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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/10/TDL20151015.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Oct. 17–18\u003c/strong>: The \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>. Tucked in the middle of the Bay with stellar views, this year’s electronic and indie festival includes Chvrches, Deadmau5, FKA Twigs, Father John Misty, Big Grams and many, many others on two stages. New this year is a comedy lineup, while attendees still get to the island the same way they always have — from a free shuttle departing from SF. This is truly one of the Bay Area’s annual gems. \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–18\u003c/strong>: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Twyla Tharp 50th Anniversary Tour\u003c/a>. There aren’t very many figures that have had as much influence on modern dance as Tharp, and it’s hard to believe she founded her company 50 years ago — especially considering her use of progressive contemporary music from the likes of John Zorn, Henry Butler and Steven Bernstein. Three shows at Zellerbach Auditorium are poised to show why the \u003cem>New York Times\u003c/em> calls her “the queen of mixing vernacular dance and classical ballet.” \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 18\u003c/strong>: \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Paul Jacobs and Christine Brewer with the San Francisco Symphony\u003c/a>. An operatic soprano and a classical organist may seem like strange bedfellows, but then, this is Paul Jacobs and Christine Brewer we’re talking about here. Brewer, for her part, was the obvious replacement in 2006 when Renée Fleming had to call out sick at Festival del Solé, in Yountville; Jacobs has been one of the finest players of the organ in recent memory. The program includes Bach, Franck, Puccini, Reger, Boulanger, Handel and more. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17–25\u003c/strong>: \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu 30th Anniversary\u003c/a>. Patrick Makuakāne founded this dance company 30 years ago on the foundation of innovative choreography and musical choices, and has even led hula dances to the sounds of Lady Gaga. Citing hip-hop dance as a major inspiration, Makuakāne draws from past traditions while innovating the hula form for future generations. \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–Dec. 20\u003c/strong>: the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Pirates of Penzance\u003c/a>. Berkeley Rep stages this adaptation of Gilbert & Sullivan’s classic by the Hypocrites, a band of rebels from Chicago, who dethrone the masterwork with a sliver of snark and an abundance of skill. Banjos, beach balls, and guitars all come into play in this adaptation, which is the very model of a modern major musical. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 16\u003c/strong>: \u003ca href=\"http://www.gunbun.com/calendar\" target=\"_blank\" rel=\"noopener\">Fuzz and Mudhoney\u003c/a>. Ty Seagall’s “side project” has managed to achieve the momentum of any regular band, owing to the prolific nature of Seagall — who left SF for Los Angeles when the going got tough and the rents got high. His departure has only made him more active musically, though, and his presence behind the drum kit on this show in a 100-year-old-barn is hardly the highlight when Sub Pop’s finest “Touch Me I’m Sick” purveyors headline. \u003ca href=\"http://www.gunbun.com/calendar\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Oct. 17–18\u003c/strong>: The \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>. Tucked in the middle of the Bay with stellar views, this year’s electronic and indie festival includes Chvrches, Deadmau5, FKA Twigs, Father John Misty, Big Grams and many, many others on two stages. New this year is a comedy lineup, while attendees still get to the island the same way they always have — from a free shuttle departing from SF. This is truly one of the Bay Area’s annual gems. \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–18\u003c/strong>: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Twyla Tharp 50th Anniversary Tour\u003c/a>. There aren’t very many figures that have had as much influence on modern dance as Tharp, and it’s hard to believe she founded her company 50 years ago — especially considering her use of progressive contemporary music from the likes of John Zorn, Henry Butler and Steven Bernstein. Three shows at Zellerbach Auditorium are poised to show why the \u003cem>New York Times\u003c/em> calls her “the queen of mixing vernacular dance and classical ballet.” \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 18\u003c/strong>: \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Paul Jacobs and Christine Brewer with the San Francisco Symphony\u003c/a>. An operatic soprano and a classical organist may seem like strange bedfellows, but then, this is Paul Jacobs and Christine Brewer we’re talking about here. Brewer, for her part, was the obvious replacement in 2006 when Renée Fleming had to call out sick at Festival del Solé, in Yountville; Jacobs has been one of the finest players of the organ in recent memory. The program includes Bach, Franck, Puccini, Reger, Boulanger, Handel and more. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17–25\u003c/strong>: \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu 30th Anniversary\u003c/a>. Patrick Makuakāne founded this dance company 30 years ago on the foundation of innovative choreography and musical choices, and has even led hula dances to the sounds of Lady Gaga. Citing hip-hop dance as a major inspiration, Makuakāne draws from past traditions while innovating the hula form for future generations. \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–Dec. 20\u003c/strong>: the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Pirates of Penzance\u003c/a>. Berkeley Rep stages this adaptation of Gilbert & Sullivan’s classic by the Hypocrites, a band of rebels from Chicago, who dethrone the masterwork with a sliver of snark and an abundance of skill. Banjos, beach balls, and guitars all come into play in this adaptation, which is the very model of a modern major musical. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hawaiian culture runs deep in the Bay Area, and one reason is the work of Patrick Makuakāne, the founder and leader of the dance company \u003ca href=\"http://Na%20Lei%20Hulu%20I%20Ka%20Wekiu\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu\u003c/a>. The company celebrates 30 years of \u003cem>hula mua\u003c/em> (“hula that evolves”), based on Makuakāne’s innovative choreography and musical choices, with a \u003ca href=\"http://naleihulu.org/kanakolu\" target=\"_blank\" rel=\"noopener\">series of concerts\u003c/a> at the Palace of Fine Arts in San Francisco running from Oct. 17–25.\u003c/p>\n\u003cp>We recently sent Makuakāne some questions about Na Lei Hulu’s history, and his work, with its mix of power and grace. Here’s the interview.\u003c/p>\n\u003cp>\u003cstrong>Your dances are rooted in tradition, but borrow from modern styles. And you sometimes use pop music, like Lady Gaga’s “Born This Way.” What do you gain by shaking things up like that?\u003c/strong>\u003c/p>\n\u003cp>I feel that hula is one of the most beautiful forms of expression in dance and I don’t want to limit it just to Hawaiian music. Traditionally speaking, the poetry associated with the dance is the main vehicle that expresses the story. As much as I love Hawaiian music and chants, I’m also inspired and intrigued by other genres and feel that hula is a perfect way to embellish those beautifully crafted stories, whether it’s from Lady Gaga, Tony Bennett, Roberta Flack, or Kuana Torres Kahele.\u003c/p>\n\u003cp>\u003cstrong>Why is it easier to innovate here on the mainland than in Hawai’i?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A friend from Hawai’i once mentioned to me that it must be great practicing hula without anyone peering over your shoulder judging your work. I never thought about it that way, but he had a point. There’s definitely been a sense of liberation (as well as isolation) without having to deal with a running commentary about the work. Basically, I felt free to do whatever I wanted. And did.\u003c/p>\n\u003cp>\u003cstrong>You call your hula style hula mua. What does that mean?\u003c/strong>\u003c/p>\n\u003cp>Mua is a word that can mean forward/ahead or even before, depending on how it’s used. I like to think of Hula Mua as bringing something from the past and advancing it to the future.\u003c/p>\n\u003cfigure id=\"attachment_11013255\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11013255\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-1180x903.jpg\" alt=\"Na Lei Hulu dancers\" width=\"640\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-1180x903.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-784x600.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-1920x1469.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-960x735.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Na Lei Hulu dancers \u003ccite>(Lin Carliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Bay Area’s a hotbed of traditional ballet, modern and ethnic dance styles. What kind of dance has had the most influence on you?\u003c/strong>\u003c/p>\n\u003cp>I have seen a plethora of dance styles living here in the Bay Area which I deeply admire, but the style that speaks to me the most is hip-hop. I love the intricate use of hand/arm movements and the dynamic way it’s linked to the lower body. It reminds me of a highly stylized hula.\u003c/p>\n\u003cp>\u003cstrong>You studied with some of the great hula masters, and yourself are now a master, a “kumu hula.” What do your old teachers say about your style, and do you worry about offending them?\u003c/strong>\u003c/p>\n\u003cp>Interestingly enough, one of my teachers is a staunch traditional exponent and yet she loves our modern interpretation of hula. She appreciates the fact that I am committed to passing on everything she taught me as it was taught. I strongly feel that these beautiful traditional heirlooms are perfect in their pristine state and I don’t feel the need to re-imagine them in a contemporary format.\u003c/p>\n\u003cp>Conversely there are no rules in hula that say I cannot choreograph or create dances accompanied by pop, electronic or alternative music. I’m not here to turn tradition on its head. I believe that preserving your traditions while simultaneously evolving your art form are not mutually exclusive pursuits and my teacher agrees. As long as she’s happy, I’m happy!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rwQEz_BrZrg\u003c/p>\n\u003cp>\u003cstrong>You’ve been teaching hula and leading your hula company Na Lei Hulu I Ka Wekiu for thirty years. How has your teaching changed over the decades?\u003c/strong>\u003c/p>\n\u003cp>I’ve learned to trust my instincts more and more. Sometimes I’ll leap then look. As I’ve gotten older, I’m able to be really be present when I’m teaching, feeling the power and beauty of the moment in a way that I wasn’t able as a young “kumu” (teacher). I’m also more grateful than ever to have such a meaningful way to connect with others through hula, be it my students, colleagues or the audience.\u003c/p>\n\u003cp>\u003cstrong>What have your students taught you in that time?\u003c/strong>\u003c/p>\n\u003cp>There is a saying in Hawaiian, “Aohe hana nui ke alu ia,” meaning no task is too great when done together by all. We have accomplished tremendous work throughout the years and that’s because everyone in the community works together to ensure that we can make anything happen.\u003c/p>\n\u003cp>\u003cstrong>What have you got planned for the next thirty years of teaching?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure about the next thirty years… It’s been a glorious ride so far and I’ve taken things as they come, one fantastic experience after the next. But next year, I want to take my company to Burning Man! Hula in the desert. We thrive in environments that seem counterintuitive for hula and I’m already imagining a lyrical, traditional piece accompanied by electronic music, danced in a dust storm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hawaiian culture runs deep in the Bay Area, and one reason is the work of Patrick Makuakāne, the founder and leader of the dance company \u003ca href=\"http://Na%20Lei%20Hulu%20I%20Ka%20Wekiu\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu\u003c/a>. The company celebrates 30 years of \u003cem>hula mua\u003c/em> (“hula that evolves”), based on Makuakāne’s innovative choreography and musical choices, with a \u003ca href=\"http://naleihulu.org/kanakolu\" target=\"_blank\" rel=\"noopener\">series of concerts\u003c/a> at the Palace of Fine Arts in San Francisco running from Oct. 17–25.\u003c/p>\n\u003cp>We recently sent Makuakāne some questions about Na Lei Hulu’s history, and his work, with its mix of power and grace. Here’s the interview.\u003c/p>\n\u003cp>\u003cstrong>Your dances are rooted in tradition, but borrow from modern styles. And you sometimes use pop music, like Lady Gaga’s “Born This Way.” What do you gain by shaking things up like that?\u003c/strong>\u003c/p>\n\u003cp>I feel that hula is one of the most beautiful forms of expression in dance and I don’t want to limit it just to Hawaiian music. Traditionally speaking, the poetry associated with the dance is the main vehicle that expresses the story. As much as I love Hawaiian music and chants, I’m also inspired and intrigued by other genres and feel that hula is a perfect way to embellish those beautifully crafted stories, whether it’s from Lady Gaga, Tony Bennett, Roberta Flack, or Kuana Torres Kahele.