003cp>SVB’s Artistic Director \u003ca href=\"http://siliconvalleyballet.org/jose-manuel-carreno/\" target=\"_blank\" rel=\"noopener\">José Manuel Carreño\u003c/a> describes the trip as “a wonderful opportunity for the company to gain international exposure.” Upon return, the San Jose-based company will perform the works for local audiences, including \u003cem>Pas de Deux \u003c/em>choreographed by Carreño, \u003cem>Glow-Stop\u003c/em> (2006) by Jorma Elo, \u003cem>Prism\u003c/em> (2014) by Annabelle Lopez-Ochoa, and \u003cem>Minus 16\u003c/em> (1999) by Ohad Naharin.\u003c/p>\n\u003cp>\u003cem>Pas De Deux\u003c/em> is Carreño’s first piece of choreography for SVB. The former American Ballet Theatre dancer garnered positive headlines with his decision to \u003ca href=\"http://ww2.kqed.org/arts/2015/10/14/silicon-valley-ballet-makes-history-with-cuban-giselle/\" target=\"_blank\" rel=\"noopener\">produce a legendary Cuban version of \u003cem>Giselle \u003c/em>\u003c/a>last fall\u003cem>. \u003c/em>But the Spanish tour is his biggest coup yet. Executive director Millicent Powers explains it was on a trip to Cuba that Carreño struck up a conversation that led to this trip to Spain, involving a couple dozen dancers. The tour is being financed by largely paid for by the Spanish presenter Solano y Garcia Productions.\u003c/p>\n\u003cfigure id=\"attachment_11275920\" class=\"wp-caption alignleft\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11275920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18203_Jos%C3%A9-Manuel-Carre%C3%B1o-qut-400x600.jpg\" alt=\"José Manuel Carreño, Silicon Valley Ballet Artistic Director\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut.jpg 500w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Silicon Valley Ballet Artistic Director \u003ccite>(Courtesy Silicon Valley Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Powers says the regional company broke even last year, and expects to again this year. But there is no cash for extras. For example, SVB is not in a position to pay for live music for the foreseeable future. The production of \u003cem>Giselle\u003c/em> last fall used recorded music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For The Nutcracker alone,” Powers says, “it would have added 30 percent to our direct costs. We couldn’t justify raising ticket prices beyond what’s affordable for the community. We’re looking forward to [live music], but probably not this season.”\u003c/p>\n\u003cp>Since the departure of Alan Hineline last summer, management duties have been split between Raymond Rodriguez, who runs operations, and Dalia Rawson, who runs SVB’s schools. The educational arm of the organization serves roughly 400 students in San Jose and Palo Alto through pre-professional classes as well as summer intensives\u003c/p>\n\u003cp>“We do earn over half our income, from ticket sales and teaching,” Powers says. The company also makes money from corporate events, like sending a troupe to perform at a \u003cem>Nutcracker\u003c/em>-themed party for YouTube.\u003c/p>\n\u003cp>“I do feel that the company has gathered some new momentum with the grassroots fundraising campaign and the personal efforts of Jose Manuel Carreño,” says Mary Ellen Hunt, a dance writer for the \u003cem>San Francisco Chronicle\u003c/em>. “Right now, from an artistic point of view, it’s a solid, mid-range company with an attractive roster of dancers and repertoire that has some adventurous as well as safe choices on the list.” Hunt adds that if the company can right itself financially, “there could be some exciting years for the company ahead artistically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, because SVB is visiting Spain during the festival off-season, that means lots of theaters are open and available. Powers says she figures the dancers will get a big kick performing on major stages like \u003ca href=\"http://www.teatroscanal.com/\" target=\"_blank\" rel=\"noopener\">Teatro del Canal\u003c/a> in Madrid. “Those stages are just gorgeous,” she says. Not to mention government-funded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>The Bay Area isn’t a big place, geographically speaking. Yet Santa Rosa might as well be Santa Fe or Sao Paulo when it comes to seeing shows around here. In addition to the inevitable gridlock on the freeway and the ever-increasing bridge tolls, there’s the psychological barrier to contend with: many Bay Area theatergoers simply think the performing arts landscape ends at Mill Valley. Go any further, and you’ll fall off into a nightmarish theatrical oblivion. There be dragons? Most certainly — in the shape of endless productions of \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em> and \u003cem>Grease\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11257169\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257169\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg\" alt=\"A scene from WarCircus by The Imaginists \" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917.jpg 1488w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from WarCircus by The Imaginists \u003ccite>(Photo: Jaycob Bellochio / Courtesy The Imaginists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But making the pilgrimage up the 101 to experience a show by The Imaginists might be one of the most worthwhile things a theater goer could do. The scrappy company produces an astonishingly smart and visceral body of work from its storefront venue in downtown Santa Rosa. Including original pieces like \u003cem>SitCalm!\u003c/em>, a surreal spoof on the American sitcom tradition, outlandish adaptations of well-known works like \u003cem>The Wizard of Oz\u003c/em> and creative productions of standard plays like \u003cem>Waiting for Lefty\u003c/em>, The Imaginists’ output is more akin to the sort of theater produced by experimental performance art ensembles in places like Berlin, London, Paris and Moscow than most American companies around today.\u003c/p>\n\u003cp>If Santa Rosa still feels like a very long way away, then you’re in luck: The Imaginists will be making a rare San Francisco appearance later this week at A.C.T.’s The Costume Shop. \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em>, the company’s brilliant reinvention of Euripides’ drama \u003cem>The Trojan Women\u003c/em>, imagines the devastated women of Troy as performers in a threadbare traveling circus. Commerce and tragedy collide as Helen, Cassandra, Hecuba and comrades reenact their story night after night after night in a perverse understanding of the old adage, “the show must go on.”\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28 – Saturday, Jan. 30: The Imaginists present \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em> at A.C.T.’s The Costume Shop, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few more shows of note for this week:\u003c/p>\n\u003cfigure id=\"attachment_11257171\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg\" alt=\"A scene from Tigers be Still\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1920x1120.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tigers be Still \u003ccite>(Photo: Susan Mah Photography / Courtesy City Lights Theater Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 – Sunday, Feb. 21: \u003cem>\u003ca href=\"http://cltc.org/explore-our-2015-16-season/tigers-be-still/\" target=\"_blank\" rel=\"noopener\">Tigers Be Still\u003c/a>\u003c/em> at City Lights Theater Company, San Jose\u003c/strong>\u003cbr>\nKim Rosenstock’s prescient comedy about depression follows the fortunes of a down-in-the-mouth young woman who finishes college and then moves back in with her parents. With today’s job market being so tight, it’s a situation to which many a young graduate can relate. Rosenstock, who served as a writer and editor on the Fox TV series \u003cem>New Girl\u003c/em>, has a flair for finding levity in dark situations. The comedy’s original off-Broadway run in 2010 was a “Critic’s Pick” in \u003cem>The New York Times\u003c/em> and went on to impress Bay Area audiences when SF Playhouse produced the show in 2011. For the South Bay premiere, San Jose’s City Lights Theater Company has assembled a lively local cast under the direction of Virginia Drake.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003cbr>\nNoel Coward is much better known for bombastic comedies like \u003cem>Hay Fever\u003c/em> and \u003cem>Private Lives\u003c/em> than he is for this bittersweet little drama, penned late in the flamboyant entertainer’s career. But Theatre Rhino’s sensitive-piquant production of \u003cem>A Song at Twilight\u003c/em> makes a convincing case for measuring the play alongside his most well-known works. Set in a Swiss hotel in the mid 1960s, the drama outs the closeted homosexual feelings of a revered, aristocratic author, Sir Hugo Latymer, in the autumn of his life. Theatre Rhino artistic director John Fisher brings gusto and sadness to his intimately-detailed portrayal of the central character, a stand-in for Coward himself, who never fully confronted his own sexuality during his life. Fisher’s fellow actors, especially Sylvia Kratins as Latymer’s canny old flame Carlotta Gray, imbue this well-cast production with humor and pathos.\u003c/p>\n\u003cfigure id=\"attachment_11257170\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg\" alt=\"Delina Patrica Brooks in the D.I.R.T. Festival \" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1920x1245.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delina Patrica Brooks in the D.I.R.T. Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival \u003c/a>\u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nDance Brigade’s Dance Mission Theater launched its activist-centric \u003cem>D.I.R.T. Festival, or Dance In Revolt(ing) Times\u003c/em>, with a provocative question: What happens when artists revolt? The answer is provided in the shape of 18 choreographers presenting radically diverse work across three weekends about some of the most pressing local and global socio-political challenges of our time. Now in its second year, the event features pieces by local luminaries including Amara Tabor Smith, Yayoi Kambara and Laura Larry Arrington, as well as free talks and storytelling events around the theme of social responsibility. Oh, and check out \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\">April Dembosky’s terrific radio and web story\u003c/a> about a collaboration between turf and ballet dancers that’s part of the festival.\u003c/p>\n\u003cfigure id=\"attachment_11257172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg\" alt=\"Sango Tajima as Kitty in Bad Kitty on Stage\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima as Kitty in Bad Kitty on Stage \u003ccite>(Photo: Melissa Nigro / Courtesy Bay Area Childrens Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Saturday, Mar. 26: Bay Area Children’s Theatre presents \u003cem>\u003ca href=\"http://bayareachildrenstheatre.org/shows/BadKitty?gclid=CjwKEAiAt_K0BRCzjtv92_HGoR0SJAA9QNn_YO150sAyD4n0htyFfYCWENP9O-I_ar0dw-xun1JfGhoChqzw_wcB\" target=\"_blank\" rel=\"noopener\">Bad Kitty on Stage\u003c/a>\u003c/em> at various venues in Berkeley, San Ramon and San Francisco\u003c/strong>\u003cbr>\nIf you’re a cat person like me, you might find this new stage adaptation of \u003cem>The New York Times\u003c/em> best-selling children’s picture book series by Nick Bruel about a naughty cat who likes nothing better than to cause an uproar in its owner’s home, rather compelling. Bay Area Children’s Theatre says this hour-long family-friendly production is suitable for kids aged four and up. It’s directed by Benjamin Hanna and features a book and music by Min Kahng. Bay Area audiences can catch the mischievous moggy and its friends in a variety of locations between now and the end of March — first at the Freight & Salvage in Berkeley (through Feb. 21), then at the Dougherty Performing Arts Center (through Feb. 28) and finally at the Children’s Creativity Museum Theater in San Francisco (through Mar. 26.)\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Jan. 26: \u003ca href=\"http://www.jermainefowler.com/\" target=\"_blank\" rel=\"noopener\">Jermaine Fowler\u003c/a>’s \u003cem>Give Em Hell, Kid\u003c/em> Tour at The Independent, San Francisco\u003c/strong>\u003cbr>\nI came across Jermaine Fowler when someone send me a series of YouTube segments featuring the smart, young African-American comedian. In one mad monologue from \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=O4VGmzruPf&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">The Late Late Show with James Corden\u003c/a>\u003c/em>, Fowler cracked me up with his jokes about what it’s like to get mistaken for his no-good twin brother and how a defensive aunt in Maryland (who is spelling-challenged) takes his part against people who express negative comments about him on social media. Fowler, who has been criss-crossing the country performing standup with \u003cem>Comedy Central\u003c/em>, \u003cem>MTV\u003c/em> and \u003cem>Funny or Die\u003c/em>, brings his latest humor to San Francisco to celebrate the launch of his comedy special, \u003cem>Give Em Hell, Kid\u003c/em>.\u003c/p>\n\u003cp>And a couple more shows worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27 – Saturday, Feb. 6: SAFEhouse for the Performing Arts presents \u003cem>\u003ca href=\"http://www.wtfsf.org/home.html\" target=\"_blank\" rel=\"noopener\">WTF Winter Theatre Festival\u003c/a>\u003c/em> at Great Star Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 14: \u003cem>\u003ca href=\"http://www.marintheatre.org/productions/august-wilsons-gem-of-the-ocean\" target=\"_blank\" rel=\"noopener\">Gem of the Ocean\u003c/a>\u003c/em> at Marin Theatre Company, Mill Valley\u003c/strong>\u003c/p>\n\n",