\u003c/p>\n\u003cp>\u003cstrong>Why is it easier to innovate here on the mainland than in Hawai’i?\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 friend from Hawai’i once mentioned to me that it must be great practicing hula without anyone peering over your shoulder judging your work. I never thought about it that way, but he had a point. There’s definitely been a sense of liberation (as well as isolation) without having to deal with a running commentary about the work. Basically, I felt free to do whatever I wanted. And did.\u003c/p>\n\u003cp>\u003cstrong>You call your hula style hula mua. What does that mean?\u003c/strong>\u003c/p>\n\u003cp>Mua is a word that can mean forward/ahead or even before, depending on how it’s used. I like to think of Hula Mua as bringing something from the past and advancing it to the future.\u003c/p>\n\u003cfigure id=\"attachment_11013255\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11013255\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-1180x903.jpg\" alt=\"Na Lei Hulu dancers\" width=\"640\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-1180x903.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-784x600.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-1920x1469.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Na-Lei-Hulu-Image-4-960x735.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Na Lei Hulu dancers \u003ccite>(Lin Carliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Bay Area’s a hotbed of traditional ballet, modern and ethnic dance styles. What kind of dance has had the most influence on you?\u003c/strong>\u003c/p>\n\u003cp>I have seen a plethora of dance styles living here in the Bay Area which I deeply admire, but the style that speaks to me the most is hip-hop. I love the intricate use of hand/arm movements and the dynamic way it’s linked to the lower body. It reminds me of a highly stylized hula.\u003c/p>\n\u003cp>\u003cstrong>You studied with some of the great hula masters, and yourself are now a master, a “kumu hula.” What do your old teachers say about your style, and do you worry about offending them?\u003c/strong>\u003c/p>\n\u003cp>Interestingly enough, one of my teachers is a staunch traditional exponent and yet she loves our modern interpretation of hula. She appreciates the fact that I am committed to passing on everything she taught me as it was taught. I strongly feel that these beautiful traditional heirlooms are perfect in their pristine state and I don’t feel the need to re-imagine them in a contemporary format.\u003c/p>\n\u003cp>Conversely there are no rules in hula that say I cannot choreograph or create dances accompanied by pop, electronic or alternative music. I’m not here to turn tradition on its head. I believe that preserving your traditions while simultaneously evolving your art form are not mutually exclusive pursuits and my teacher agrees. As long as she’s happy, I’m happy!\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/rwQEz_BrZrg'\n title='//www.youtube.com/embed/rwQEz_BrZrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’ve been teaching hula and leading your hula company Na Lei Hulu I Ka Wekiu for thirty years. How has your teaching changed over the decades?\u003c/strong>\u003c/p>\n\u003cp>I’ve learned to trust my instincts more and more. Sometimes I’ll leap then look. As I’ve gotten older, I’m able to be really be present when I’m teaching, feeling the power and beauty of the moment in a way that I wasn’t able as a young “kumu” (teacher). I’m also more grateful than ever to have such a meaningful way to connect with others through hula, be it my students, colleagues or the audience.\u003c/p>\n\u003cp>\u003cstrong>What have your students taught you in that time?\u003c/strong>\u003c/p>\n\u003cp>There is a saying in Hawaiian, “Aohe hana nui ke alu ia,” meaning no task is too great when done together by all. We have accomplished tremendous work throughout the years and that’s because everyone in the community works together to ensure that we can make anything happen.\u003c/p>\n\u003cp>\u003cstrong>What have you got planned for the next thirty years of teaching?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure about the next thirty years… It’s been a glorious ride so far and I’ve taken things as they come, one fantastic experience after the next. But next year, I want to take my company to Burning Man! Hula in the desert. We thrive in environments that seem counterintuitive for hula and I’m already imagining a lyrical, traditional piece accompanied by electronic music, danced in a dust storm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Loipa Araujo is an exacting ballet coach. She has to be: the great Cuban National Ballet star has less than a month to teach the members of Silicon Valley Ballet how to dance \u003ci>Giselle\u003c/i> — the Cuban way.\u003c/p>\n\u003cp>“Some of them have done another version of \u003ci>Giselle\u003c/i>,” Araujo says of the beloved classical ballet during a break in their downtown San Jose rehearsal space. “They have to completely forget that and be open to this new \u003ci>Giselle\u003c/i>.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/230537319″ 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>Relations between the U.S. and Cuba have improved of late. And now Silicon Valley Ballet is doing its part to help move the reconciliation along. The company is unveiling a legendary Cuban version of \u003cem>Giselle\u003c/em>. The ballet tells the tragic tale of a peasant girl who goes mad and dies of a broken heart after being betrayed by her lover — an audience favorite since it was first performed in the 1840s.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.balletcuba.cult.cu/\" target=\"_blank\" rel=\"noopener\">Cuban National Ballet\u003c/a> is particularly associated with \u003ci>Giselle\u003c/i> because of the unique drama and flawless technique of the company’s co-founder, Alicia Alonso, who danced the title role to great acclaim with the Ballet Theatre in New York (known these days as American Ballet Theatre) back in the 1940s. The young Cuban prodigy caused a sensation when she stepped in at the last minute for an injured Alicia Markova during the 1941-42 season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One thing that was extraordinary about her version was the mad scene,” says Toba Singer, a Berkeley based dance scholar who frequently writes about Cuban ballet. “Alicia Alonso really gave her own interpretation to it and it was marvelous.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xkZc5KJIRbU\u003c/p>\n\u003cp>The ballet star returned home to Cuba in 1948 to found the institution that would eventually become the Cuban National Ballet. At 93, Alonso still tours with her company, and her version of \u003cem>Giselle \u003c/em> is a hallmark of the company’s repertoire.\u003c/p>\n\u003cp>“I’ve seen many, many other versions of \u003ci>Giselle\u003c/i>, and I do think our Cuban version, the version of Alicia, has this very clear dramatic line,” Araujo says. “All the characters are very well defined.”\u003c/p>\n\u003cp>The dancers of Silicon Valley Ballet are also working intensively with Araujo and her team of dance coaches from Havana on technical specifics particular to the Cuban version. They pay close attention to seemingly tiny details, like keeping their arms rounded rather than straight in one key scene in the second act.\u003c/p>\n\u003cp>“In this version, every single thing you do, even how you bow or how you look at somebody, has a meaning,” says principal dancer Ommi Pipit-Suksun, who is one of the dancers charged with bringing the challenging principal character to life on stage in Silicon Valley Ballet’s production. “It’s not just an empty gesture. It has a lot of nuances; many layers and not just steps.”\u003c/p>\n\u003cp>Despite paying close attention to the nuances of this Cuban \u003ci>Giselle\u003c/i>, Pipit-Suksun isn’t interested in slavishly imitating Alonso. This ballerina intends to make the role of Giselle her own.\u003c/p>\n\u003cfigure id=\"attachment_10997866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997866 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg\" alt=\"Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Copying somebody is never a good thing,” Pipit-Suksun says. “That emotion has to be real. It has to come from you. They can guide you — you should do this and that — but ultimately it’s up to you.”\u003c/p>\n\u003cp>This landmark collaboration represents a big comeback for Silicon Valley Ballet, which came close to shutting down this past spring. The company was already in a deep financial hole when its present artistic director, international-acclaimed ballet star and Cuban native Jose Manuel Carreno came on board in 2013. “We’ve been through rough patches,” Carreno says.\u003c/p>\n\u003cp>Carreno and his community leapt into action earlier this year.\u003cstrong> \u003c/strong>The company rebranded itself from Ballet San Jose to Silicon Valley Ballet and set about fundraising. The company scored $640,000 during the first 10 days of its fundraising campaign, and has so far raised nearly $3 million of its $3.5 million goal. This includes a $50,000 grant to stage \u003cem>Giselle\u003c/em> from the Knight Foundation.\u003c/p>\n\u003cp>“We’re stepping up, the company is moving, is getting better, we’re working on it,” Carreno says. “It’s exciting.”\u003c/p>\n\u003cp>But \u003ci>Giselle\u003c/i> isn’t only a turning point for the dance company. As one of the first major cultural collaborations between the U.S. and Cuba in more than half a century, the production is politically significant. For many years, the U.S. government would not grant visas to Cuban dancers.\u003c/p>\n\u003cfigure id=\"attachment_10997867\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997867 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg\" alt=\"Silicon Valley Ballet company members in rehearsal for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet company members in rehearsal for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a historic moment for American audiences,” says Singer. “This means we can have access. This is their finest work and we’re going to have a chance to see it.”\u003c/p>\n\u003cp>It’s been very risky for most Cuban artists, like Silicon Valley Ballet principal dancer Maykel Solas, to pursue careers in the U.S. Solas has been with the company for 10 years. In his early days in this country, he was worried about how the Cuban authorities would treat his family.\u003c/p>\n\u003cp>“I stopped talking with my mum for months,” Solas says. “I was afraid they would say something to my mum or to my family.”\u003c/p>\n\u003cp>With Cuba and the U.S. on friendlier terms — the American Ballet Theatre and the New York City Ballet both performed at the International Ballet Festival in Havana in 2010 — the possibility of heightened cultural exchange between the U.S. and Cuba in the coming years is a tantalizing prospect for ballet professionals and fans of the art form from both nations. Silicon Valley Ballet plans to participate in the aforementioned festival next fall.\u003c/p>\n\u003cp>“If we have good relationships, everybody can go back and forwards,” Solas says. “Everybody can learn from everybody.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet visas remain hard to come by. It’s been a long and arduous process for Silicon Valley Ballet to procure the necessary paperwork to enable the Cuban coaches to join the company in San Jose for this production of \u003cem>Giselle\u003c/em>. Although diplomatic relations are currently in the process of being restored between the U.S. and Cuba, it will be quite some time before artists can move freely between the two countries.\u003c/span>\u003c/p>\n\u003cp>Silicon Valley Ballet’s production of \u003cem>Giselle\u003c/em> runs Oct. 16-18, 2015 at the San Jose Center for the Performing Arts. For tickets and more information, visit \u003ca href=\"http://siliconvalleyballet.org/giselle/\" target=\"_blank\" rel=\"noopener\">siliconvalleyballet.org\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Jose Manuel Carreno appeared as a guest on KQED Forum on Oct. 8, together with Silicon Valley Ballet board chair Millicent Powers. Listen to their interview with host Michael Krasny \u003ca href=\"http://www.kqed.org/a/forum/R201510081030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Loipa Araujo is an exacting ballet coach. She has to be: the great Cuban National Ballet star has less than a month to teach the members of Silicon Valley Ballet how to dance \u003ci>Giselle\u003c/i> — the Cuban way.\u003c/p>\n\u003cp>“Some of them have done another version of \u003ci>Giselle\u003c/i>,” Araujo says of the beloved classical ballet during a break in their downtown San Jose rehearsal space. “They have to completely forget that and be open to this new \u003ci>Giselle\u003c/i>.”\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/230537319″&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/230537319″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Relations between the U.S. and Cuba have improved of late. And now Silicon Valley Ballet is doing its part to help move the reconciliation along. The company is unveiling a legendary Cuban version of \u003cem>Giselle\u003c/em>. The ballet tells the tragic tale of a peasant girl who goes mad and dies of a broken heart after being betrayed by her lover — an audience favorite since it was first performed in the 1840s.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.balletcuba.cult.cu/\" target=\"_blank\" rel=\"noopener\">Cuban National Ballet\u003c/a> is particularly associated with \u003ci>Giselle\u003c/i> because of the unique drama and flawless technique of the company’s co-founder, Alicia Alonso, who danced the title role to great acclaim with the Ballet Theatre in New York (known these days as American Ballet Theatre) back in the 1940s. The young Cuban prodigy caused a sensation when she stepped in at the last minute for an injured Alicia Markova during the 1941-42 season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One thing that was extraordinary about her version was the mad scene,” says Toba Singer, a Berkeley based dance scholar who frequently writes about Cuban ballet. “Alicia Alonso really gave her own interpretation to it and it was marvelous.”\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/xkZc5KJIRbU'\n title='//www.youtube.com/embed/xkZc5KJIRbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ballet star returned home to Cuba in 1948 to found the institution that would eventually become the Cuban National Ballet. At 93, Alonso still tours with her company, and her version of \u003cem>Giselle \u003c/em> is a hallmark of the company’s repertoire.\u003c/p>\n\u003cp>“I’ve seen many, many other versions of \u003ci>Giselle\u003c/i>, and I do think our Cuban version, the version of Alicia, has this very clear dramatic line,” Araujo says. “All the characters are very well defined.”\u003c/p>\n\u003cp>The dancers of Silicon Valley Ballet are also working intensively with Araujo and her team of dance coaches from Havana on technical specifics particular to the Cuban version. They pay close attention to seemingly tiny details, like keeping their arms rounded rather than straight in one key scene in the second act.\u003c/p>\n\u003cp>“In this version, every single thing you do, even how you bow or how you look at somebody, has a meaning,” says principal dancer Ommi Pipit-Suksun, who is one of the dancers charged with bringing the challenging principal character to life on stage in Silicon Valley Ballet’s production. “It’s not just an empty gesture. It has a lot of nuances; many layers and not just steps.”\u003c/p>\n\u003cp>Despite paying close attention to the nuances of this Cuban \u003ci>Giselle\u003c/i>, Pipit-Suksun isn’t interested in slavishly imitating Alonso. This ballerina intends to make the role of Giselle her own.\u003c/p>\n\u003cfigure id=\"attachment_10997866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997866 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg\" alt=\"Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Copying somebody is never a good thing,” Pipit-Suksun says. “That emotion has to be real. It has to come from you. They can guide you — you should do this and that — but ultimately it’s up to you.”\u003c/p>\n\u003cp>This landmark collaboration represents a big comeback for Silicon Valley Ballet, which came close to shutting down this past spring. The company was already in a deep financial hole when its present artistic director, international-acclaimed ballet star and Cuban native Jose Manuel Carreno came on board in 2013. “We’ve been through rough patches,” Carreno says.\u003c/p>\n\u003cp>Carreno and his community leapt into action earlier this year.\u003cstrong> \u003c/strong>The company rebranded itself from Ballet San Jose to Silicon Valley Ballet and set about fundraising. The company scored $640,000 during the first 10 days of its fundraising campaign, and has so far raised nearly $3 million of its $3.5 million goal. This includes a $50,000 grant to stage \u003cem>Giselle\u003c/em> from the Knight Foundation.\u003c/p>\n\u003cp>“We’re stepping up, the company is moving, is getting better, we’re working on it,” Carreno says. “It’s exciting.”\u003c/p>\n\u003cp>But \u003ci>Giselle\u003c/i> isn’t only a turning point for the dance company. As one of the first major cultural collaborations between the U.S. and Cuba in more than half a century, the production is politically significant. For many years, the U.S. government would not grant visas to Cuban dancers.\u003c/p>\n\u003cfigure id=\"attachment_10997867\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997867 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg\" alt=\"Silicon Valley Ballet company members in rehearsal for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet company members in rehearsal for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a historic moment for American audiences,” says Singer. “This means we can have access. This is their finest work and we’re going to have a chance to see it.”\u003c/p>\n\u003cp>It’s been very risky for most Cuban artists, like Silicon Valley Ballet principal dancer Maykel Solas, to pursue careers in the U.S. Solas has been with the company for 10 years. In his early days in this country, he was worried about how the Cuban authorities would treat his family.\u003c/p>\n\u003cp>“I stopped talking with my mum for months,” Solas says. “I was afraid they would say something to my mum or to my family.”\u003c/p>\n\u003cp>With Cuba and the U.S. on friendlier terms — the American Ballet Theatre and the New York City Ballet both performed at the International Ballet Festival in Havana in 2010 — the possibility of heightened cultural exchange between the U.S. and Cuba in the coming years is a tantalizing prospect for ballet professionals and fans of the art form from both nations. Silicon Valley Ballet plans to participate in the aforementioned festival next fall.\u003c/p>\n\u003cp>“If we have good relationships, everybody can go back and forwards,” Solas says. “Everybody can learn from everybody.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet visas remain hard to come by. It’s been a long and arduous process for Silicon Valley Ballet to procure the necessary paperwork to enable the Cuban coaches to join the company in San Jose for this production of \u003cem>Giselle\u003c/em>. Although diplomatic relations are currently in the process of being restored between the U.S. and Cuba, it will be quite some time before artists can move freely between the two countries.\u003c/span>\u003c/p>\n\u003cp>Silicon Valley Ballet’s production of \u003cem>Giselle\u003c/em> runs Oct. 16-18, 2015 at the San Jose Center for the Performing Arts. For tickets and more information, visit \u003ca href=\"http://siliconvalleyballet.org/giselle/\" target=\"_blank\" rel=\"noopener\">siliconvalleyballet.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jose Manuel Carreno appeared as a guest on KQED Forum on Oct. 8, together with Silicon Valley Ballet board chair Millicent Powers. Listen to their interview with host Michael Krasny \u003ca href=\"http://www.kqed.org/a/forum/R201510081030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you are all about Bay Area hip hop and you want to see what’s coming next on the dance front, take a look at Alex Flores and Marthy Galimba (dance names: Prince Ali and Marthy McFlyy). Or maybe you just want to see some amazingly athletic dance moves. Either way, you won’t go wrong with these guys.\u003c/p>\n\u003cp>They recently became official members of the Renegade Rockers, a legendary Bay Area Dance crew founded in 1983. The Renegades love to test themselves in what they call “battles,” where two dancers face off against each other and judges from the community decide who comes out on top.\u003c/p>\n\u003cp>Both Alex and Marthy draw inspiration from Renegade Rocker legend Omar Delgado (Dance Name: Roxrite). Omar is a local icon who has won over 82 dance competitions and is also currently a member of Red Bull BC One All Stars, a crew of 10 internationally renowned hip hop dancers.\u003c/p>\n\u003cp>Despite their strong physical personas, Alex and Marthy are actually couple of introverts who grew up in rough neighborhoods around a lot of gang violence. Dance became their outlet to release frustration, come to terms with their experiences, and make something good of it all.\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”oHIfTLbt4aY9r2xXOZqH4AgtfvPRXA7w”]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you are all about Bay Area hip hop and you want to see what’s coming next on the dance front, take a look at Alex Flores and Marthy Galimba (dance names: Prince Ali and Marthy McFlyy). Or maybe you just want to see some amazingly athletic dance moves. Either way, you won’t go wrong with these guys.\u003c/p>\n\u003cp>They recently became official members of the Renegade Rockers, a legendary Bay Area Dance crew founded in 1983. The Renegades love to test themselves in what they call “battles,” where two dancers face off against each other and judges from the community decide who comes out on top.\u003c/p>\n\u003cp>Both Alex and Marthy draw inspiration from Renegade Rocker legend Omar Delgado (Dance Name: Roxrite). Omar is a local icon who has won over 82 dance competitions and is also currently a member of Red Bull BC One All Stars, a crew of 10 internationally renowned hip hop dancers.\u003c/p>\n\u003cp>Despite their strong physical personas, Alex and Marthy are actually couple of introverts who grew up in rough neighborhoods around a lot of gang violence. Dance became their outlet to release frustration, come to terms with their experiences, and make something good of it all.\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”oHIfTLbt4aY9r2xXOZqH4AgtfvPRXA7w”]\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Pina Bausch once famously said, “I\u003c/span>\u003cspan style=\"font-weight: 400\"> loved to dance because I was scared to speak. When I was moving, I could feel.”\u003c/span>\u003c/p>\n\u003cp>The late German choreographer’s words serve as the inspiration for \u003cem>\u003ca href=\"http://www.sfdancefilmfest.org/2015-schedule/international-shorts-i/\" target=\"_blank\" rel=\"noopener\">Pas\u003c/a>\u003c/em>, one of the opening night films at this year’s \u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>. The event offers up a wide array of long and short form dance movies over the course of its four-day run.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Pas\u003c/em> is a short, and the format lends itself particularly well to Bausch’s thesis statement. Short films are often wordless, only scanned and plotted for the movement of the body. The visceral language evokes a mood or emotion precisely because speech is withheld. As such, it’s hard to remain unmoved by the despair of a soldier returned from war \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Private Life\u003c/em>)\u003c/span>\u003cspan style=\"font-weight: 400\"> or the Caliban-like intensity of a dancer’s interaction with the natural world \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Uath Lochans\u003c/em>).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003046\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png\" alt=\"Uath Lochan, Katrina McPherson\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-400x223.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1180x657.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-960x535.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Uath Lochan, Katrina McPherson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to three nights of International Shorts programming, the festival includes some interesting documentaries. \u003c/span>\u003cspan style=\"font-weight: 400\"> In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Feelings Are Facts: The Life of Yvonne Rainer, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Bay Area filmmaker Jack Walsh tells the story of Rainer, an American postmodern dance maverick. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Mother Loved Dance \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">follows French ballerina and choreographer Brigitte \u003c/span>\u003cspan style=\"font-weight: 400\">Lefèvre in the process of retiring from her post as director of the Paris Opera Ballet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg\" alt=\"Rare Birds, T.M. Rives, director\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rare Birds, T.M. Rives, director\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if you weren’t able to dash over to Oslo, Norway last year to witness, in person, \u003c/span>\u003cspan style=\"font-weight: 400\">Alexander Ekman’s aquatic production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Swan Lake,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> you’re in luck. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rare Birds \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">captures Ekman’s process with the Norwegian National Ballet as the company mounts a celebrated ballet on a beautiful, watery stage. On the festival’s last day, there’s a family-friendly matinee \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Let’s Get the Rhythm \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">about the hand-clapping games that girls play on inner-city playgrounds around the world. 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The film opens with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.youtube.com/watch?v=GHhGbivQdG4\" target=\"_blank\" rel=\"noopener\">The Clapping Song (Clap Pat Clap Slap): \u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">you’ll be dancing in no time.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Thursday-Sunday, October 8-11, 2015\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Brava Theater Center\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">2781 24th Street, San Francisco\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Pina Bausch once famously said, “I\u003c/span>\u003cspan style=\"font-weight: 400\"> loved to dance because I was scared to speak. When I was moving, I could feel.”