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"title": "Show Me Yours: The Imaginists Swoop Down From Santa Rosa and Jermaine Fowler Stops In from Maryland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>The Bay Area isn’t a big place, geographically speaking. Yet Santa Rosa might as well be Santa Fe or Sao Paulo when it comes to seeing shows around here. In addition to the inevitable gridlock on the freeway and the ever-increasing bridge tolls, there’s the psychological barrier to contend with: many Bay Area theatergoers simply think the performing arts landscape ends at Mill Valley. Go any further, and you’ll fall off into a nightmarish theatrical oblivion. There be dragons? Most certainly — in the shape of endless productions of \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em> and \u003cem>Grease\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11257169\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257169\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg\" alt=\"A scene from WarCircus by The Imaginists \" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917.jpg 1488w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from WarCircus by The Imaginists \u003ccite>(Photo: Jaycob Bellochio / Courtesy The Imaginists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But making the pilgrimage up the 101 to experience a show by The Imaginists might be one of the most worthwhile things a theater goer could do. The scrappy company produces an astonishingly smart and visceral body of work from its storefront venue in downtown Santa Rosa. Including original pieces like \u003cem>SitCalm!\u003c/em>, a surreal spoof on the American sitcom tradition, outlandish adaptations of well-known works like \u003cem>The Wizard of Oz\u003c/em> and creative productions of standard plays like \u003cem>Waiting for Lefty\u003c/em>, The Imaginists’ output is more akin to the sort of theater produced by experimental performance art ensembles in places like Berlin, London, Paris and Moscow than most American companies around today.\u003c/p>\n\u003cp>If Santa Rosa still feels like a very long way away, then you’re in luck: The Imaginists will be making a rare San Francisco appearance later this week at A.C.T.’s The Costume Shop. \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em>, the company’s brilliant reinvention of Euripides’ drama \u003cem>The Trojan Women\u003c/em>, imagines the devastated women of Troy as performers in a threadbare traveling circus. Commerce and tragedy collide as Helen, Cassandra, Hecuba and comrades reenact their story night after night after night in a perverse understanding of the old adage, “the show must go on.”\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28 – Saturday, Jan. 30: The Imaginists present \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em> at A.C.T.’s The Costume Shop, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few more shows of note for this week:\u003c/p>\n\u003cfigure id=\"attachment_11257171\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg\" alt=\"A scene from Tigers be Still\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1920x1120.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tigers be Still \u003ccite>(Photo: Susan Mah Photography / Courtesy City Lights Theater Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 – Sunday, Feb. 21: \u003cem>\u003ca href=\"http://cltc.org/explore-our-2015-16-season/tigers-be-still/\" target=\"_blank\" rel=\"noopener\">Tigers Be Still\u003c/a>\u003c/em> at City Lights Theater Company, San Jose\u003c/strong>\u003cbr>\nKim Rosenstock’s prescient comedy about depression follows the fortunes of a down-in-the-mouth young woman who finishes college and then moves back in with her parents. With today’s job market being so tight, it’s a situation to which many a young graduate can relate. Rosenstock, who served as a writer and editor on the Fox TV series \u003cem>New Girl\u003c/em>, has a flair for finding levity in dark situations. The comedy’s original off-Broadway run in 2010 was a “Critic’s Pick” in \u003cem>The New York Times\u003c/em> and went on to impress Bay Area audiences when SF Playhouse produced the show in 2011. For the South Bay premiere, San Jose’s City Lights Theater Company has assembled a lively local cast under the direction of Virginia Drake.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003cbr>\nNoel Coward is much better known for bombastic comedies like \u003cem>Hay Fever\u003c/em> and \u003cem>Private Lives\u003c/em> than he is for this bittersweet little drama, penned late in the flamboyant entertainer’s career. But Theatre Rhino’s sensitive-piquant production of \u003cem>A Song at Twilight\u003c/em> makes a convincing case for measuring the play alongside his most well-known works. Set in a Swiss hotel in the mid 1960s, the drama outs the closeted homosexual feelings of a revered, aristocratic author, Sir Hugo Latymer, in the autumn of his life. Theatre Rhino artistic director John Fisher brings gusto and sadness to his intimately-detailed portrayal of the central character, a stand-in for Coward himself, who never fully confronted his own sexuality during his life. Fisher’s fellow actors, especially Sylvia Kratins as Latymer’s canny old flame Carlotta Gray, imbue this well-cast production with humor and pathos.\u003c/p>\n\u003cfigure id=\"attachment_11257170\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg\" alt=\"Delina Patrica Brooks in the D.I.R.T. Festival \" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1920x1245.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delina Patrica Brooks in the D.I.R.T. Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival \u003c/a>\u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nDance Brigade’s Dance Mission Theater launched its activist-centric \u003cem>D.I.R.T. Festival, or Dance In Revolt(ing) Times\u003c/em>, with a provocative question: What happens when artists revolt? The answer is provided in the shape of 18 choreographers presenting radically diverse work across three weekends about some of the most pressing local and global socio-political challenges of our time. Now in its second year, the event features pieces by local luminaries including Amara Tabor Smith, Yayoi Kambara and Laura Larry Arrington, as well as free talks and storytelling events around the theme of social responsibility. Oh, and check out \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\">April Dembosky’s terrific radio and web story\u003c/a> about a collaboration between turf and ballet dancers that’s part of the festival.\u003c/p>\n\u003cfigure id=\"attachment_11257172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg\" alt=\"Sango Tajima as Kitty in Bad Kitty on Stage\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima as Kitty in Bad Kitty on Stage \u003ccite>(Photo: Melissa Nigro / Courtesy Bay Area Childrens Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Saturday, Mar. 26: Bay Area Children’s Theatre presents \u003cem>\u003ca href=\"http://bayareachildrenstheatre.org/shows/BadKitty?gclid=CjwKEAiAt_K0BRCzjtv92_HGoR0SJAA9QNn_YO150sAyD4n0htyFfYCWENP9O-I_ar0dw-xun1JfGhoChqzw_wcB\" target=\"_blank\" rel=\"noopener\">Bad Kitty on Stage\u003c/a>\u003c/em> at various venues in Berkeley, San Ramon and San Francisco\u003c/strong>\u003cbr>\nIf you’re a cat person like me, you might find this new stage adaptation of \u003cem>The New York Times\u003c/em> best-selling children’s picture book series by Nick Bruel about a naughty cat who likes nothing better than to cause an uproar in its owner’s home, rather compelling. Bay Area Children’s Theatre says this hour-long family-friendly production is suitable for kids aged four and up. It’s directed by Benjamin Hanna and features a book and music by Min Kahng. Bay Area audiences can catch the mischievous moggy and its friends in a variety of locations between now and the end of March — first at the Freight & Salvage in Berkeley (through Feb. 21), then at the Dougherty Performing Arts Center (through Feb. 28) and finally at the Children’s Creativity Museum Theater in San Francisco (through Mar. 26.)\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Jan. 26: \u003ca href=\"http://www.jermainefowler.com/\" target=\"_blank\" rel=\"noopener\">Jermaine Fowler\u003c/a>’s \u003cem>Give Em Hell, Kid\u003c/em> Tour at The Independent, San Francisco\u003c/strong>\u003cbr>\nI came across Jermaine Fowler when someone send me a series of YouTube segments featuring the smart, young African-American comedian. In one mad monologue from \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=O4VGmzruPf&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">The Late Late Show with James Corden\u003c/a>\u003c/em>, Fowler cracked me up with his jokes about what it’s like to get mistaken for his no-good twin brother and how a defensive aunt in Maryland (who is spelling-challenged) takes his part against people who express negative comments about him on social media. Fowler, who has been criss-crossing the country performing standup with \u003cem>Comedy Central\u003c/em>, \u003cem>MTV\u003c/em> and \u003cem>Funny or Die\u003c/em>, brings his latest humor to San Francisco to celebrate the launch of his comedy special, \u003cem>Give Em Hell, Kid\u003c/em>.\u003c/p>\n\u003cp>And a couple more shows worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27 – Saturday, Feb. 6: SAFEhouse for the Performing Arts presents \u003cem>\u003ca href=\"http://www.wtfsf.org/home.html\" target=\"_blank\" rel=\"noopener\">WTF Winter Theatre Festival\u003c/a>\u003c/em> at Great Star Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 14: \u003cem>\u003ca href=\"http://www.marintheatre.org/productions/august-wilsons-gem-of-the-ocean\" target=\"_blank\" rel=\"noopener\">Gem of the Ocean\u003c/a>\u003c/em> at Marin Theatre Company, Mill Valley\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-obamas-playlist-an-odyssey-for-refugees-and-gather-ye-oddballs",
"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs",
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"headTitle": "Cy and David’s Picks: Obama’s Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs | KQED",
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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/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=Cq2EwnBr_oM\u003c/p>\n\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A1lbfA8Xyz8\u003c/p>\n\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ihItq4ZQ8LM\u003c/p>\n\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs | KQED",
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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>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/Cq2EwnBr_oM'\n title='//www.youtube.com/embed/Cq2EwnBr_oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\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/A1lbfA8Xyz8'\n title='//www.youtube.com/embed/A1lbfA8Xyz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ihItq4ZQ8LM'\n title='//www.youtube.com/embed/ihItq4ZQ8LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-taylor-macs-epic-american-songbook-journey-act-new-strands-fest-and-more",
"title": "Show Me Yours: Taylor Mac's Epic American Songbook Journey, ACT New Strands Fest and more",