\u003c/span>\u003c/p>\n\u003cp>The late German choreographer’s words serve as the inspiration for \u003cem>\u003ca href=\"http://www.sfdancefilmfest.org/2015-schedule/international-shorts-i/\" target=\"_blank\" rel=\"noopener\">Pas\u003c/a>\u003c/em>, one of the opening night films at this year’s \u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>. The event offers up a wide array of long and short form dance movies over the course of its four-day run.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Pas\u003c/em> is a short, and the format lends itself particularly well to Bausch’s thesis statement. Short films are often wordless, only scanned and plotted for the movement of the body. The visceral language evokes a mood or emotion precisely because speech is withheld. As such, it’s hard to remain unmoved by the despair of a soldier returned from war \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Private Life\u003c/em>)\u003c/span>\u003cspan style=\"font-weight: 400\"> or the Caliban-like intensity of a dancer’s interaction with the natural world \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Uath Lochans\u003c/em>).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003046\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png\" alt=\"Uath Lochan, Katrina McPherson\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-400x223.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1180x657.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-960x535.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Uath Lochan, Katrina McPherson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to three nights of International Shorts programming, the festival includes some interesting documentaries. \u003c/span>\u003cspan style=\"font-weight: 400\"> In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Feelings Are Facts: The Life of Yvonne Rainer, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Bay Area filmmaker Jack Walsh tells the story of Rainer, an American postmodern dance maverick. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Mother Loved Dance \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">follows French ballerina and choreographer Brigitte \u003c/span>\u003cspan style=\"font-weight: 400\">Lefèvre in the process of retiring from her post as director of the Paris Opera Ballet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg\" alt=\"Rare Birds, T.M. Rives, director\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rare Birds, T.M. Rives, director\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if you weren’t able to dash over to Oslo, Norway last year to witness, in person, \u003c/span>\u003cspan style=\"font-weight: 400\">Alexander Ekman’s aquatic production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Swan Lake,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> you’re in luck. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rare Birds \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">captures Ekman’s process with the Norwegian National Ballet as the company mounts a celebrated ballet on a beautiful, watery stage. On the festival’s last day, there’s a family-friendly matinee \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Let’s Get the Rhythm \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">about the hand-clapping games that girls play on inner-city playgrounds around the world. If the festival lineup hasn’t already inspired you to get on your feet, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rhythm\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> will do the trick. The film opens with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.youtube.com/watch?v=GHhGbivQdG4\" target=\"_blank\" rel=\"noopener\">The Clapping Song (Clap Pat Clap Slap): \u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">you’ll be dancing in no time.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Thursday-Sunday, October 8-11, 2015\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Brava Theater Center\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">2781 24th Street, San Francisco\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Joe Goode Creates the Coolest Haunted House so far this Season",
"headTitle": "Joe Goode Creates the Coolest Haunted House so far this Season | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/joe-goode-dances-the-poetics-of-space/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Poetics of Space’\u003c/h2>\n\u003cdiv class=\"event-desc\">The Joe Goode Performance Group’s latest installation explores space in a lyrical way.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Nov. 1\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Joe Goode Annex\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/joe-goode-dances-the-poetics-of-space/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s October and Joe Goode Performance Group (JGPG) has tricked out its garage and invited the neighborhood inside for what, among others things, is surely the coolest haunted house so far this season.\u003c/p>\n\u003cp>The distinguished San Francisco dance company, led by founder-performer-choreographer Joe Goode, calls its latest work “an immersive performance installation,” which is also apt, if not as fun-sounding.\u003c/p>\n\u003cp>In fact, \u003cem>Poetics of Space\u003c/em> is a mood-shifting dance-theater piece that takes the form of a semi-guided tour through intimate quarters—the mental as well as physical nooks and recesses inhabited by a set of characters reeling from the death of a young man named Logan who, we are told, has recently taken a very long fall.\u003c/p>\n\u003cp>The piece draws its title and inspiration from French philosopher Gaston Bachelard’s enduring 1958 treatise on the lived experience of space, and in particular the childhood home. For Bachelard, the house is by definition that place safe for daydreaming, and as such its very cupboards and stairwells influence the architecture of the imagination.\u003c/p>\n\u003cp>Because \u003cem>Poetics\u003c/em> arises from the professional daydreaming of artists inhabiting their own artistic home—namely, the handsome postindustrial box known as the Joe Goode Annex in San Francisco’s Mission district —patrons do enter something like a dream house.\u003c/p>\n\u003cfigure id=\"attachment_10999814\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10999814\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-800x533.jpg\" alt=\"Marit Brook-Kothlow, photo by RJ Muna\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marit Brook-Kothlow (Photo: RJ Muna/Joe Goode Performance Group)\u003c/figcaption>\u003c/figure>\n\u003cp>In preparation, however, we gather in a roomy lounge adjacent to the Annex. Greeting us there is Death, standing atop a tall aluminum ladder. Personified by Goode himself in natty undertaker attire and a patina of ghoulish face paint, the unsettling image high above us belies a suave and soothing manner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Death introduces the tragedy of Logan, a possible suicide. But more than that, he encourages us to remain attentive to ourselves, to feelings and memories, to the slightest somatic influence of the spaces we are about to inhabit.\u003c/p>\n\u003cp>Then we file outside and shuffle through the door to the Annex, a dozen or so at a time, past a foyer functioning as a brief approximation of a forest (Bachelard likens the reassuring coziness of the home to a warm hut in a vast woods), and finally into the main performance area.\u003c/p>\n\u003cp>This last, in scenic designer Sean Riley’s handy work, has been subdivided horizontally and vertically: there are tiers and platforms above and an elaborate set of black curtains that open and close throughout the next hour or so, creating a shifting labyrinth through which groups of audience members disappear this way and that.\u003c/p>\n\u003cp>10 performers in all, including Goode, personify a range of characters and states of mind through dance, dialogue and song. Depending which way you stray or what side of a moving curtain you find yourself on, you’re treated to a particular series of scenes.\u003c/p>\n\u003cp>In one, for example, the dead man’s pregnant sister (Damara Vita Ganley) and her husband (Andrew Ward) greet mourners in a well-loved corner of the family home; in another, the dead man’s unrequited love interest (Melecio Estrella) pleads his innocence to us but is confronted by the deceased unhinged brother-in-law as a staccato, slo-mo fist fight ensues a few inches from our faces; in a third, especially affecting scene, a boxer (Felipe Barrueto-Cabello) demonstrates proper fighting form to an audience member while explaining he’s a figment of the deceased’s former imagination.\u003c/p>\n\u003cp>These scenes and others unfold with a remarkably well-coordinated and finely-calibrated fluidity, just slightly slowed-down. It’s almost as if everything were happening underwater or everyone were under hypnotic suggestion.\u003c/p>\n\u003cp>And much like another of JGPG’s site-specific works, \u003cem>Traveling Light\u003c/em>, the subdivided audience hears echoes or premonitions of looping scenes taking place in another part of the building, effectively enhancing the dreamlike quality of the proceedings. Music curator Peter Peschke adds a further shimmer to this atmosphere with his eclectic arrangement of songs, some of which are sung by the dancers.\u003c/p>\n\u003cp>At least twice the room configures itself into a more or less single open space in which dancers perform together in an ensemble, and at one point the action moves overhead as Estrella and Goode perform an anguished yet graceful duet along the metal bridge. These more conventional moments, with audience looking on together, tend to be less interesting from a choreographic standpoint.\u003c/p>\n\u003cp>The piece excels in its most intimate removes, where the audience-to-performer ratio drops down significantly, sometimes becoming one-to-one. Specially designed alcoves and Jessica Swanson’s mesmeric video design enlarge the opportunities for private revelry.\u003c/p>\n\u003cp>But it’s the proximity to and interaction with the dancers—all forceful presences as well as preternatural movers—that heightens the senses and charges the air. The choreography in these moments is more focused and concentrated—so pared down, precise and proximate as to be undeniable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nevertheless, not every moment needs that kind of intensity to make this a worthwhile outing. This is a piece in which it is perfectly safe, and even rewarding, to space out.\u003c/p>\n\u003cfigure id=\"attachment_10999818\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10999818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-800x571.jpg\" alt=\"Felipe Barrueto-Cabello and Marit Brook-Kothlow, photo by RJ Muna\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-1920x1371.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-960x685.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felipe Barrueto-Cabello and Marit Brook-Kothlow (Photo: RJ Muna/Joe Goode Performance Group)\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/joe-goode-dances-the-poetics-of-space/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Poetics of Space’\u003c/h2>\n\u003cdiv class=\"event-desc\">The Joe Goode Performance Group’s latest installation explores space in a lyrical way.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Nov. 1\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Joe Goode Annex\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/joe-goode-dances-the-poetics-of-space/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s October and Joe Goode Performance Group (JGPG) has tricked out its garage and invited the neighborhood inside for what, among others things, is surely the coolest haunted house so far this season.\u003c/p>\n\u003cp>The distinguished San Francisco dance company, led by founder-performer-choreographer Joe Goode, calls its latest work “an immersive performance installation,” which is also apt, if not as fun-sounding.\u003c/p>\n\u003cp>In fact, \u003cem>Poetics of Space\u003c/em> is a mood-shifting dance-theater piece that takes the form of a semi-guided tour through intimate quarters—the mental as well as physical nooks and recesses inhabited by a set of characters reeling from the death of a young man named Logan who, we are told, has recently taken a very long fall.\u003c/p>\n\u003cp>The piece draws its title and inspiration from French philosopher Gaston Bachelard’s enduring 1958 treatise on the lived experience of space, and in particular the childhood home. For Bachelard, the house is by definition that place safe for daydreaming, and as such its very cupboards and stairwells influence the architecture of the imagination.\u003c/p>\n\u003cp>Because \u003cem>Poetics\u003c/em> arises from the professional daydreaming of artists inhabiting their own artistic home—namely, the handsome postindustrial box known as the Joe Goode Annex in San Francisco’s Mission district —patrons do enter something like a dream house.