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"content": "\u003cp>January can be a little slow on the performing arts front around here, with artists typically sleeping off the hectic holiday performance season and returning groggily to the stage. That’s patently not the case this year though. The drag queens have already straightened out their wigs, the thespians have learned their lines in record time and the dancers are warmed up and raring to go.\u003c/p>\n\u003cp>This is, of course, a good thing, though it’s hard to keep up with all the tantalizing shows happening on our stages right now. But we’ll do our best. Here are some suggestions to get you in training for what’s likely to be a busy year ahead.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Palo Alto Players presents \u003ca href=\"http://www.paplayers.org/on-stage-now\" target=\"_blank\" rel=\"noopener\">\u003cem>Death of a Salesman\u003c/em> \u003c/a>at Lucie Stern Theater, Palo Alto\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">At a time in history where it’s not so much what you do that counts but how you market what you do, the figure of the salesman is king. It’s why the swaggering protagonists in hit TV shows like\u003cem> Mad Men\u003c/em> and movies like \u003cem>The Wolf of Wall Street\u003c/em> resonate so strongly with audiences. Salesman weren’t always this sexy though, as Arthur Miller’s celebrated 1949 drama, \u003cem>Death of a Salesman\u003c/em>, reminds us. The play centers on the misfortunes of pop culture’s original salesman, Willy Loman, as the drooping has-been attempts to make sense of his once-promising but now tattered life. Palo Alto Players’ community-minded production, directed by Kristen Lo, features staff and ex-students from Gunn High School, a public high school in Palo Alto.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11243667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg\" alt=\"Miwa Matreyek performs a scene from 'Myth and Infrastructure' at ACT's New Strands Festival\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1920x1204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miwa Matreyek performs a scene from ‘Myth and Infrastructure’ at ACT’s New Strands Festival \u003ccite>(Photo: Gayle Laird)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003ca href=\"http://www.act-sf.org/home/about/new_commissions/new_strands.html\" target=\"_blank\" rel=\"noopener\">New Strands Festival\u003c/a> at American Conservatory Theater’s Strand Theater, San Francisco\u003c/strong>\u003cbr>\nIf the American Conservatory Theater has been accused in the past of failing to focus enough energy on new theater and Bay Area talent, this four-day festival from the Bay Area flagship theater refutes the naysayers. Highlights of this free, “open house”-style event include \u003cem>Myth and Infrastructure\u003c/em>, a show about the history of the world told through projected animations and shadow silhouettes of performer Miwa Matreyek, an open rehearsal of a new work-in-progress, \u003cem>Fatherville\u003c/em>, involving master puppeteer Basil Twist, Zaccho Dance Theatre’s latest performance installation inspired by the history of the Strand Theater and an array of musical performances, participatory workshops and talks.\u003c/p>\n\u003cfigure id=\"attachment_11243669\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg\" alt=\"Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores. \u003ccite>(Photo: Courtesy of San Francisco International Arts Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.placas.org/\" target=\"_blank\" rel=\"noopener\">Placas: The Most Dangerous Tattoo\u003c/a>\u003c/em> at East Bay Center for Performing Arts, Richmond\u003c/strong>\u003cbr>\nTo prep for his lyrical, bilingual drama aimed at humanizing people from immigrant communities in California who fall prey to gang violence, playwright and spoken word artist Paul Flores spoke with more than a hundred gang members, their families and social workers in the U.S. and El Salvador. The play stars Ric Salinas, co-founder of the lauded theater ensemble Culture Clash, as a Salvadoran deportee living in the shadow of his violent past. Salinas’ character is based on the real-life story of Alex Sanchez, a former gang member who went on to launch the gang violence intervention non-profit, Homies Unidos, in Los Angeles . The play lands in Richmond before embarking on a tour that will take it to Stockton, Santa Ana and L.A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Saturday, Jan. 30: Taylor Mac’s \u003cem>\u003ca href=\"http://www.taylormac.org/portfolio_page/24-decade/\" target=\"_blank\" rel=\"noopener\">A 24-Decade History of Popular Music\u003c/a>\u003c/em> at Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nWhen it comes to sheer endurance and chutzpah, Taylor Mac has to be the David Blaine of the theater world. The brilliant, louche cabaret artist from Stockton is in the process of creating no less than a 24-hour musical extravaganza which takes audience members on a decade-by-decade journey through the dense history of the American songbook from tunes composed during the American Revolution to the pop songs of the present day. In San Francisco, Mac presents the first two parts of his musical mega-saga covering the period from 1776 to 1836. Expect plenty of glitter, heels and audience participation. The artist plans to give a one-off performance of his magnum opus in its 24-hour-long entirety later this year in New York, where he will be accompanied by a 24-piece band, a chorus line, and special guests. In preparation for this feat of theatrical derring-do, Mac’s website advises audiences to “bring bedding and toiletries.”\u003c/p>\n\u003cfigure id=\"attachment_11243294\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/09-Compagnie-Herv%C3%A9-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg\" alt=\"Compagnie Hervé Koubi in 'What the Day Owes to the Night'\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1180x634.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-960x516.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Compagnie Hervé Koubi in ‘What the Day Owes to the Night’ \u003ccite>(Photo: Nelson Romero Valarezo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan 24: Compagnie Hervé Koubi presents \u003ca href=\"https://www.odcdance.org/performance.php?param=302\" target=\"_blank\" rel=\"noopener\">\u003cem>What the Day Owes to the Night\u003c/em> \u003c/a>at ODC, San Francisco\u003c/strong>\u003cbr>\nHervé Koubi was born in France and belatedly discovered his Algerian roots. With this west coast debut, the acclaimed choreographer explores his African origins with a dance work based on urban forms like capoeira and hip-hop and performed by a cast of 12 male dancers from Algeria and Burkino Faso. The highly personal, hour-long piece takes inspiration from Islamic architecture and Orientalist paintings to tell a physically gripping story of tangled roots and cultures.\u003c/p>\n\u003cp>Other cool stuff to check out in the coming days:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20 through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/#song\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"http://edwardianball.com/wordpress/\" target=\"_blank\" rel=\"noopener\">The Edwardian Ball \u003c/a>at The Regency Ballroom, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"https://tickets.ybca.org/single/PSDetail.aspx?psn=20471\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey – From Vietnam to America\u003c/em>\u003c/a> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan. 31: Cal Performances presents \u003ca href=\"http://calperformances.org/learn/berkeley-radical/\" target=\"_blank\" rel=\"noopener\">\u003cem>Berkeley RADICAL: The Natural World\u003c/em> \u003c/a>at Zellerbach Hall, Berkeley\u003c/strong>\u003c/p>\n\n",
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"excerpt": "This week our critic's performing arts picks also include the west coast premiere of Compagnie Hervé Koubi and Culture Clash's Ric Salinas in a play about gang violence",
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"title": "Show Me Yours: Taylor Mac's Epic American Songbook Journey, ACT New Strands Fest and more | KQED",
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"headline": "Show Me Yours: Taylor Mac's Epic American Songbook Journey, ACT New Strands Fest and more",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>January can be a little slow on the performing arts front around here, with artists typically sleeping off the hectic holiday performance season and returning groggily to the stage. That’s patently not the case this year though. The drag queens have already straightened out their wigs, the thespians have learned their lines in record time and the dancers are warmed up and raring to go.\u003c/p>\n\u003cp>This is, of course, a good thing, though it’s hard to keep up with all the tantalizing shows happening on our stages right now. But we’ll do our best. Here are some suggestions to get you in training for what’s likely to be a busy year ahead.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Palo Alto Players presents \u003ca href=\"http://www.paplayers.org/on-stage-now\" target=\"_blank\" rel=\"noopener\">\u003cem>Death of a Salesman\u003c/em> \u003c/a>at Lucie Stern Theater, Palo Alto\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">At a time in history where it’s not so much what you do that counts but how you market what you do, the figure of the salesman is king. It’s why the swaggering protagonists in hit TV shows like\u003cem> Mad Men\u003c/em> and movies like \u003cem>The Wolf of Wall Street\u003c/em> resonate so strongly with audiences. Salesman weren’t always this sexy though, as Arthur Miller’s celebrated 1949 drama, \u003cem>Death of a Salesman\u003c/em>, reminds us. The play centers on the misfortunes of pop culture’s original salesman, Willy Loman, as the drooping has-been attempts to make sense of his once-promising but now tattered life. Palo Alto Players’ community-minded production, directed by Kristen Lo, features staff and ex-students from Gunn High School, a public high school in Palo Alto.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11243667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg\" alt=\"Miwa Matreyek performs a scene from 'Myth and Infrastructure' at ACT's New Strands Festival\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1920x1204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miwa Matreyek performs a scene from ‘Myth and Infrastructure’ at ACT’s New Strands Festival \u003ccite>(Photo: Gayle Laird)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003ca href=\"http://www.act-sf.org/home/about/new_commissions/new_strands.html\" target=\"_blank\" rel=\"noopener\">New Strands Festival\u003c/a> at American Conservatory Theater’s Strand Theater, San Francisco\u003c/strong>\u003cbr>\nIf the American Conservatory Theater has been accused in the past of failing to focus enough energy on new theater and Bay Area talent, this four-day festival from the Bay Area flagship theater refutes the naysayers. Highlights of this free, “open house”-style event include \u003cem>Myth and Infrastructure\u003c/em>, a show about the history of the world told through projected animations and shadow silhouettes of performer Miwa Matreyek, an open rehearsal of a new work-in-progress, \u003cem>Fatherville\u003c/em>, involving master puppeteer Basil Twist, Zaccho Dance Theatre’s latest performance installation inspired by the history of the Strand Theater and an array of musical performances, participatory workshops and talks.\u003c/p>\n\u003cfigure id=\"attachment_11243669\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg\" alt=\"Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores. \u003ccite>(Photo: Courtesy of San Francisco International Arts Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.placas.org/\" target=\"_blank\" rel=\"noopener\">Placas: The Most Dangerous Tattoo\u003c/a>\u003c/em> at East Bay Center for Performing Arts, Richmond\u003c/strong>\u003cbr>\nTo prep for his lyrical, bilingual drama aimed at humanizing people from immigrant communities in California who fall prey to gang violence, playwright and spoken word artist Paul Flores spoke with more than a hundred gang members, their families and social workers in the U.S. and El Salvador. The play stars Ric Salinas, co-founder of the lauded theater ensemble Culture Clash, as a Salvadoran deportee living in the shadow of his violent past. Salinas’ character is based on the real-life story of Alex Sanchez, a former gang member who went on to launch the gang violence intervention non-profit, Homies Unidos, in Los Angeles . The play lands in Richmond before embarking on a tour that will take it to Stockton, Santa Ana and L.A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Saturday, Jan. 30: Taylor Mac’s \u003cem>\u003ca href=\"http://www.taylormac.org/portfolio_page/24-decade/\" target=\"_blank\" rel=\"noopener\">A 24-Decade History of Popular Music\u003c/a>\u003c/em> at Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nWhen it comes to sheer endurance and chutzpah, Taylor Mac has to be the David Blaine of the theater world. The brilliant, louche cabaret artist from Stockton is in the process of creating no less than a 24-hour musical extravaganza which takes audience members on a decade-by-decade journey through the dense history of the American songbook from tunes composed during the American Revolution to the pop songs of the present day. In San Francisco, Mac presents the first two parts of his musical mega-saga covering the period from 1776 to 1836. Expect plenty of glitter, heels and audience participation. The artist plans to give a one-off performance of his magnum opus in its 24-hour-long entirety later this year in New York, where he will be accompanied by a 24-piece band, a chorus line, and special guests. In preparation for this feat of theatrical derring-do, Mac’s website advises audiences to “bring bedding and toiletries.”\u003c/p>\n\u003cfigure id=\"attachment_11243294\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/09-Compagnie-Herv%C3%A9-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg\" alt=\"Compagnie Hervé Koubi in 'What the Day Owes to the Night'\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1180x634.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-960x516.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Compagnie Hervé Koubi in ‘What the Day Owes to the Night’ \u003ccite>(Photo: Nelson Romero Valarezo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan 24: Compagnie Hervé Koubi presents \u003ca href=\"https://www.odcdance.org/performance.php?param=302\" target=\"_blank\" rel=\"noopener\">\u003cem>What the Day Owes to the Night\u003c/em> \u003c/a>at ODC, San Francisco\u003c/strong>\u003cbr>\nHervé Koubi was born in France and belatedly discovered his Algerian roots. With this west coast debut, the acclaimed choreographer explores his African origins with a dance work based on urban forms like capoeira and hip-hop and performed by a cast of 12 male dancers from Algeria and Burkino Faso. The highly personal, hour-long piece takes inspiration from Islamic architecture and Orientalist paintings to tell a physically gripping story of tangled roots and cultures.\u003c/p>\n\u003cp>Other cool stuff to check out in the coming days:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20 through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/#song\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"http://edwardianball.com/wordpress/\" target=\"_blank\" rel=\"noopener\">The Edwardian Ball \u003c/a>at The Regency Ballroom, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"https://tickets.ybca.org/single/PSDetail.aspx?psn=20471\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey – From Vietnam to America\u003c/em>\u003c/a> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan. 31: Cal Performances presents \u003ca href=\"http://calperformances.org/learn/berkeley-radical/\" target=\"_blank\" rel=\"noopener\">\u003cem>Berkeley RADICAL: The Natural World\u003c/em> \u003c/a>at Zellerbach Hall, Berkeley\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arthur Gardner, a.k.a. Dopey Fresh, spends many mornings trying to rouse BART commuters out of an iPhone-induced stupor.\u003c/p>\n\u003cp>“Good morning, ladies and gentlemen!” he calls out to the crowd on board the San Francisco-bound train. “We got a wonderful dance show for you guys.”\u003c/p>\n\u003cp>Dopey, as his friends call him for short, flips on some music and starts gliding across the train. Another dancer, Intricate, takes over, contorting his arms into impossible twists. Then comes Krow. He folds his right foot behind his neck, grabs the handle bars overhead, and flips.\u003c/p>\n\u003cfigure id=\"attachment_11241357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11241357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg\" alt='\"Krow\" the dancer shows his moves on a BART train' width=\"640\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-960x651.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Krow” the dancer shows his moves on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ohhhh, ouch,” says Dopey, making faces at the train passengers, who are now awake and smiling. “Please do not try this at home!”\u003c/p>\n\u003cp>When dancer and choreographer My-Linh Le saw these turf dancing moves on the train, she noticed echoes of ballet. Le has studied both dance forms, and she says the similarities between the street dance developed in Oakland and the well-established classical form amaze her — the gracefulness, the technicality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Le started talking to the turfers from Bart about a collaboration. She wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School, the educational wing of one of the Bay Area’s most prominent classical dance organizations.\u003c/p>\n\u003cp>“If these dancers from the conservatory world of ballet could somehow have so much movement-wise in common with these other guys who have never really stepped foot in conservatory or a studio, then I think that says a lot about our human nature,” says Le.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241652769″ 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>Other street artists have explored the similarities with ballet. The Oakland street dance crew, the Turffeinz, paired up with the Oakland Ballet in 2014. Los Angeles-based street dancer Lil’ Buck created a \u003ca href=\"https://www.youtube.com/watch?v=JZumgHLSW10\">widely-acclaimed interpretation\u003c/a> of “The Dying Swan,” accompanied by Yo-Yo Ma on solo cello, which he eventually performed at the Vail International Dance Festival.\u003c/p>\n\u003cp>Le scored a spot for her group to perform in this year’s \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. – Dance in Revolt(ing) Times\u003c/a> festival, a two-week event dedicated to political dance, at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>But the creative process turned out to be more difficult than anyone anticipated.\u003c/p>\n\u003cfigure id=\"attachment_11241462\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-800x499.jpg\" alt=\"Turf dancers Intricate (in white) and No Name (in green) practice in the studio\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turf dancers Intricate (in white) and No Name (in green) practice in the studio \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le’s first obstacle: she had a hard time getting the turfers to show up for rehearsal. Le didn’t have money to pay them. The turfers said that the hours they would spend rehearsing for free, they could be making money dancing on BART.\u003c/p>\n\u003cp>“We’re just good kids with good hearts, doing this for the love of dance,” Dopey tells his audiences on the train. “But they say the best nation is..?” “A \u003cem>do\u003c/em>-nation!” the dancers answer back.\u003c/p>\n\u003cp>Most days, the turfers take home between $100 and $200 each. That’s a lot of money for these guys to turn down.\u003c/p>\n\u003cp>“I work at Jamba Juice and I go to community college at Laney,” says Hector Alexander Ascencio, a.k.a. Intricate. “It’s kind of a struggle right now, I’m not even gonna to lie. A lot of turfers, lot of dancers out here, come from the struggle. Bay Area’s known for a lot of struggling.”\u003c/p>\n\u003cp>Le tried looking for grants. But to her, the world of institutional fundraising seemed reserved for established choreographers in established dance forms. She saw big ballet companies getting money, but she says there wasn’t much for young artists trying to break into the dance scene.\u003c/p>\n\u003cp>“It’s like a club,” Le says. “To get admission to this club you have to prove yourself as an artist, and to prove yourself as an artist, you need money. It’s just oriented towards anybody who already has money or support.”\u003c/p>\n\u003cp>So Le started a crowdfunding campaign to get her project off the ground and managed to achieve her goal of $10,000. She used the funds primarily to pay for the dancers’ time.\u003c/p>\n\u003cp>But the money turned out to be just the first hurdle. Once the ballerinas and turfers got into the studio together, cultures clashed.\u003c/p>\n\u003cp>“Even the first rehearsal was very eye opening,” says ballet dancer Tatiana Barber, who was surprised by the turfers’ freestyle warm up. “In ballet class, you have strict technique. You start with \u003cem>plies\u003c/em> and \u003cem>detendus\u003c/em>,” she says, referencing the series of knee-bends and stretches ballet dancers do at the barre. “It’s always the same.”\u003c/p>\n\u003cfigure id=\"attachment_11241464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-800x470.jpg\" alt=\"Dopey Fresh celebrates after pulling off a big dance move on a BART train\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-768x451.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh celebrates after pulling off a big dance move on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the ballet dancers and turfers tried to choreograph steps together, things quickly got complicated.\u003c/p>\n\u003cp>“Wooo! The language,” says turf dancer Algerion Bryant, a.k.a. Krow. “The way they set their stuff up and the way we set our stuff up is completely different.”\u003c/p>\n\u003cp>“For ballet, vocabulary is very structured and we have very set timing and beats and counting,” says ballerina Christine Beggs, “For turfers, they don’t really have set names for things. They really actually can’t articulate a lot of it very well, because it’s like a feeling or something, you just gotta feel it. I’m like, I look ridiculous.”\u003c/p>\n\u003cp>Krow compares the differences to painting.\u003c/p>\n\u003cp>“See somebody color inside the lines, you got this person did the same thing, but they color outside the lines,” Krow says. “You have the one with rules and boundaries and the one without rules and boundaries.”\u003c/p>\n\u003cp>Rehearsals became chaotic as a result of the creative differences. So Le had to split the two camps up for a while. The ballet dancers met on Mondays, and the turfers on Saturdays.\u003c/p>\n\u003cp>But Le says when she threw the choreography out the window and just had the dancers improv together, the results were magical.\u003c/p>\n\u003cp>“It left everyone in shock,” Le says. “They just had moments where they suddenly thought the same thing and did the same thing at the same time. And it was crazy because you know that could only happen when two people are so in tune with each other and listening so hard that they could be thinking the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_11241465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg\" alt=\"Practicing for 'D.I.R.T.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Practicing for the D.I.R.T. Festival \u003ccite>(Photo: Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the festival comes around, the dancers will have a 17-minute piece — a mix of solos and ensemble dances, both improvised and choreographed, set to music from The Federation, Nina Simone, and spoken word from Kendrick Lamar.\u003c/p>\n\u003cp>In one section, Le wants to explore the concept of misunderstanding. She sat in a circle with the dancers at a recent rehearsal to explain.\u003c/p>\n\u003cp>“I wanted to use the Ugly Duckling, which I think a lot of people misinterpret as a story about transformation,” Le says. “It’s kinda funny because the Duckling didn’t suddenly transform into a swan, he was actually always a swan. So it was actually a story about misperception.”\u003c/p>\n\u003cp>It’s the same with turfing, Le says. Street dance has always been as artful as ballet.\u003c/p>\n\u003cp>“By putting turfing in a theater or on a stage where the audience has to sit there and really look at it, turfing doesn’t change,” Le says. “What happens instead is the audience’s perception changes.”\u003c/p>\n\u003cp>\u003cem>The dancers perform Jan. 30 and 31 as part of the \u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival\u003c/a> at the Dance Mission Theater in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>UPDATE: Watch \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/how-turfers-and-ballet-dancers-found-their-groove-together/\">a video\u003c/a> about this collaboration by KQED’s Kelly Whalen, including clips from the sold-out performance.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arthur Gardner, a.k.a. Dopey Fresh, spends many mornings trying to rouse BART commuters out of an iPhone-induced stupor.\u003c/p>\n\u003cp>“Good morning, ladies and gentlemen!” he calls out to the crowd on board the San Francisco-bound train. “We got a wonderful dance show for you guys.”\u003c/p>\n\u003cp>Dopey, as his friends call him for short, flips on some music and starts gliding across the train. Another dancer, Intricate, takes over, contorting his arms into impossible twists. Then comes Krow. He folds his right foot behind his neck, grabs the handle bars overhead, and flips.\u003c/p>\n\u003cfigure id=\"attachment_11241357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11241357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg\" alt='\"Krow\" the dancer shows his moves on a BART train' width=\"640\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-960x651.