\u003c/p>\n\u003cfigure id=\"attachment_10999814\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10999814\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-800x533.jpg\" alt=\"Marit Brook-Kothlow, photo by RJ Muna\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_411-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marit Brook-Kothlow (Photo: RJ Muna/Joe Goode Performance Group)\u003c/figcaption>\u003c/figure>\n\u003cp>In preparation, however, we gather in a roomy lounge adjacent to the Annex. Greeting us there is Death, standing atop a tall aluminum ladder. Personified by Goode himself in natty undertaker attire and a patina of ghoulish face paint, the unsettling image high above us belies a suave and soothing manner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Death introduces the tragedy of Logan, a possible suicide. But more than that, he encourages us to remain attentive to ourselves, to feelings and memories, to the slightest somatic influence of the spaces we are about to inhabit.\u003c/p>\n\u003cp>Then we file outside and shuffle through the door to the Annex, a dozen or so at a time, past a foyer functioning as a brief approximation of a forest (Bachelard likens the reassuring coziness of the home to a warm hut in a vast woods), and finally into the main performance area.\u003c/p>\n\u003cp>This last, in scenic designer Sean Riley’s handy work, has been subdivided horizontally and vertically: there are tiers and platforms above and an elaborate set of black curtains that open and close throughout the next hour or so, creating a shifting labyrinth through which groups of audience members disappear this way and that.\u003c/p>\n\u003cp>10 performers in all, including Goode, personify a range of characters and states of mind through dance, dialogue and song. Depending which way you stray or what side of a moving curtain you find yourself on, you’re treated to a particular series of scenes.\u003c/p>\n\u003cp>In one, for example, the dead man’s pregnant sister (Damara Vita Ganley) and her husband (Andrew Ward) greet mourners in a well-loved corner of the family home; in another, the dead man’s unrequited love interest (Melecio Estrella) pleads his innocence to us but is confronted by the deceased unhinged brother-in-law as a staccato, slo-mo fist fight ensues a few inches from our faces; in a third, especially affecting scene, a boxer (Felipe Barrueto-Cabello) demonstrates proper fighting form to an audience member while explaining he’s a figment of the deceased’s former imagination.\u003c/p>\n\u003cp>These scenes and others unfold with a remarkably well-coordinated and finely-calibrated fluidity, just slightly slowed-down. It’s almost as if everything were happening underwater or everyone were under hypnotic suggestion.\u003c/p>\n\u003cp>And much like another of JGPG’s site-specific works, \u003cem>Traveling Light\u003c/em>, the subdivided audience hears echoes or premonitions of looping scenes taking place in another part of the building, effectively enhancing the dreamlike quality of the proceedings. Music curator Peter Peschke adds a further shimmer to this atmosphere with his eclectic arrangement of songs, some of which are sung by the dancers.\u003c/p>\n\u003cp>At least twice the room configures itself into a more or less single open space in which dancers perform together in an ensemble, and at one point the action moves overhead as Estrella and Goode perform an anguished yet graceful duet along the metal bridge. These more conventional moments, with audience looking on together, tend to be less interesting from a choreographic standpoint.\u003c/p>\n\u003cp>The piece excels in its most intimate removes, where the audience-to-performer ratio drops down significantly, sometimes becoming one-to-one. Specially designed alcoves and Jessica Swanson’s mesmeric video design enlarge the opportunities for private revelry.\u003c/p>\n\u003cp>But it’s the proximity to and interaction with the dancers—all forceful presences as well as preternatural movers—that heightens the senses and charges the air. The choreography in these moments is more focused and concentrated—so pared down, precise and proximate as to be undeniable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nevertheless, not every moment needs that kind of intensity to make this a worthwhile outing. This is a piece in which it is perfectly safe, and even rewarding, to space out.\u003c/p>\n\u003cfigure id=\"attachment_10999818\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10999818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-800x571.jpg\" alt=\"Felipe Barrueto-Cabello and Marit Brook-Kothlow, photo by RJ Muna\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-1920x1371.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/C_Joe_Goode_150605_681-960x685.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felipe Barrueto-Cabello and Marit Brook-Kothlow (Photo: RJ Muna/Joe Goode Performance Group)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More from our first live show! This time, we're talking to voguing maestro Jocquese Whitfield and queer punk rocker Brontez Purnell.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/10/TheCoolerLIVEBonusEpisode.mp3\" title=\"The Cooler LIVE! with Brontez Purnell & Jocquese Whitfield\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/10/01/episode-3-the-cooler-live-with-w-kamau-bell/\" target=\"_blank\">Last week, you heard\u003c/a> our high school dance horror stories and our conversation with the hilarious W. Kamau Bell. But that's not all that happened that night.\u003c/p>\n\u003cp>We also talked to the Bay Area's leader in voguing, Jocquese Whitfield, and Brontez Purnell, former member of Gravy Train!!!! and lead singer of The Younger Lovers.\u003c/p>\n\u003cp>Because audio can only go so far sometimes, here's a video of Jocquese's epic performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fJJzasqv3BA\u003c/p>\n\u003cp>And here's what the boys from The Younger Lovers look like in motion:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xzo01zo1JF0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Come back on Thursday for an all new episode of \u003cem>The Cooler\u003c/em>! Until then, \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/10/01/episode-3-the-cooler-live-with-w-kamau-bell/\" target=\"_blank\">Last week, you heard\u003c/a> our high school dance horror stories and our conversation with the hilarious W. Kamau Bell. But that's not all that happened that night.\u003c/p>\n\u003cp>We also talked to the Bay Area's leader in voguing, Jocquese Whitfield, and Brontez Purnell, former member of Gravy Train!!!! and lead singer of The Younger Lovers.\u003c/p>\n\u003cp>Because audio can only go so far sometimes, here's a video of Jocquese's epic performance:\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/fJJzasqv3BA'\n title='//www.youtube.com/embed/fJJzasqv3BA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And here's what the boys from The Younger Lovers look like in motion:\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/xzo01zo1JF0'\n title='//www.youtube.com/embed/xzo01zo1JF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Come back on Thursday for an all new episode of \u003cem>The Cooler\u003c/em>! Until then, \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're the Boss'",
"headTitle": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, ‘You’re the Boss’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/442523821/444092393\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>When Mikhail Baryshnikov says, “I’m really afraid to get bored with myself,” he means it.\u003c/p>\n\u003cp>As one of the greatest ballet dancers in history, he’s captivated audiences around the world. He was also the artistic director of American Ballet Theatre, has danced to his own \u003ca href=\"https://www.youtube.com/watch?v=tw3AtnMg1xo\" target=\"_blank\" rel=\"noopener\">heartbeat\u003c/a>, had a run as Carrie Bradshaw’s part-time lover on HBO’s \u003cem>Sex and the City, \u003c/em>and so much more. (His list of credits and awards is long and eclectic.)\u003c/p>\n\u003cp>Today, at 67, Baryshnikov is still creating art of all kinds around the world. And on Monday, a gala in New York celebrated the 10th anniversary of the \u003ca href=\"http://bacnyc.org/\" target=\"_blank\" rel=\"noopener\">Baryshnikov Arts Center\u003c/a>, a space he created to give artists the freedom to explore and take risks.\u003c/p>\n\u003cp>\u003cstrong>Creating An Artist Nirvana\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10984750\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg\" alt=\"Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With such an exceptional, international career, you’d think the sign in front of his arts center would have “Baryshnikov” in lights, but actually you can barely see it. “Misha didn’t want this place to be called the Baryshnikov Arts Center,” says Georgiana Pickett, the center’s executive director. “He wanted it to be more global, and some wise people told him, ‘That’s not a good idea. Let’s put your name on it.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baryshnikov’s idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance-only.\u003c/p>\n\u003cp>“Another dance company? Really, we are packed,” he says, referring to the numerous dance companies that call New York home. If he was going to create something for artists, at the top of his list was space, light and privacy — elements, he says, that are so important to the creative process. “Art-making is not a factory, with a few exceptions, of course — you know, like Jeff Koons or Andy Warhol. It’s a very slow and very fragile process. It took me 25, 30 years to really understand what actually it takes.”\u003c/p>\n\u003cp>Baryshnikov put up $1 million of his own money to build the center. With help from a small group of donors, he bought a portion of a six-story building in New York’s Hell’s Kitchen neighborhood. Today, after extensive renovations, the center has two state-of-the-art theaters and four studios.\u003c/p>\n\u003cp>For the artists lucky enough to get a residency, it’s nirvana.\u003c/p>\n\u003cp>\u003cstrong>‘In The Middle Of Possibility’\u003c/strong>\u003c/p>\n\u003cp>Vocalist and songwriter \u003ca href=\"http://www.somimusic.com/\" target=\"_blank\" rel=\"noopener\">Somi\u003c/a> is rehearsing in a light-filled studio that overlooks the Hudson River. “This is such a glorious space because you’ve got these high windows and you’re surrounded by the city,” she says. “And being in the middle of New York, right, it’s like you’re in the middle of possibility.”\u003c/p>\n\u003cfigure id=\"attachment_10984833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-800x533.jpg\" alt=\"Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But “possibility” in the middle of New York is wildly expensive, and most artists can’t afford to live in the city. Executive Director Georgiana Pickett says, “It’s one of the reasons we exist … because New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can’t do it anymore.”\u003c/p>\n\u003cp>Baryshnikov is more sanguine. “It’s no secret that in ’70s and ’80s, New York City [was a] friendlier city for younger people, and more affordable,” he says. “And it’s tougher and tougher.”\u003c/p>\n\u003cp>But he believes it’s still a dynamic and inspirational place to be an artist: “I really believe that, still, the magnet is right here — and not just in Manhattan, but around New York City. And still artists around the world [look] at us with a kind of envy that we are here. They want to be here at least for a few weeks at a time to practice their art.”\u003c/p>\n\u003cp>There are also deeply personal reasons Baryshnikov chose to create something permanent in New York. When he defected from the Soviet Union in 1974, New York became home. He says the Baryshnikov Arts Center is “a kind of civic duty.”\u003c/p>\n\u003cp>Downstairs in the center’s Jerome Robbins Theater, choreographer John Heginbotham is rehearsing a piece with his \u003ca href=\"http://www.danceheginbotham.org/\">new dance company\u003c/a>. (He met Baryshnikov when he was a dancer with the Mark Morris Dance Group.) Heginbotham is stuck on a part. “I don’t know. I don’t know. I don’t know,” he tells his dancers, shaking his head. When Baryshnikov stops by, he can’t resist asking him for help.\u003c/p>\n\u003cfigure id=\"attachment_10984835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dancing.jpg\" alt=\"Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers\" width=\"800\" height=\"798\" class=\"size-full wp-image-10984835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Misha?” he says.\u003c/p>\n\u003cp>“You’re the boss,” Baryshnikov replies.\u003c/p>\n\u003cp>Heginbotham says this creative laboratory is really a gift from Baryshnikov to other artists: “He could’ve just been a great ballet dancer, but he is such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time and he encourages us to do that too.”\u003c/p>\n\u003cp>\u003cstrong>Building Something That Will Last\u003c/strong>\u003c/p>\n\u003cp>The nonprofit center generates income by renting space, fundraising and selling tickets to performances in its two theaters. Many big donors who’ve supported Baryshnikov throughout his career have contributed generously to the center’s ambitious goals.\u003c/p>\n\u003cp>Rebecca Thomas, a consultant to arts nonprofits, says there’s a “spotty” history of arts organizations that are closely linked to one person: Martha Graham’s and Alvin Ailey’s companies both struggled to adapt after their deaths. According to Thomas, “When we oftentimes see challenges is when that particular leader moves on for whatever reason, because sometimes the donors and the board members do too.”\u003c/p>\n\u003cfigure id=\"attachment_10984837\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg\" alt=\"Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974.\" width=\"800\" height=\"374\" class=\"size-full wp-image-10984837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov-400x187.