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Krow” the dancer shows his moves on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ohhhh, ouch,” says Dopey, making faces at the train passengers, who are now awake and smiling. “Please do not try this at home!”\u003c/p>\n\u003cp>When dancer and choreographer My-Linh Le saw these turf dancing moves on the train, she noticed echoes of ballet. Le has studied both dance forms, and she says the similarities between the street dance developed in Oakland and the well-established classical form amaze her — the gracefulness, the technicality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Le started talking to the turfers from Bart about a collaboration. She wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School, the educational wing of one of the Bay Area’s most prominent classical dance organizations.\u003c/p>\n\u003cp>“If these dancers from the conservatory world of ballet could somehow have so much movement-wise in common with these other guys who have never really stepped foot in conservatory or a studio, then I think that says a lot about our human nature,” says Le.\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/241652769″&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/241652769″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Other street artists have explored the similarities with ballet. The Oakland street dance crew, the Turffeinz, paired up with the Oakland Ballet in 2014. Los Angeles-based street dancer Lil’ Buck created a \u003ca href=\"https://www.youtube.com/watch?v=JZumgHLSW10\">widely-acclaimed interpretation\u003c/a> of “The Dying Swan,” accompanied by Yo-Yo Ma on solo cello, which he eventually performed at the Vail International Dance Festival.\u003c/p>\n\u003cp>Le scored a spot for her group to perform in this year’s \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. – Dance in Revolt(ing) Times\u003c/a> festival, a two-week event dedicated to political dance, at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>But the creative process turned out to be more difficult than anyone anticipated.\u003c/p>\n\u003cfigure id=\"attachment_11241462\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-800x499.jpg\" alt=\"Turf dancers Intricate (in white) and No Name (in green) practice in the studio\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turf dancers Intricate (in white) and No Name (in green) practice in the studio \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le’s first obstacle: she had a hard time getting the turfers to show up for rehearsal. Le didn’t have money to pay them. The turfers said that the hours they would spend rehearsing for free, they could be making money dancing on BART.\u003c/p>\n\u003cp>“We’re just good kids with good hearts, doing this for the love of dance,” Dopey tells his audiences on the train. “But they say the best nation is..?” “A \u003cem>do\u003c/em>-nation!” the dancers answer back.\u003c/p>\n\u003cp>Most days, the turfers take home between $100 and $200 each. That’s a lot of money for these guys to turn down.\u003c/p>\n\u003cp>“I work at Jamba Juice and I go to community college at Laney,” says Hector Alexander Ascencio, a.k.a. Intricate. “It’s kind of a struggle right now, I’m not even gonna to lie. A lot of turfers, lot of dancers out here, come from the struggle. Bay Area’s known for a lot of struggling.”\u003c/p>\n\u003cp>Le tried looking for grants. But to her, the world of institutional fundraising seemed reserved for established choreographers in established dance forms. She saw big ballet companies getting money, but she says there wasn’t much for young artists trying to break into the dance scene.\u003c/p>\n\u003cp>“It’s like a club,” Le says. “To get admission to this club you have to prove yourself as an artist, and to prove yourself as an artist, you need money. It’s just oriented towards anybody who already has money or support.”\u003c/p>\n\u003cp>So Le started a crowdfunding campaign to get her project off the ground and managed to achieve her goal of $10,000. She used the funds primarily to pay for the dancers’ time.\u003c/p>\n\u003cp>But the money turned out to be just the first hurdle. Once the ballerinas and turfers got into the studio together, cultures clashed.\u003c/p>\n\u003cp>“Even the first rehearsal was very eye opening,” says ballet dancer Tatiana Barber, who was surprised by the turfers’ freestyle warm up. “In ballet class, you have strict technique. You start with \u003cem>plies\u003c/em> and \u003cem>detendus\u003c/em>,” she says, referencing the series of knee-bends and stretches ballet dancers do at the barre. “It’s always the same.”\u003c/p>\n\u003cfigure id=\"attachment_11241464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-800x470.jpg\" alt=\"Dopey Fresh celebrates after pulling off a big dance move on a BART train\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-768x451.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh celebrates after pulling off a big dance move on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the ballet dancers and turfers tried to choreograph steps together, things quickly got complicated.\u003c/p>\n\u003cp>“Wooo! The language,” says turf dancer Algerion Bryant, a.k.a. Krow. “The way they set their stuff up and the way we set our stuff up is completely different.”\u003c/p>\n\u003cp>“For ballet, vocabulary is very structured and we have very set timing and beats and counting,” says ballerina Christine Beggs, “For turfers, they don’t really have set names for things. They really actually can’t articulate a lot of it very well, because it’s like a feeling or something, you just gotta feel it. I’m like, I look ridiculous.”\u003c/p>\n\u003cp>Krow compares the differences to painting.\u003c/p>\n\u003cp>“See somebody color inside the lines, you got this person did the same thing, but they color outside the lines,” Krow says. “You have the one with rules and boundaries and the one without rules and boundaries.”\u003c/p>\n\u003cp>Rehearsals became chaotic as a result of the creative differences. So Le had to split the two camps up for a while. The ballet dancers met on Mondays, and the turfers on Saturdays.\u003c/p>\n\u003cp>But Le says when she threw the choreography out the window and just had the dancers improv together, the results were magical.\u003c/p>\n\u003cp>“It left everyone in shock,” Le says. “They just had moments where they suddenly thought the same thing and did the same thing at the same time. And it was crazy because you know that could only happen when two people are so in tune with each other and listening so hard that they could be thinking the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_11241465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg\" alt=\"Practicing for 'D.I.R.T.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Practicing for the D.I.R.T. Festival \u003ccite>(Photo: Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the festival comes around, the dancers will have a 17-minute piece — a mix of solos and ensemble dances, both improvised and choreographed, set to music from The Federation, Nina Simone, and spoken word from Kendrick Lamar.\u003c/p>\n\u003cp>In one section, Le wants to explore the concept of misunderstanding. She sat in a circle with the dancers at a recent rehearsal to explain.\u003c/p>\n\u003cp>“I wanted to use the Ugly Duckling, which I think a lot of people misinterpret as a story about transformation,” Le says. “It’s kinda funny because the Duckling didn’t suddenly transform into a swan, he was actually always a swan. So it was actually a story about misperception.”\u003c/p>\n\u003cp>It’s the same with turfing, Le says. Street dance has always been as artful as ballet.\u003c/p>\n\u003cp>“By putting turfing in a theater or on a stage where the audience has to sit there and really look at it, turfing doesn’t change,” Le says. “What happens instead is the audience’s perception changes.”\u003c/p>\n\u003cp>\u003cem>The dancers perform Jan. 30 and 31 as part of the \u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival\u003c/a> at the Dance Mission Theater in San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>UPDATE: Watch \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/how-turfers-and-ballet-dancers-found-their-groove-together/\">a video\u003c/a> about this collaboration by KQED’s Kelly Whalen, including clips from the sold-out performance.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bowie’s gone. The world weeps. Like many kids growing up in the UK in the 1970s and 80s, the British rock icon’s music — yes, even the slightly questionable stuff from his New Wave and pop era — spoke to me in a way that no other music possibly could. I owned a pair of red shoes. I learned, for a bit, to dance the blues. I once painted lightning flashes on my face for a costume party.\u003c/p>\n\u003cp>As much as to say that Bowie’s impact hasn’t just been left on the music world. Performing artists of all stripes owe the great man a great debt, including, in the Bay Area, gender-pushers like \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Fauxnique \u003c/a>(Monique Jenkinson) and the cabaret/tribute act \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual.\u003c/a>\u003c/p>\n\u003cp>Bowie himself was no stranger to the theater. It’s no surprise that the rest of the run of the Bowie musical \u003cem>\u003ca href=\"http://www.nytw.org/show/lazarus/\" target=\"_blank\" rel=\"noopener\">Lazarus\u003c/a>\u003c/em>, currently playing in New York is, barring a single pair of tickets at $1242 apiece, entirely sold out. (Bowie co-wrote the piece; it takes its inspiration from the 1963 novel \u003cem>The Man Who Fell to Earth\u003c/em> by Walter Tevis, and features many classic Bowie songs.) But like all inimitable artists, it won’t be too long, I expect, before we start to see more theatrical and film tributes to Bowie coming down the pike.\u003c/p>\n\u003cp>Speaking of which, Bay Area performing arts organizations are currently resurrecting two other great cultural figures from the dead. American Conservatory Theater in San Francisco and Cinnabar Theater in Petaluma’s concurrent shows — about music greats Louis Armstrong and Mahalia Jackson respectively — take stock of the lives of these monumental artists in a way that’s both celebratory and unflinching. Perhaps seeing these biographical productions will inspire fans to dream up their own theatrical interpretations of Bowie’s life .\u003c/p>\n\u003cp>\u003cstrong>Now through Wednesday, Jan. 13: Anton’s Well Theater Company presents \u003cem>\u003ca href=\"http://antonswell.org/\" target=\"_blank\" rel=\"noopener\">Dying City\u003c/a>\u003c/em> at the Berkeley City Club, Berkeley.\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">In East Coast dramatist Christopher Shinn’s 2006 drama, Kelly, a therapist, tries to get over the untimely death of her husband, Craig, a soldier who was killed while on active duty in Iraq, by watching endless episodes of \u003cem>Law and Order\u003c/em>. When the deceased’s twin brother, Peter, shows up to reminisce and console her, Kelly’s depression worsens and Peter struggles with his own feelings of loss. The taut, provocative play — staged by newcomer theater company Anton’s Well and appreciatively reviewed by KQED’s Jeffrey Edalatpour — was a finalist for the Pulitzer Prize for drama in 2008.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11221245\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png\" alt=\"'Feathers of Fire'\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-400x253.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-1180x745.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-960x606.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492.png 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Feathers of Fire’ \u003ccite>(Photo: Hamid Rahmanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16 – Monday, Jan. 18: Fictionville Studio, Banu Productions and ShadowLight Productions present \u003cem>\u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">Feathers of Fire\u003c/a>\u003c/em> at The Cowell Theater, San Francisco.\u003c/strong>\u003cbr>\n\u003cem>Romeo and Juliet\u003c/em>, \u003cem>Rapunzel\u003c/em> and \u003cem>The Jungle Book\u003c/em> collide in this mythical tale about a pair of star-crossed lovers based on \u003cem>Shahnama \u003c/em>(\u003cem>The Book of Kings\u003c/em>), an ancient Persian text. Composed at the end of the 10th Century by the poet Ferdowsi, it’s the world’s longest piece of epic poetry written by a single — and obviously very single-minded — scribe and tells a tale that begins with the creation of the world and ends with the Islamic invasion of Persia in the 7th century. The august Bay Area puppet company, ShadowLight Productions, is teaming up with Guggenheim fellow, visual artist and filmmaker, Hamid Rahmanian to create a colorful performance that includes more than 160 hand-made shadow puppets, live animation and music from the Iranian band Niyaz. These local preview performances precede the show’s official world premiere at the Brooklyn Academy of Music in New York in February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan, 17: punkkiCo Dance Company presents \u003cem>\u003ca href=\"http://www.theatreofyugen.org/new-events/2016/1/9/salve-regina-punkkico-dance-company\" target=\"_blank\" rel=\"noopener\">Salve Regina\u003c/a>\u003c/em> at NOHSpace, San Francisco.\u003c/strong>\u003cbr>\nRepresentations of the female body as mystical, beautiful and utterly terrifying are as old as human civilization. It’s not for nothing that the legend of the \u003cem>vagina dentata\u003c/em> isn’t unique to western culture — saber-toothed lady-parts pop up in Hindu, Shinto and Maori mythologies too. And now the Finnish-born, Bay Area-based choreographer is celebrating the many facets of the female form in a new six-part dance work. The piece delves into politically strident topics like religion’s obsession with virginity and what happens when women’s bodies are covered vs. uncovered. Oh, and the show also includes a pregnant woman performing a duet with her gestating fetus.\u003c/p>\n\u003cfigure id=\"attachment_11194650\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11194650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg\" alt=\"Sharon E. Scott as Mahalia Jackson\" width=\"742\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965-400x265.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Sharon E. Scott as Mahalia Jackson \u003ccite>(Photo: Desmond J Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.cinnabartheater.org/mahaliajackson/\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson: Just As I Am\u003c/a>\u003c/em> at Cinnabar Theater, Petaluma.\u003c/strong>\u003cbr>\nMahalia Jackson, America’s undisputed “Queen of Gospel,” was heralded internationally for her lusty contralto voice and her fierce activism. The famous vocalist’s brilliant and challenging life gets an appropriately musical retelling in actor and singer Sharon E. Scott’s show. Cinnabar Theater presents the west coast premiere of Scott’s show, for which the New York-born performer has won praise — both for her gobsmacking stage presence and for the holy rollin’ power of her voice.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> at the American Conservatory Theater, San Francisco\u003c/strong>\u003cbr>\nTheater-critic-turned-dramatist Terry Teachout’s solo show about Louis Armstrong (whose nickname was “Satchmo,” short for “satchel-mouth”) explores the last days of the great American jazz trumpeter’s life. The play takes place in 1971 at the Waldorf-Astoria Hotel in New York City after the last performance the by-then-physically-frail musician ever gave and captures Armstrong’s conflicted relationships with his mobster agent Joe Glaser and jazz great Miles Davis. Powerhouse Canadian-American actor John Douglas Thompson — over whom \u003cem>The New York Times\u003c/em> gushed: “There may be no better classical actor working in the New York theater right now” — portrays all three roles.\u003c/p>\n\u003cp>Other upcoming events you should endeavor not to miss:\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan 14 – Saturday, Jan. 16: Company Wayne McGregor presents \u003cem>\u003ca href=\"http://www.ybca.org/wayne-mcgregor-atomos\" target=\"_blank\" rel=\"noopener\">Atomos\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Monday, Jan. 18: Youth Speaks presents \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">19th Annual Bringing the Noise for Dr. Martin Luther King\u003c/a>\u003c/em> at the Nourse Theatre, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7 – Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>\u003c/em> at various venues around San Francisco\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s gone. The world weeps. Like many kids growing up in the UK in the 1970s and 80s, the British rock icon’s music — yes, even the slightly questionable stuff from his New Wave and pop era — spoke to me in a way that no other music possibly could. I owned a pair of red shoes. I learned, for a bit, to dance the blues. I once painted lightning flashes on my face for a costume party.\u003c/p>\n\u003cp>As much as to say that Bowie’s impact hasn’t just been left on the music world. Performing artists of all stripes owe the great man a great debt, including, in the Bay Area, gender-pushers like \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Fauxnique \u003c/a>(Monique Jenkinson) and the cabaret/tribute act \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual.\u003c/a>\u003c/p>\n\u003cp>Bowie himself was no stranger to the theater. It’s no surprise that the rest of the run of the Bowie musical \u003cem>\u003ca href=\"http://www.nytw.org/show/lazarus/\" target=\"_blank\" rel=\"noopener\">Lazarus\u003c/a>\u003c/em>, currently playing in New York is, barring a single pair of tickets at $1242 apiece, entirely sold out. (Bowie co-wrote the piece; it takes its inspiration from the 1963 novel \u003cem>The Man Who Fell to Earth\u003c/em> by Walter Tevis, and features many classic Bowie songs.) But like all inimitable artists, it won’t be too long, I expect, before we start to see more theatrical and film tributes to Bowie coming down the pike.\u003c/p>\n\u003cp>Speaking of which, Bay Area performing arts organizations are currently resurrecting two other great cultural figures from the dead. American Conservatory Theater in San Francisco and Cinnabar Theater in Petaluma’s concurrent shows — about music greats Louis Armstrong and Mahalia Jackson respectively — take stock of the lives of these monumental artists in a way that’s both celebratory and unflinching. Perhaps seeing these biographical productions will inspire fans to dream up their own theatrical interpretations of Bowie’s life .\u003c/p>\n\u003cp>\u003cstrong>Now through Wednesday, Jan. 13: Anton’s Well Theater Company presents \u003cem>\u003ca href=\"http://antonswell.org/\" target=\"_blank\" rel=\"noopener\">Dying City\u003c/a>\u003c/em> at the Berkeley City Club, Berkeley.\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">In East Coast dramatist Christopher Shinn’s 2006 drama, Kelly, a therapist, tries to get over the untimely death of her husband, Craig, a soldier who was killed while on active duty in Iraq, by watching endless episodes of \u003cem>Law and Order\u003c/em>. When the deceased’s twin brother, Peter, shows up to reminisce and console her, Kelly’s depression worsens and Peter struggles with his own feelings of loss. The taut, provocative play — staged by newcomer theater company Anton’s Well and appreciatively reviewed by KQED’s Jeffrey Edalatpour — was a finalist for the Pulitzer Prize for drama in 2008.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11221245\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png\" alt=\"'Feathers of Fire'\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-400x253.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-1180x745.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-960x606.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492.png 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Feathers of Fire’ \u003ccite>(Photo: Hamid Rahmanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16 – Monday, Jan. 18: Fictionville Studio, Banu Productions and ShadowLight Productions present \u003cem>\u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">Feathers of Fire\u003c/a>\u003c/em> at The Cowell Theater, San Francisco.\u003c/strong>\u003cbr>\n\u003cem>Romeo and Juliet\u003c/em>, \u003cem>Rapunzel\u003c/em> and \u003cem>The Jungle Book\u003c/em> collide in this mythical tale about a pair of star-crossed lovers based on \u003cem>Shahnama \u003c/em>(\u003cem>The Book of Kings\u003c/em>), an ancient Persian text. Composed at the end of the 10th Century by the poet Ferdowsi, it’s the world’s longest piece of epic poetry written by a single — and obviously very single-minded — scribe and tells a tale that begins with the creation of the world and ends with the Islamic invasion of Persia in the 7th century. The august Bay Area puppet company, ShadowLight Productions, is teaming up with Guggenheim fellow, visual artist and filmmaker, Hamid Rahmanian to create a colorful performance that includes more than 160 hand-made shadow puppets, live animation and music from the Iranian band Niyaz. These local preview performances precede the show’s official world premiere at the Brooklyn Academy of Music in New York in February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan, 17: punkkiCo Dance Company presents \u003cem>\u003ca href=\"http://www.theatreofyugen.org/new-events/2016/1/9/salve-regina-punkkico-dance-company\" target=\"_blank\" rel=\"noopener\">Salve Regina\u003c/a>\u003c/em> at NOHSpace, San Francisco.\u003c/strong>\u003cbr>\nRepresentations of the female body as mystical, beautiful and utterly terrifying are as old as human civilization. It’s not for nothing that the legend of the \u003cem>vagina dentata\u003c/em> isn’t unique to western culture — saber-toothed lady-parts pop up in Hindu, Shinto and Maori mythologies too. And now the Finnish-born, Bay Area-based choreographer is celebrating the many facets of the female form in a new six-part dance work. The piece delves into politically strident topics like religion’s obsession with virginity and what happens when women’s bodies are covered vs. uncovered. Oh, and the show also includes a pregnant woman performing a duet with her gestating fetus.\u003c/p>\n\u003cfigure id=\"attachment_11194650\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11194650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg\" alt=\"Sharon E. Scott as Mahalia Jackson\" width=\"742\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965-400x265.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Sharon E. Scott as Mahalia Jackson \u003ccite>(Photo: Desmond J Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.cinnabartheater.org/mahaliajackson/\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson: Just As I Am\u003c/a>\u003c/em> at Cinnabar Theater, Petaluma.\u003c/strong>\u003cbr>\nMahalia Jackson, America’s undisputed “Queen of Gospel,” was heralded internationally for her lusty contralto voice and her fierce activism. The famous vocalist’s brilliant and challenging life gets an appropriately musical retelling in actor and singer Sharon E. Scott’s show. Cinnabar Theater presents the west coast premiere of Scott’s show, for which the New York-born performer has won praise — both for her gobsmacking stage presence and for the holy rollin’ power of her voice.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> at the American Conservatory Theater, San Francisco\u003c/strong>\u003cbr>\nTheater-critic-turned-dramatist Terry Teachout’s solo show about Louis Armstrong (whose nickname was “Satchmo,” short for “satchel-mouth”) explores the last days of the great American jazz trumpeter’s life. The play takes place in 1971 at the Waldorf-Astoria Hotel in New York City after the last performance the by-then-physically-frail musician ever gave and captures Armstrong’s conflicted relationships with his mobster agent Joe Glaser and jazz great Miles Davis. Powerhouse Canadian-American actor John Douglas Thompson — over whom \u003cem>The New York Times\u003c/em> gushed: “There may be no better classical actor working in the New York theater right now” — portrays all three roles.\u003c/p>\n\u003cp>Other upcoming events you should endeavor not to miss:\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan 14 – Saturday, Jan. 16: Company Wayne McGregor presents \u003cem>\u003ca href=\"http://www.ybca.org/wayne-mcgregor-atomos\" target=\"_blank\" rel=\"noopener\">Atomos\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Monday, Jan. 18: Youth Speaks presents \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">19th Annual Bringing the Noise for Dr. Martin Luther King\u003c/a>\u003c/em> at the Nourse Theatre, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7 – Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>\u003c/em> at various venues around San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.theseams.org/\" target=\"_blank\" rel=\"noopener\">The Seams\u003c/a>, an occasional NPR series on clothing as culture, has been reporting a series about Florida Seminole Indian patchwork and its heritage and use in tribal life. Read the first installment in this series, “\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line\" target=\"_blank\" rel=\"noopener\">Osceola At The Fifty Yard Line.