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Georgiana Pickett and the rest of the Baryshnikov Arts Center staff think about that all the time. “We are trying to build something here that’s going to last without Misha,” she says. “You know, it is his vision and it is his legacy, and that \u003cem>is\u003c/em> the right word. But he’s not going to live forever. None of us are. And so we’re trying to build something here that’s going to last.”\u003c/p>\n\u003cp>\u003cstrong>‘It’s Nice To Go Back … But I’d Rather Look Forward’\u003c/strong>\u003c/p>\n\u003cp>At 67, Baryshnikov is still plenty active. He just made a \u003ca href=\"https://vimeo.com/118830140\">stylish ad\u003c/a> for the clothing company Rag & Bone, turning and curving his body in a kind of duet with street dancer Lil Buck, and he’s touring a \u003ca href=\"http://www.festivaldispoleto.com/2015/Teatro.asp?id_progetto=245&lang=eng\">solo theater piece\u003c/a> based on the writings of Russian dancer Vaslav Nijinsky.\u003c/p>\n\u003cp>He admits he’s always been restless for new challenges. “[The] unknown, it’s always much more intriguing and appealing. … Like [a] new dish in a restaurant which you never taste or a new music composition, a new film and a new book,” he says. “It’s so much more interesting than [going] back to … square one. … Sometimes it’s nice to go back, you know, but I’d rather look forward.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens \u003cem>inside\u003c/em> the studio — that “fragile” art-making process — is much more important. \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=No+Vanity+Project%3A+At+Art+Center%2C+Baryshnikov+Tells+Artists%2C+%27You%27re+The+Boss%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/442523821/444092393\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>When Mikhail Baryshnikov says, “I’m really afraid to get bored with myself,” he means it.\u003c/p>\n\u003cp>As one of the greatest ballet dancers in history, he’s captivated audiences around the world. He was also the artistic director of American Ballet Theatre, has danced to his own \u003ca href=\"https://www.youtube.com/watch?v=tw3AtnMg1xo\" target=\"_blank\" rel=\"noopener\">heartbeat\u003c/a>, had a run as Carrie Bradshaw’s part-time lover on HBO’s \u003cem>Sex and the City, \u003c/em>and so much more. (His list of credits and awards is long and eclectic.)\u003c/p>\n\u003cp>Today, at 67, Baryshnikov is still creating art of all kinds around the world. And on Monday, a gala in New York celebrated the 10th anniversary of the \u003ca href=\"http://bacnyc.org/\" target=\"_blank\" rel=\"noopener\">Baryshnikov Arts Center\u003c/a>, a space he created to give artists the freedom to explore and take risks.\u003c/p>\n\u003cp>\u003cstrong>Creating An Artist Nirvana\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10984750\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg\" alt=\"Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With such an exceptional, international career, you’d think the sign in front of his arts center would have “Baryshnikov” in lights, but actually you can barely see it. “Misha didn’t want this place to be called the Baryshnikov Arts Center,” says Georgiana Pickett, the center’s executive director. “He wanted it to be more global, and some wise people told him, ‘That’s not a good idea. Let’s put your name on it.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baryshnikov’s idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance-only.\u003c/p>\n\u003cp>“Another dance company? Really, we are packed,” he says, referring to the numerous dance companies that call New York home. If he was going to create something for artists, at the top of his list was space, light and privacy — elements, he says, that are so important to the creative process. “Art-making is not a factory, with a few exceptions, of course — you know, like Jeff Koons or Andy Warhol. It’s a very slow and very fragile process. It took me 25, 30 years to really understand what actually it takes.”\u003c/p>\n\u003cp>Baryshnikov put up $1 million of his own money to build the center. With help from a small group of donors, he bought a portion of a six-story building in New York’s Hell’s Kitchen neighborhood. Today, after extensive renovations, the center has two state-of-the-art theaters and four studios.\u003c/p>\n\u003cp>For the artists lucky enough to get a residency, it’s nirvana.\u003c/p>\n\u003cp>\u003cstrong>‘In The Middle Of Possibility’\u003c/strong>\u003c/p>\n\u003cp>Vocalist and songwriter \u003ca href=\"http://www.somimusic.com/\" target=\"_blank\" rel=\"noopener\">Somi\u003c/a> is rehearsing in a light-filled studio that overlooks the Hudson River. “This is such a glorious space because you’ve got these high windows and you’re surrounded by the city,” she says. “And being in the middle of New York, right, it’s like you’re in the middle of possibility.”\u003c/p>\n\u003cfigure id=\"attachment_10984833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-800x533.jpg\" alt=\"Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But “possibility” in the middle of New York is wildly expensive, and most artists can’t afford to live in the city. Executive Director Georgiana Pickett says, “It’s one of the reasons we exist … because New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can’t do it anymore.”\u003c/p>\n\u003cp>Baryshnikov is more sanguine. “It’s no secret that in ’70s and ’80s, New York City [was a] friendlier city for younger people, and more affordable,” he says. “And it’s tougher and tougher.”\u003c/p>\n\u003cp>But he believes it’s still a dynamic and inspirational place to be an artist: “I really believe that, still, the magnet is right here — and not just in Manhattan, but around New York City. And still artists around the world [look] at us with a kind of envy that we are here. They want to be here at least for a few weeks at a time to practice their art.”\u003c/p>\n\u003cp>There are also deeply personal reasons Baryshnikov chose to create something permanent in New York. When he defected from the Soviet Union in 1974, New York became home. He says the Baryshnikov Arts Center is “a kind of civic duty.”\u003c/p>\n\u003cp>Downstairs in the center’s Jerome Robbins Theater, choreographer John Heginbotham is rehearsing a piece with his \u003ca href=\"http://www.danceheginbotham.org/\">new dance company\u003c/a>. (He met Baryshnikov when he was a dancer with the Mark Morris Dance Group.) Heginbotham is stuck on a part. “I don’t know. I don’t know. I don’t know,” he tells his dancers, shaking his head. When Baryshnikov stops by, he can’t resist asking him for help.\u003c/p>\n\u003cfigure id=\"attachment_10984835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dancing.jpg\" alt=\"Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers\" width=\"800\" height=\"798\" class=\"size-full wp-image-10984835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Misha?” he says.\u003c/p>\n\u003cp>“You’re the boss,” Baryshnikov replies.\u003c/p>\n\u003cp>Heginbotham says this creative laboratory is really a gift from Baryshnikov to other artists: “He could’ve just been a great ballet dancer, but he is such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time and he encourages us to do that too.”\u003c/p>\n\u003cp>\u003cstrong>Building Something That Will Last\u003c/strong>\u003c/p>\n\u003cp>The nonprofit center generates income by renting space, fundraising and selling tickets to performances in its two theaters. Many big donors who’ve supported Baryshnikov throughout his career have contributed generously to the center’s ambitious goals.\u003c/p>\n\u003cp>Rebecca Thomas, a consultant to arts nonprofits, says there’s a “spotty” history of arts organizations that are closely linked to one person: Martha Graham’s and Alvin Ailey’s companies both struggled to adapt after their deaths. According to Thomas, “When we oftentimes see challenges is when that particular leader moves on for whatever reason, because sometimes the donors and the board members do too.”\u003c/p>\n\u003cfigure id=\"attachment_10984837\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg\" alt=\"Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974.\" width=\"800\" height=\"374\" class=\"size-full wp-image-10984837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov-400x187.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Georgiana Pickett and the rest of the Baryshnikov Arts Center staff think about that all the time. “We are trying to build something here that’s going to last without Misha,” she says. “You know, it is his vision and it is his legacy, and that \u003cem>is\u003c/em> the right word. But he’s not going to live forever. None of us are. And so we’re trying to build something here that’s going to last.”\u003c/p>\n\u003cp>\u003cstrong>‘It’s Nice To Go Back … But I’d Rather Look Forward’\u003c/strong>\u003c/p>\n\u003cp>At 67, Baryshnikov is still plenty active. He just made a \u003ca href=\"https://vimeo.com/118830140\">stylish ad\u003c/a> for the clothing company Rag & Bone, turning and curving his body in a kind of duet with street dancer Lil Buck, and he’s touring a \u003ca href=\"http://www.festivaldispoleto.com/2015/Teatro.asp?id_progetto=245&lang=eng\">solo theater piece\u003c/a> based on the writings of Russian dancer Vaslav Nijinsky.\u003c/p>\n\u003cp>He admits he’s always been restless for new challenges. “[The] unknown, it’s always much more intriguing and appealing. … Like [a] new dish in a restaurant which you never taste or a new music composition, a new film and a new book,” he says. “It’s so much more interesting than [going] back to … square one. … Sometimes it’s nice to go back, you know, but I’d rather look forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens \u003cem>inside\u003c/em> the studio — that “fragile” art-making process — is much more important. \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=No+Vanity+Project%3A+At+Art+Center%2C+Baryshnikov+Tells+Artists%2C+%27You%27re+The+Boss%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/09/20150925tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\">The Dear Hunter. \u003c/a> \u003c/strong>Casey Crescenzo has written and recorded a symphony, had a series of concept EPs based on colors, and just released the fourth album in what’s going to be a six-album series — including a collaboration with the Bay Area’s Awesome Orchestra.\u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth.\u003c/a>\u003c/strong> The diminutive dynamo — and Emmy- and Tony-winner — performs songs from her latest album, \u003cem>Coming Home\u003c/em>, at the Mountain Winery. \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\"> Tobias Jesso Jr. \u003c/a>\u003c/strong>The gangly, painstakingly earnest singer-songwriter-pianist brings songs from his buzzy debut, \u003cem>Goons\u003c/em>, to San Francisco. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Mariinsky Ballet and Orchestra’s ‘Cinderella.’ \u003c/a>\u003c/strong>Commissioned for the Mariinsky in 2002, the production launched choreographer Alexei Ratmansky to international stardom, earning him a reputation for revitalizing classic ballet with urbane sophistication and modern storytelling. \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Needles to Thread: Dancing Along These Lines in Continuum Alley. \u003c/a>\u003c/strong>Jo Kreiter’s Flyaway Productions present a new piece inspired by immigrant women who work in the garment industry, drawing from a number of lenses: gymnastics, Chinese pole acrobatics, social justice and urban revitalization, feminism. \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shout-Out: Thursday, Oct. 1: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12774\" target=\"_blank\" rel=\"noopener\">Big Star’s ‘Third’ at Great American Music Hall.\u003c/a>\u003c/strong> A warm-up for Hardly Strictly Bluegrass. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12774\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\">The Dear Hunter. \u003c/a> \u003c/strong>Casey Crescenzo has written and recorded a symphony, had a series of concept EPs based on colors, and just released the fourth album in what’s going to be a six-album series — including a collaboration with the Bay Area’s Awesome Orchestra.\u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth.\u003c/a>\u003c/strong> The diminutive dynamo — and Emmy- and Tony-winner — performs songs from her latest album, \u003cem>Coming Home\u003c/em>, at the Mountain Winery. \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\"> Tobias Jesso Jr. \u003c/a>\u003c/strong>The gangly, painstakingly earnest singer-songwriter-pianist brings songs from his buzzy debut, \u003cem>Goons\u003c/em>, to San Francisco. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Mariinsky Ballet and Orchestra’s ‘Cinderella.’ \u003c/a>\u003c/strong>Commissioned for the Mariinsky in 2002, the production launched choreographer Alexei Ratmansky to international stardom, earning him a reputation for revitalizing classic ballet with urbane sophistication and modern storytelling. \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Needles to Thread: Dancing Along These Lines in Continuum Alley. \u003c/a>\u003c/strong>Jo Kreiter’s Flyaway Productions present a new piece inspired by immigrant women who work in the garment industry, drawing from a number of lenses: gymnastics, Chinese pole acrobatics, social justice and urban revitalization, feminism. \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Bay Area is home to one of the largest Indian-American communities in the country – and to one of the largest Indian theater companies, Naatak. They’re engineers by day and performers by night; the creators and much of the cast of Naatak hail from India and live and work in Silicon Valley. “The left-brain right-brain division is a myth,” says Sujit Saraf, playwright and co-founder of Naatak. Saraf also holds a PhD in mechanical engineering from UC Berkeley.