\u003c/a>“\u003c/em>\u003c/p>\n\u003cp>Twelve young women in their teens and early twenties are walking on a stage surrounded by twinkling lights that look like a starry night sky, wearing eye-catching dresses of Seminole Indian patchwork. They’re contestants in the 58th annual Miss Florida Seminole Princess Pageant. The winner will be the tribe’s ambassador to the wider world.\u003c/p>\n\u003cp>Lewis Gopher was one of the emcees at the pageant, which takes place the last weekend in July. He explains what patchwork is to the crowd at tribal headquarters in Hollywood, Fla.\u003c/p>\n\u003cp>“Sewing is very important to our people,” Gopher says. “There are traditional outfits, which is all cotton, but also new materials like rayon and lace. It’s evolved, just like we have, and we put our own twist on patchwork garments.”\u003c/p>\n\u003cp>Seminole patchwork is not the patchwork we associate with quilting bees and bedspreads. Think of it almost more like cotton origami, squares of cloth rolled and folded into symbols: flags, crosses, bird, traditional elements. The symbols are sewn into strips, and these strips are sewn together to make garments like jackets, vests and skirts. Many Seminole tribal members wear patchwork daily, and nearly always wear it for special occasions like pageants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Making patchwork is intricate and time-consuming, and a finished garment can cost hundreds of dollars. For reasons of tradition and economy, pageant contestants often learn to make it. Twenty-year-old contestant Alexis Jumper is one of them.\u003c/p>\n\u003cp>“I go about picking the colors, and then from there, I would cut the strips and everything in the colors I want, and I can decide if I want to be more traditional, or I can go for a more flashy approach to it,” she says. “I love shiny.”\u003c/p>\n\u003cp>Alexis comes from Hollywood, the largest of the Seminole reservations and communities in South Florida. For her, the pageant is more than a rite of passage — it’s a career step up the tribal hierarchy.\u003c/p>\n\u003cp>“I want to get a job here at the tribe because I want to one day work up to Secretary and then one day I want to strive to be Chairman,” she says.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"medium\" link=\"none\" ids=\"11196920,11196935,11196934,11196933,11196932,11196931,11196930,11196928,11196927,11196926,11196925,11196924,11196923,11196922,11196921\"]\u003c/p>\n\u003cp>Betty Mae Jumper was the first woman elected chairman of any federally recognized American Indian tribe.\u003c/p>\n\u003cp>The Princess Pageant began when the Seminoles were working to gain federal recognition, back in the late 1950’s. Pageant Director Wanda Bowers tells the story of the young secretary who was accompanying tribal elders to Washington, DC. She tired of a certain question.\u003c/p>\n\u003cp>“They’d ask, ‘Is she your princess?’,” says Bowers. “She would always say ‘I’m the secretary-treasurer of the tribe. I’m their translator, their note-taker’ Finally she told the chief, ‘I’m not gonna be recognized as the princess anymore. I want you to start a princess contest so that we can have an official princess to be recognized as our ambassador.”\u003c/p>\n\u003cp>By 1960, the tribe held its first such contest, and it’s become increasingly traditional over time. (The swimsuit contest was dropped after the first season.) Bowers, 64, won the pageant in ’68 and ’69. She’s has been directing the Miss Florida Seminole Princess Pageant since 1991. With the Jr. Miss Pageant added, young women 13 to 25 can participate. Princesses travel — a lot.\u003c/p>\n\u003cp>Alexis is one of several contestants who made some of her outfits. “I learned all my sewing at the [Art and] Culture Center here in Hollywood. Sewing is something that I really love doing. It’s one of my major hobbies that I do every day.”\u003c/p>\n\u003cp>The invention of the sewing machine changed the way the tribe looked. When the Singer sewing machine came into existence in the 19th century, the Seminoles embraced it. The outline of the long skirts and capes emulated European dress — and kept mosquitoes at bay. By the 20th century, tourists sought the Seminole patchwork, too, and that brought in money for the tribe.\u003c/p>\n\u003cp>The sewing room at the Arts and Culture Center is always busy, especially around the Princess Pageant and other festival times. It’s lined with bright skeins of thread, rickrack and bias tape, and banks of sewing machines — even a display of old hand-cranked models.\u003c/p>\n\u003cp>One of the seamstresses in the sewing room on a weekday morning is Shannon Tiger.\u003c/p>\n\u003cp>“I’m making Fire,” she says, of the cloth piecework she’s running on a sewing machine. “This pattern comes from when you start with [another pattern called] Rain, … but you cut it into two squares, and then you cut it and put it them together at an angle and then you get Fire.”\u003c/p>\n\u003cp>For another seamstress, patchwork is also a business. Ashley Cypress is a member of the closely related Miccosukee Tribe. She sews for natives and non-native people alike. She uses social media expertly, especially \u003ca href=\"https://www.instagram.com/alleykatkreations/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. She’s dressed a lot of pageant contestants.\u003c/p>\n\u003cp>“They’ll come to me with a picture and say, ‘Do you think you can make something like this?’ I’m like, ‘I’ll try it!’ Pinterest is like my best friend,” she says, laughing.\u003c/p>\n\u003cfigure id=\"attachment_11196938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg\" alt=\"Earlier contestants from the 1960's for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11196938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Earlier contestants from the 1960’s for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions. \u003ccite>(Courtesy: Seminole Tribe of Florida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One historian says that what makes Seminole patchwork so appealing is the way the patterns move: in the wind or when someone is walking. Arrayed on a stage, the patterns on the young women glow, as if they were part of a neon Pop-art kaleidoscope — they’re often made from modern fabrics today like satin and velvet. In the case of Alexis Jumper’s skirt and cape, she’s used sequins and lace.\u003c/p>\n\u003cp>Alexis greets the pageant audience in Creek first, then English. “Hello and good evening, everyone. My name is Alexis Jumper. I am 20 years old and from the Hollywood Reservation.”\u003c/p>\n\u003cp>Alexis came in second runner-up.\u003c/p>\n\u003cp>Tribal members, like Wanda Bowers, call the contestants the “life-givers” of the next generation. Her daughter, Christine McCall is also a mentor to the contestants and the 2005 Miss Florida Seminole Princess. She reminds the competitors that their role is to represent the tribe to the outside world.\u003c/p>\n\u003cp>“I have to remind the girls that, yes, you know who we are, and you know, you might meet another person in Florida who knows who we are, but when you leave this state, more than likely they’re not going to know who we are and we have to educate them. That might see a beautiful skirt, but they don’t understand why we wear it,” she says.\u003c/p>\n\u003cp>They wear it because it identifies this small tribe as Seminole. And it sparks the curiosity of anyone who sees it. If yours has been sparked, check out \u003ca href=\"http://semtribefairandpowwow.com/\" target=\"_blank\" rel=\"noopener\">The Seminole Tribal Fair and Pow-Wow\u003c/a> at the Hollywood Hard Rock Casino, the first weekend in February.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Reporting for this story comes in part from the Florida Humanities Council and Florida Cultural Resources, Tarpon Springs.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Princess+In+Patchwork%3A+Sewing+For+The+Miss+Florida+Seminole+Princess+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.theseams.org/\" target=\"_blank\" rel=\"noopener\">The Seams\u003c/a>, an occasional NPR series on clothing as culture, has been reporting a series about Florida Seminole Indian patchwork and its heritage and use in tribal life. Read the first installment in this series, “\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line\" target=\"_blank\" rel=\"noopener\">Osceola At The Fifty Yard Line.\u003c/a>“\u003c/em>\u003c/p>\n\u003cp>Twelve young women in their teens and early twenties are walking on a stage surrounded by twinkling lights that look like a starry night sky, wearing eye-catching dresses of Seminole Indian patchwork. They’re contestants in the 58th annual Miss Florida Seminole Princess Pageant. The winner will be the tribe’s ambassador to the wider world.\u003c/p>\n\u003cp>Lewis Gopher was one of the emcees at the pageant, which takes place the last weekend in July. He explains what patchwork is to the crowd at tribal headquarters in Hollywood, Fla.\u003c/p>\n\u003cp>“Sewing is very important to our people,” Gopher says. “There are traditional outfits, which is all cotton, but also new materials like rayon and lace. It’s evolved, just like we have, and we put our own twist on patchwork garments.”\u003c/p>\n\u003cp>Seminole patchwork is not the patchwork we associate with quilting bees and bedspreads. Think of it almost more like cotton origami, squares of cloth rolled and folded into symbols: flags, crosses, bird, traditional elements. The symbols are sewn into strips, and these strips are sewn together to make garments like jackets, vests and skirts. Many Seminole tribal members wear patchwork daily, and nearly always wear it for special occasions like pageants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Making patchwork is intricate and time-consuming, and a finished garment can cost hundreds of dollars. For reasons of tradition and economy, pageant contestants often learn to make it. Twenty-year-old contestant Alexis Jumper is one of them.\u003c/p>\n\u003cp>“I go about picking the colors, and then from there, I would cut the strips and everything in the colors I want, and I can decide if I want to be more traditional, or I can go for a more flashy approach to it,” she says. “I love shiny.”\u003c/p>\n\u003cp>Alexis comes from Hollywood, the largest of the Seminole reservations and communities in South Florida. For her, the pageant is more than a rite of passage — it’s a career step up the tribal hierarchy.\u003c/p>\n\u003cp>“I want to get a job here at the tribe because I want to one day work up to Secretary and then one day I want to strive to be Chairman,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Betty Mae Jumper was the first woman elected chairman of any federally recognized American Indian tribe.\u003c/p>\n\u003cp>The Princess Pageant began when the Seminoles were working to gain federal recognition, back in the late 1950’s. Pageant Director Wanda Bowers tells the story of the young secretary who was accompanying tribal elders to Washington, DC. She tired of a certain question.\u003c/p>\n\u003cp>“They’d ask, ‘Is she your princess?’,” says Bowers. “She would always say ‘I’m the secretary-treasurer of the tribe. I’m their translator, their note-taker’ Finally she told the chief, ‘I’m not gonna be recognized as the princess anymore. I want you to start a princess contest so that we can have an official princess to be recognized as our ambassador.”\u003c/p>\n\u003cp>By 1960, the tribe held its first such contest, and it’s become increasingly traditional over time. (The swimsuit contest was dropped after the first season.) Bowers, 64, won the pageant in ’68 and ’69. She’s has been directing the Miss Florida Seminole Princess Pageant since 1991. With the Jr. Miss Pageant added, young women 13 to 25 can participate. Princesses travel — a lot.\u003c/p>\n\u003cp>Alexis is one of several contestants who made some of her outfits. “I learned all my sewing at the [Art and] Culture Center here in Hollywood. Sewing is something that I really love doing. It’s one of my major hobbies that I do every day.”\u003c/p>\n\u003cp>The invention of the sewing machine changed the way the tribe looked. When the Singer sewing machine came into existence in the 19th century, the Seminoles embraced it. The outline of the long skirts and capes emulated European dress — and kept mosquitoes at bay. By the 20th century, tourists sought the Seminole patchwork, too, and that brought in money for the tribe.\u003c/p>\n\u003cp>The sewing room at the Arts and Culture Center is always busy, especially around the Princess Pageant and other festival times. It’s lined with bright skeins of thread, rickrack and bias tape, and banks of sewing machines — even a display of old hand-cranked models.\u003c/p>\n\u003cp>One of the seamstresses in the sewing room on a weekday morning is Shannon Tiger.