\u003c/p>\n\u003cp>This year Naatak is celebrating its 20th anniversary and putting on \u003cem>Vrindavan\u003c/em>, an original musical production staged with lush costumes, a colorful set and live musicians. KQED sat in as the company held its final dress rehearsal.\u003c/p>\n\u003cp>Performances run through Sept. 27. For tickets and information, go to \u003ca href=\"http://naatak.com/portfolio/vrindavan-2015/\" target=\"_blank\" rel=\"noopener\">naatak.com\u003c/a>.\u003c/p>\n\u003cp>For more of KQED’s arts coverage, visit \u003ca href=\"http://kqed.org/fallarts\" target=\"_blank\" rel=\"noopener\">kqed.org/fallarts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/09/20150918tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Sept. 18 – Sunday, Sept. 20:\u003ca href=\"http://www.odcdance.org/performance.php?param=284\" target=\"_blank\" rel=\"noopener\"> PUSHfest 2015. \u003c/a>\u003c/strong>Now in its 10th season, Raissa Simpson’s Push dance company showcases a wide range of genres staged by 15 choreographers.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/push-dance-at-ten/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 19: \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Destroyer.\u003c/a>\u003c/strong> Dan Bejar’s elegantly experimental electronic solo project hits the Fillmore. \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 20: \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">The Mary Stallings Quartet.\u003c/a> \u003c/strong>This Bay Area native and former seamstress’s voice is like the silk she worked with — roughened a bit with age, but what a story it has to tell. \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Gin Wigmore.\u003c/a> \u003c/strong>This young New Zealander sounds a bit like Wanda Jackson crossed with Amy Winehouse — new twang in an old soul. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Thursday, Sept. 24: \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode’s ‘Poetics of Space.’\u003c/a> \u003c/strong>This premiere is an evening-length dance piece inspired by a book of the same title by the French philosopher Gaston Bachelard. \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Oct. 18:\u003ca href=\"http://cltc.org/explore-our-2015-16-season/\" target=\"_blank\" rel=\"noopener\"> ‘Dr. Jekyll and Mr. Hyde.’\u003c/a> \u003c/strong>This new twist on the old classic includes the use of three actors and one actress to portray the dark complexities of the amalgam of personalities that is Mr. Hyde. \u003ca href=\"http://cltc.org/explore-our-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Sept. 18 – Sunday, Sept. 20:\u003ca href=\"http://www.odcdance.org/performance.php?param=284\" target=\"_blank\" rel=\"noopener\"> PUSHfest 2015. \u003c/a>\u003c/strong>Now in its 10th season, Raissa Simpson’s Push dance company showcases a wide range of genres staged by 15 choreographers.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/push-dance-at-ten/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 19: \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Destroyer.\u003c/a>\u003c/strong> Dan Bejar’s elegantly experimental electronic solo project hits the Fillmore. \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 20: \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">The Mary Stallings Quartet.\u003c/a> \u003c/strong>This Bay Area native and former seamstress’s voice is like the silk she worked with — roughened a bit with age, but what a story it has to tell. \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Gin Wigmore.\u003c/a> \u003c/strong>This young New Zealander sounds a bit like Wanda Jackson crossed with Amy Winehouse — new twang in an old soul. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Thursday, Sept. 24: \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode’s ‘Poetics of Space.’\u003c/a> \u003c/strong>This premiere is an evening-length dance piece inspired by a book of the same title by the French philosopher Gaston Bachelard. \u003ca href=\"http://joegoode.org/\" 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>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Oct. 18:\u003ca href=\"http://cltc.org/explore-our-2015-16-season/\" target=\"_blank\" rel=\"noopener\"> ‘Dr. Jekyll and Mr. Hyde.’\u003c/a> \u003c/strong>This new twist on the old classic includes the use of three actors and one actress to portray the dark complexities of the amalgam of personalities that is Mr. Hyde. \u003ca href=\"http://cltc.org/explore-our-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "enjoy-the-beauty-of-dance-this-fall-and-remember-what-it-means-to-be-alive",
"title": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive",
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"headTitle": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive | KQED",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Dance is thriving in the Bay Area and the upcoming fall season offers a bewildering number works from local artists and groups. Dance enthusiasts have a cornucopia of options, from rethought classics to pieces hot off the grill, from the flexibility of installation formats to the clear perspective offered by the proscenium stage. Some will groups will choreograph alone, others collaboratively, but all will tell us something about what it means to be alive today.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918851\" class=\"wp-caption alignleft\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg\" alt=\"Lavany AnantH\" width=\"576\" height=\"600\" class=\"size-medium wp-image-10918851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-400x416.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4.jpg 610w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lavanya Ananth \u003ccite>(D. Shashikant )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lavanya Ananth and Charya Burt\u003c/h3>\n\u003ch5>Sept. 13, Marin Showcase Theater, San Rafael\u003cbr>\nSept. 19, Mexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/sangamartsorg\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>When Usha Srinivasan of \u003ca href=\"http://sangamarts.org/\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> suggested a program of \u003cem>Dances of Devotion\u003c/em> to Bharatanatyam performer Lavanya Ananth and Cambodian dancer Charya Burt, they were both intrigued despite never having met. While Indian and Cambodian classical dance share a common heritage — symmetry and abstraction with Hindu myths as their source material — the differences between the two disciplines promise a thrilling encounter. For lovers of classical Asian dance, \u003ci>Dances of Devotion\u003c/i> offers a rare opportunity to watch two contemporary practitioners share their interpretations of an art that may have originated in temple worships hundreds of years ago. Ananth and Burt will each perform a solo, follow up with a conversation and then they will dance together.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918852\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\" alt=\"Felipe Barrueto Cabello and Marit Brook-Kothlow\" width=\"720\" height=\"484\" class=\"size-thumbnail wp-image-10918852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felipe Barrueto Cabello and Marit Brook-Kothlow \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>Sept. 24 – Oct. 11\u003cbr>\nJoe Goode Annex, San Francisco\u003cbr>\n\u003ca href=\"http://www.joegoode.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For over two decades, the Joe Goode Performance Group has shown us complex images of the misfits of our society in works that pioneered the use of language in dance. Goode’s wit and compassion, colored with a dollop of melancholy, has made him one of the most beloved choreographers in the Bay area. For \u003ci>The Poetics of Space\u003c/i>, his newest endeavor that’s inspired by Gaston Bachelard’s study of domestic spaces, Goode and designer Sean Riley looked at the company’s own home, which boasts a generous 1500 sq.ft. and a 24 ft ceiling. From that they carved intimate habitats to explored by us at our own pace. Thankfully, long-time former Joe Goode dancer Marit Brook-Kothlow will rejoin the company on this journey.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918850\" class=\"wp-caption alignleft\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg\" alt=\"Zoe Klein and Amar Tabor Smith\" width=\"597\" height=\"600\" class=\"size-thumbnail wp-image-10918850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1175x1180.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1920x1928.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-75x75.jpg 75w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Klein and Amara Tabor-Smith \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Amara Tabor-Smith\u003c/h3>\n\u003ch5>Sept. 24 – 26\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.odctheater.org/\" target=\"_blank\" rel=\"noopener\">www.odctheater.org\u003c/a>\u003c/h5>\n\u003cp>Upon returning to her native San Francisco after having spent a major part of her dancing career with New York’s fierce and socially committed Urban Bush Women, Amara Tabor-Smith has pulled us in with cogently articulate choreography in which the past is very much part of the present. \u003cem>EarthBodyHome\u003c/em> is her most ambitious project yet. Taking inspiration from exiled Cuban artist Ana Mendieta who fashioned earthwork sculptures with her own body, Tabor-Smith created a multimedia ritual that looks at the turbulences of physical and spiritual displacement. She is working with some of the hottest performing talent around: co-director the Korean-born Dohee Lee and performers Laura “Larry” Arrington, Zoe Klein and Xandra Ibarra AKA “La Chica Boom.” They alone should make you want to go buy a ticket.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918854\" class=\"wp-caption alignleft\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg\" alt=\"Alayna Strouc\" width=\"661\" height=\"600\" class=\"size-thumbnail wp-image-10918854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-400x363.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1180x1071.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1920x1743.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-960x871.jpg 960w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alayna Stroud \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Flyaway Productions\u003c/h3>\n\u003ch5>Oct. 1-3, 8-10\u003cbr>\nContinuum Alley, San Francisco\u003cbr>\n\u003ca href=\"http://flyawayproductions.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Jo Kreiter makes tough-yet-poetic aerial work about people, women in particular, who have to survive the struggles of disenfranchisement. Following last year’s \u003cem>Multiple Mary and Invisible Jane\u003c/em>, which was a tribute to the Tenderloin’s homeless women, the new \u003cem>Needles to Thread\u003c/em> honors another group of the invisible poor, the women who slave away in the local garment industry. Kreiter, who calls her gravity defying work “apparatus-based dance,” has developed a rich vocabulary with which to look at ignored communities, often in consultation with its members. Watching her intrepid dancers scale walls, swing towards the clouds and hang from parapets makes you believe that anything is possible.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918874\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg\" alt=\"Noa Wertheim and Adi Sha'al of Vertigo Dance\" width=\"800\" height=\"450\" class=\"size-thumbnail wp-image-10918874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noa Wertheim and Adi Sha’al of Vertigo Dance \u003ccite>(courtesy SFDFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival (SFDFF)\u003c/h3>\n\u003ch5>Oct. 8 – 10\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>Though only in its sixth year, the SFDFF has more than earned its place among movie-loving audiences. It has become a must for those of us who want to see how two moving mediums — dance and film — can find common ground. This year’s plethora of selections from the around the globe feature many fascinating documentaries, including one on the great ballerina Mia Slavenska and another on the Paris Opera Ballet’s redoubtable director Brigitte Lefevre. Others include \u003cem>Renewal,\u003c/em> which shows Israel’s Vertigo Dance Company creating a more sustainable – in every way – identity for itself. The Canadian-made \u003cem>A Brief History of Madness\u003c/em> offers a perspective on mental illness while the remarkable Dutch double bill \u003cem>Symmetry\u003c/em> and \u003cem>Symmetry Unraveled\u003c/em> delve into the world for particle physics. My favorite part of SFDFF, however, remains the four evenings of shorts in which dancers and filmmakers collaborate often with astonishing results.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918848\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg\" alt=\"José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones\" width=\"800\" height=\"533\" class=\"size-thumbnail wp-image-10918848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones \u003ccite>(Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Silicon Valley Ballet\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nSan Jose Center for the Performing Arts, San Jose\u003cbr>\n\u003ca href=\"http://www.balletsj.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you like story ballets, \u003cem>Giselle\u003c/em> is for you. It’s been a hit ever since its first performance in 1841. The story of the innocent peasant girl betrayed by her aristocratic suitor remains irresistible. Most conventional interpretations focus on the lovers and the ballet’s demanding dancing. Not the one by Cuban ballerina Alicia Alonso, herself a legendary Giselle. Her version for the Ballet Nacional de Cuba shapes the love story as part of a larger narrative about aristocrats and common folk. Coached by Silicon Valley Ballet’s Artistic Director José Manuel Carreño, who trained under Alonso, this \u003cem>Giselle\u003c/em> will be a first for an American ballet company. Given the recent warming between Cuba and the USA, the timing seems particularly felicitous.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918853\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg\" alt=\"Twyla Tharp Taking to the Air\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10918853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Twyla-Tharp Taking to the Air \u003ccite>(Bill KIng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Twyla Tharp – 50th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nCal Performances, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Today Twyla Tharp remains a singular phenomenon in American dance. Perhaps only Jerome Robbins came close to her ability to successfully conquer modern, ballet, Broadway, Jazz, Television, Film and even two ice skating routines. Her musical tastes run from the Beach Boys to Bach, Billy Joel to Mozart, Benjamin Britten to Wynton Marsalis. There is little that Tharp, a polymath of dance, hasn’t attempted. For this ten-week anniversary tour, she engaged a troupe of 12, made up of Tharp regulars and ballet dancers from around the country. Much as we might like to see some of her now classics, Tharp would have none of it. She is touring with two pieces, one set to Bach’s “Well-Tempered Clavier”, the other, “Yowzie,” to jazz scores by Henry Butler and Steven Bernstein. Naturally, both are world premieres.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Dance is thriving in the Bay Area and the upcoming fall season offers a bewildering number works from local artists and groups. ",
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"title": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive | KQED",
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"headline": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Dance is thriving in the Bay Area and the upcoming fall season offers a bewildering number works from local artists and groups. Dance enthusiasts have a cornucopia of options, from rethought classics to pieces hot off the grill, from the flexibility of installation formats to the clear perspective offered by the proscenium stage. Some will groups will choreograph alone, others collaboratively, but all will tell us something about what it means to be alive today.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918851\" class=\"wp-caption alignleft\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg\" alt=\"Lavany AnantH\" width=\"576\" height=\"600\" class=\"size-medium wp-image-10918851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-400x416.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4.jpg 610w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lavanya Ananth \u003ccite>(D. Shashikant )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lavanya Ananth and Charya Burt\u003c/h3>\n\u003ch5>Sept. 13, Marin Showcase Theater, San Rafael\u003cbr>\nSept. 19, Mexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/sangamartsorg\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>When Usha Srinivasan of \u003ca href=\"http://sangamarts.org/\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> suggested a program of \u003cem>Dances of Devotion\u003c/em> to Bharatanatyam performer Lavanya Ananth and Cambodian dancer Charya Burt, they were both intrigued despite never having met. While Indian and Cambodian classical dance share a common heritage — symmetry and abstraction with Hindu myths as their source material — the differences between the two disciplines promise a thrilling encounter. For lovers of classical Asian dance, \u003ci>Dances of Devotion\u003c/i> offers a rare opportunity to watch two contemporary practitioners share their interpretations of an art that may have originated in temple worships hundreds of years ago. Ananth and Burt will each perform a solo, follow up with a conversation and then they will dance together.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918852\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\" alt=\"Felipe Barrueto Cabello and Marit Brook-Kothlow\" width=\"720\" height=\"484\" class=\"size-thumbnail wp-image-10918852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felipe Barrueto Cabello and Marit Brook-Kothlow \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>Sept. 24 – Oct. 11\u003cbr>\nJoe Goode Annex, San Francisco\u003cbr>\n\u003ca href=\"http://www.joegoode.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For over two decades, the Joe Goode Performance Group has shown us complex images of the misfits of our society in works that pioneered the use of language in dance. Goode’s wit and compassion, colored with a dollop of melancholy, has made him one of the most beloved choreographers in the Bay area. For \u003ci>The Poetics of Space\u003c/i>, his newest endeavor that’s inspired by Gaston Bachelard’s study of domestic spaces, Goode and designer Sean Riley looked at the company’s own home, which boasts a generous 1500 sq.ft. and a 24 ft ceiling. From that they carved intimate habitats to explored by us at our own pace. Thankfully, long-time former Joe Goode dancer Marit Brook-Kothlow will rejoin the company on this journey.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918850\" class=\"wp-caption alignleft\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg\" alt=\"Zoe Klein and Amar Tabor Smith\" width=\"597\" height=\"600\" class=\"size-thumbnail wp-image-10918850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1175x1180.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1920x1928.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-75x75.jpg 75w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Klein and Amara Tabor-Smith \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Amara Tabor-Smith\u003c/h3>\n\u003ch5>Sept. 24 – 26\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.odctheater.org/\" target=\"_blank\" rel=\"noopener\">www.odctheater.org\u003c/a>\u003c/h5>\n\u003cp>Upon returning to her native San Francisco after having spent a major part of her dancing career with New York’s fierce and socially committed Urban Bush Women, Amara Tabor-Smith has pulled us in with cogently articulate choreography in which the past is very much part of the present. \u003cem>EarthBodyHome\u003c/em> is her most ambitious project yet. Taking inspiration from exiled Cuban artist Ana Mendieta who fashioned earthwork sculptures with her own body, Tabor-Smith created a multimedia ritual that looks at the turbulences of physical and spiritual displacement. She is working with some of the hottest performing talent around: co-director the Korean-born Dohee Lee and performers Laura “Larry” Arrington, Zoe Klein and Xandra Ibarra AKA “La Chica Boom.” They alone should make you want to go buy a ticket.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918854\" class=\"wp-caption alignleft\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg\" alt=\"Alayna Strouc\" width=\"661\" height=\"600\" class=\"size-thumbnail wp-image-10918854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-400x363.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1180x1071.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1920x1743.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-960x871.jpg 960w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alayna Stroud \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Flyaway Productions\u003c/h3>\n\u003ch5>Oct. 1-3, 8-10\u003cbr>\nContinuum Alley, San Francisco\u003cbr>\n\u003ca href=\"http://flyawayproductions.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Jo Kreiter makes tough-yet-poetic aerial work about people, women in particular, who have to survive the struggles of disenfranchisement. Following last year’s \u003cem>Multiple Mary and Invisible Jane\u003c/em>, which was a tribute to the Tenderloin’s homeless women, the new \u003cem>Needles to Thread\u003c/em> honors another group of the invisible poor, the women who slave away in the local garment industry. Kreiter, who calls her gravity defying work “apparatus-based dance,” has developed a rich vocabulary with which to look at ignored communities, often in consultation with its members. Watching her intrepid dancers scale walls, swing towards the clouds and hang from parapets makes you believe that anything is possible.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918874\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg\" alt=\"Noa Wertheim and Adi Sha'al of Vertigo Dance\" width=\"800\" height=\"450\" class=\"size-thumbnail wp-image-10918874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noa Wertheim and Adi Sha’al of Vertigo Dance \u003ccite>(courtesy SFDFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival (SFDFF)\u003c/h3>\n\u003ch5>Oct. 8 – 10\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>Though only in its sixth year, the SFDFF has more than earned its place among movie-loving audiences. It has become a must for those of us who want to see how two moving mediums — dance and film — can find common ground. This year’s plethora of selections from the around the globe feature many fascinating documentaries, including one on the great ballerina Mia Slavenska and another on the Paris Opera Ballet’s redoubtable director Brigitte Lefevre. Others include \u003cem>Renewal,\u003c/em> which shows Israel’s Vertigo Dance Company creating a more sustainable – in every way – identity for itself. The Canadian-made \u003cem>A Brief History of Madness\u003c/em> offers a perspective on mental illness while the remarkable Dutch double bill \u003cem>Symmetry\u003c/em> and \u003cem>Symmetry Unraveled\u003c/em> delve into the world for particle physics. My favorite part of SFDFF, however, remains the four evenings of shorts in which dancers and filmmakers collaborate often with astonishing results.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918848\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg\" alt=\"José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones\" width=\"800\" height=\"533\" class=\"size-thumbnail wp-image-10918848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones \u003ccite>(Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Silicon Valley Ballet\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nSan Jose Center for the Performing Arts, San Jose\u003cbr>\n\u003ca href=\"http://www.balletsj.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you like story ballets, \u003cem>Giselle\u003c/em> is for you. It’s been a hit ever since its first performance in 1841. The story of the innocent peasant girl betrayed by her aristocratic suitor remains irresistible. Most conventional interpretations focus on the lovers and the ballet’s demanding dancing. Not the one by Cuban ballerina Alicia Alonso, herself a legendary Giselle. Her version for the Ballet Nacional de Cuba shapes the love story as part of a larger narrative about aristocrats and common folk. Coached by Silicon Valley Ballet’s Artistic Director José Manuel Carreño, who trained under Alonso, this \u003cem>Giselle\u003c/em> will be a first for an American ballet company. Given the recent warming between Cuba and the USA, the timing seems particularly felicitous.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918853\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg\" alt=\"Twyla Tharp Taking to the Air\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10918853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Twyla-Tharp Taking to the Air \u003ccite>(Bill KIng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Twyla Tharp – 50th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nCal Performances, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Today Twyla Tharp remains a singular phenomenon in American dance. Perhaps only Jerome Robbins came close to her ability to successfully conquer modern, ballet, Broadway, Jazz, Television, Film and even two ice skating routines. Her musical tastes run from the Beach Boys to Bach, Billy Joel to Mozart, Benjamin Britten to Wynton Marsalis. There is little that Tharp, a polymath of dance, hasn’t attempted. For this ten-week anniversary tour, she engaged a troupe of 12, made up of Tharp regulars and ballet dancers from around the country. Much as we might like to see some of her now classics, Tharp would have none of it. She is touring with two pieces, one set to Bach’s “Well-Tempered Clavier”, the other, “Yowzie,” to jazz scores by Henry Butler and Steven Bernstein. Naturally, both are world premieres.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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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": "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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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