\u003c/p>\n\u003cp>“I’m making Fire,” she says, of the cloth piecework she’s running on a sewing machine. “This pattern comes from when you start with [another pattern called] Rain, … but you cut it into two squares, and then you cut it and put it them together at an angle and then you get Fire.”\u003c/p>\n\u003cp>For another seamstress, patchwork is also a business. Ashley Cypress is a member of the closely related Miccosukee Tribe. She sews for natives and non-native people alike. She uses social media expertly, especially \u003ca href=\"https://www.instagram.com/alleykatkreations/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. She’s dressed a lot of pageant contestants.\u003c/p>\n\u003cp>“They’ll come to me with a picture and say, ‘Do you think you can make something like this?’ I’m like, ‘I’ll try it!’ Pinterest is like my best friend,” she says, laughing.\u003c/p>\n\u003cfigure id=\"attachment_11196938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg\" alt=\"Earlier contestants from the 1960's for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11196938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Earlier contestants from the 1960’s for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions. \u003ccite>(Courtesy: Seminole Tribe of Florida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One historian says that what makes Seminole patchwork so appealing is the way the patterns move: in the wind or when someone is walking. Arrayed on a stage, the patterns on the young women glow, as if they were part of a neon Pop-art kaleidoscope — they’re often made from modern fabrics today like satin and velvet. In the case of Alexis Jumper’s skirt and cape, she’s used sequins and lace.\u003c/p>\n\u003cp>Alexis greets the pageant audience in Creek first, then English. “Hello and good evening, everyone. My name is Alexis Jumper. I am 20 years old and from the Hollywood Reservation.”\u003c/p>\n\u003cp>Alexis came in second runner-up.\u003c/p>\n\u003cp>Tribal members, like Wanda Bowers, call the contestants the “life-givers” of the next generation. Her daughter, Christine McCall is also a mentor to the contestants and the 2005 Miss Florida Seminole Princess. She reminds the competitors that their role is to represent the tribe to the outside world.\u003c/p>\n\u003cp>“I have to remind the girls that, yes, you know who we are, and you know, you might meet another person in Florida who knows who we are, but when you leave this state, more than likely they’re not going to know who we are and we have to educate them. That might see a beautiful skirt, but they don’t understand why we wear it,” she says.\u003c/p>\n\u003cp>They wear it because it identifies this small tribe as Seminole. And it sparks the curiosity of anyone who sees it. If yours has been sparked, check out \u003ca href=\"http://semtribefairandpowwow.com/\" target=\"_blank\" rel=\"noopener\">The Seminole Tribal Fair and Pow-Wow\u003c/a> at the Hollywood Hard Rock Casino, the first weekend in February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting for this story comes in part from the Florida Humanities Council and Florida Cultural Resources, Tarpon Springs.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Princess+In+Patchwork%3A+Sewing+For+The+Miss+Florida+Seminole+Princess+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After inspiring people to dance for almost four years, \u003ca href=\"http://www.studio1924.com/\" target=\"_blank\" rel=\"noopener\">Studio 1924, \u003c/a> which was once described as being “\u003ca href=\"http://oakland.oakland.awardsystem.org/PressReleaseub.aspx?cc=DEUS-RBDS-Y7CC\" target=\"_blank\" rel=\"noopener\">Best Dance School\u003c/a>” in Oakland, will be closing its doors at its current location on Feb. 10 of next year.\u003c/p>\n\u003cp>The building’s owner — the third in just as many years — recently informed the studio’s owners that their lease will not be extended, according to studio co-founder Melissa Agocs.\u003c/p>\n\u003cp>“The most recent owners originally said the business could be on a month-to-month basis until a new location was found, but then changed their minds,” wrote Agocs in an email to KQED.\u003c/p>\n\u003cp>The studio first opened in 2012, when Agocs took a leap of faith and began renting the downtown Oakland space shortly after being laid off her previous job. Agocs and fellow co-founder Count Glover agreed to lease the space when the owner at the time was about to leave the country.\u003c/p>\n\u003cp>“We were kinda under the gun,” says Glover of their initial decision to lease.\u003c/p>\n\u003cfigure id=\"attachment_11181879\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11181879 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg\" alt=\"Night-events-studio-1924-oakland\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1920x1077.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based Studio 1924 will be forced to leave its Franklin Street premise in February, 2016. \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio first became popular as a venue for people to stay active during their lunch break. Now the studio has three-to-four classes each day and is packed with kids classes on Saturdays.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are a little bit more eclectic in terms of what we have to offer here,” Glover says about the wide range of classes as well as people who attend.\u003c/p>\n\u003cp>Agocs says people use the time during classes to get to know one another beyond the screens, “It’s good for the brain and body,” she says. With many proven positive effects, Agocs notes that dance is even \u003ca href=\"http://www.berkeleywellness.com/fitness/active-lifestyle/article/many-health-benefits-dancing\" target=\"_blank\" rel=\"noopener\">prescribed\u003c/a> as a treatment for some.\u003c/p>\n\u003cp>James Wiester, who works in San Francisco’s booming construction business, started dancing at Studio 1924 about two years ago and is now a regular who shows up twice a week for salsa classes. For him, the studio’s diverse environment, made up of dancers of all ages, ethnicities and livelihoods, is what he appreciated most about the studio.\u003c/p>\n\u003cp>“The environment they have created is among the best I have seen in the Bay Area,” Wiester says.\u003c/p>\n\u003cp>Despite full classes and dedicated customers, the studio has fallen to \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">a growing affordability crisis\u003c/a> in Oakland. Rents for nearby spaces have easily doubled in the last few years, according to Glover.\u003c/p>\n\u003cp>“We joke that Oakland is the new Brooklyn,” Glover says.\u003c/p>\n\u003cp>Gina Hill, who moved to Oakland to teach in the mid 1990s, has been taking samba classes at Studio 1924 since it opened and is frustrated to see yet another art space close down.\u003c/p>\n\u003cp>“Gentrification is a huge part of it,” Hill says. “People of color and artists end up not being able to stay and afford Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_11185075\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11185075\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Couple01.jpg\" alt=\"Dancers at Studio 1924\" width=\"900\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-768x642.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Studio 1924 \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill is guessing the space will be renovated and flipped to create more “boring office space.”\u003c/p>\n\u003cp>The owners have been on the hunt for a new space since the spring, but are finding the search for another studio in the Bay Area increasingly difficult. As for the space, the current tenants do not know who will be next to occupy 1924 Franklin St., just blocks from the 19th Street Bart station, but it’s highly unlikely it will be anything like Studio 1924.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We’ve reached out to the building’s owner for comment and we will update this story when we hear back.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After inspiring people to dance for almost four years, \u003ca href=\"http://www.studio1924.com/\" target=\"_blank\" rel=\"noopener\">Studio 1924, \u003c/a> which was once described as being “\u003ca href=\"http://oakland.oakland.awardsystem.org/PressReleaseub.aspx?cc=DEUS-RBDS-Y7CC\" target=\"_blank\" rel=\"noopener\">Best Dance School\u003c/a>” in Oakland, will be closing its doors at its current location on Feb. 10 of next year.\u003c/p>\n\u003cp>The building’s owner — the third in just as many years — recently informed the studio’s owners that their lease will not be extended, according to studio co-founder Melissa Agocs.\u003c/p>\n\u003cp>“The most recent owners originally said the business could be on a month-to-month basis until a new location was found, but then changed their minds,” wrote Agocs in an email to KQED.\u003c/p>\n\u003cp>The studio first opened in 2012, when Agocs took a leap of faith and began renting the downtown Oakland space shortly after being laid off her previous job. Agocs and fellow co-founder Count Glover agreed to lease the space when the owner at the time was about to leave the country.\u003c/p>\n\u003cp>“We were kinda under the gun,” says Glover of their initial decision to lease.\u003c/p>\n\u003cfigure id=\"attachment_11181879\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11181879 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg\" alt=\"Night-events-studio-1924-oakland\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1920x1077.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based Studio 1924 will be forced to leave its Franklin Street premise in February, 2016. \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio first became popular as a venue for people to stay active during their lunch break. Now the studio has three-to-four classes each day and is packed with kids classes on Saturdays.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are a little bit more eclectic in terms of what we have to offer here,” Glover says about the wide range of classes as well as people who attend.\u003c/p>\n\u003cp>Agocs says people use the time during classes to get to know one another beyond the screens, “It’s good for the brain and body,” she says. With many proven positive effects, Agocs notes that dance is even \u003ca href=\"http://www.berkeleywellness.com/fitness/active-lifestyle/article/many-health-benefits-dancing\" target=\"_blank\" rel=\"noopener\">prescribed\u003c/a> as a treatment for some.\u003c/p>\n\u003cp>James Wiester, who works in San Francisco’s booming construction business, started dancing at Studio 1924 about two years ago and is now a regular who shows up twice a week for salsa classes. For him, the studio’s diverse environment, made up of dancers of all ages, ethnicities and livelihoods, is what he appreciated most about the studio.\u003c/p>\n\u003cp>“The environment they have created is among the best I have seen in the Bay Area,” Wiester says.\u003c/p>\n\u003cp>Despite full classes and dedicated customers, the studio has fallen to \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">a growing affordability crisis\u003c/a> in Oakland. Rents for nearby spaces have easily doubled in the last few years, according to Glover.\u003c/p>\n\u003cp>“We joke that Oakland is the new Brooklyn,” Glover says.\u003c/p>\n\u003cp>Gina Hill, who moved to Oakland to teach in the mid 1990s, has been taking samba classes at Studio 1924 since it opened and is frustrated to see yet another art space close down.\u003c/p>\n\u003cp>“Gentrification is a huge part of it,” Hill says. “People of color and artists end up not being able to stay and afford Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_11185075\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11185075\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Couple01.jpg\" alt=\"Dancers at Studio 1924\" width=\"900\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-768x642.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Studio 1924 \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill is guessing the space will be renovated and flipped to create more “boring office space.”\u003c/p>\n\u003cp>The owners have been on the hunt for a new space since the spring, but are finding the search for another studio in the Bay Area increasingly difficult. As for the space, the current tenants do not know who will be next to occupy 1924 Franklin St., just blocks from the 19th Street Bart station, but it’s highly unlikely it will be anything like Studio 1924.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We’ve reached out to the building’s owner for comment and we will update this story when we hear back.\u003c/i>\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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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