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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>Despite lacking an abundance of mainstream recognition, the world of contemporary and traditional American Indian arts is thriving in the Bay Area. This fall, the public has several opportunities to celebrate the creative work of local Native groups—the Ohlone/Costanoan, Coast Miwok, Pomo, and Wappo people call the region home. From museum exhibits to American Indian cinema to community events, there is no shortage of opportunities to celebrate the rich history and legacy of the California’s American Indian community.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916678\" class=\"wp-caption alignleft\" style=\"max-width: 463px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg\" alt=\"8th Annual American Indian Heritage Celebration, San Jose\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">8th Annual American Indian Heritage Celebration, San Jose\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual American Indian Heritage Celebration\u003c/h3>\n\u003ch5>Sept. 12\u003cbr>\nSanta Clara County Fairgrounds, San Jose\u003cbr>\n\u003ca href=\"http://americanindianalliance.org/upcoming_events\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Less than a century ago, traditional Native American dances were banned by the United States and Canadian governments, with most traditional gatherings happening underground in order to avoid persecution. Today, intertribal dances are performed at public gatherings like the American Indian Heritage Celebration in San Jose. In addition to dances from Aztec and California groups (Amah Mutsun and Mi-Wuk), the traditional Big Time and Powwow event hosts an American Indian marketplace with arts, crafts and food vendors, and is also free to the public.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916676\" class=\"wp-caption alignleft\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg\" alt=\"“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\" width=\"703\" height=\"556\" class=\"size-thumbnail wp-image-10916676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243-400x316.jpg 400w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em>\u003c/h3>\n\u003ch5>Through December\u003cbr>\nCalifornia Indian Museum, Santa Rosa\u003cbr>\n\u003ca href=\"http://cimcc.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Known for their Pomo Language revitalization program and for a long-standing exhibit on California Yahi Indian, Ishi, the California Indian Museum in Santa Rosa celebrates the return of the \u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em> exhibit which will run through the fall and winter. The collection features baskets and traditional cradle baskets from Pomo, Miwok, Mono and Chumash weavers, some of which are over 100 years old. Because cradle baskets are rarely made for collectors, this collection features many authentic, traditional pieces on display.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916677\" class=\"wp-caption alignleft\" style=\"max-width: 531px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg\" alt='\"Ambassadors\" Novato' width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-400x452.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg 720w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ambassadors” Novato\u003c/figcaption>\u003c/figure>\n\u003ch3>Museum of the American Indian\u003c/h3>\n\u003ch5>Through Dec.\u003cbr>\nNovato\u003cbr>\n\u003ca href=\"http://www.marinindian.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Located at the site of a Coast Miwok village in Novato, Marin County’s Museum of the American Indian celebrates Native American day Sept. 12 with free admission. The museum currently hosts two exhibits, the first being \u003ci>Ambassadors,\u003c/i> which showcases lithographs of commissioned portraits of tribal leaders who journeyed to Washington D.C. for peace negotiations between 1821 and 1842. The original portraits were destroyed in a fire at The Smithsonian, but the 30 surviving lithographs are on display at the museum through the end of December. The other exhibit features the work of artist Edward Willie (Pomo, Walkiki, and Wintu). Willie received a Traditional Arts Grant from Creative Work Fund in 2011 and created the \u003ci>Kay Key Ya Project\u003c/i> at the museum, which showcases traditional Pomo dance regalia.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916679\" class=\"wp-caption alignleft\" style=\"max-width: 311px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10916679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\" alt=\"21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\" width=\"311\" height=\"270\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\u003c/figcaption>\u003c/figure>\n\u003ch3>21st Annual Indigenous People’s Day Powwow and Indian Market\u003c/h3>\n\u003ch5>Oct. 10\u003cbr>\nCivic Center Park, Berkeley\u003cbr>\n\u003ca href=\"http://ipdpowwow.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For 21 years, American Indians around the Bay Area have gathered in Berkeley to reclaim Columbus Day with an annual Indigenous People’s powwow and traditional Indian market. Intertribal groups, along with non-indigenous attendees, gather at Civic Center Park for a day of traditional dances and music for the powwow. The adjoining market place is full of contemporary and traditional Native American arts, crafts, and food(!) that can be purchased.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916680\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg\" alt=\"American Indian Film Festival poster from 1975 (Roger Fernandes)\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Indian Film Festival poster from 1975 (Roger Fernandes) \u003ccite>(American Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>40th Annual American Indian Film Festival\u003c/h3>\n\u003ch5>Nov. 6 – 14\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The American Indian Film Institute has brought the best in American Indian cinema to audiences since 1975. Featuring award-winning films like \u003cem>Smoke Signals, Frozen River, Tiger Eyes, Horse Tribe and Atanarjuat: The Fast Runner\u003c/em>, the festival celebrates 40 years this November with a fantastic lineup. It’s nothing but high quality features, shorts, documentaries, animation, music videos and experimental films. Also, by attending the festival, you’re also supporting the institute’s work with marginalized American Indian youth — expect some of their pieces in the lineup. Tickets on sale Oct. 1.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916681\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916681\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-800x450.jpg\" alt=\"Remnants of the occupation of Alcatraz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Remnants of the occupation of Alcatraz\u003c/figcaption>\u003c/figure>\n\u003ch3>Indigenous People’s Sunrise Ceremony\u003c/h3>\n\u003ch5>Nov. 26\u003cbr>\nAlcatraz\u003cbr>\n\u003ca href=\"https://www.facebook.com/treatycouncil\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A meaningful alternative to modern day Thanksgiving festivities, the Alcatraz Sunrise Ceremony takes place each year, commemorating the 1971 occupation of Alcatraz by the tribe of all nations. Inspired by the action and commitment to empower American Indians and to reclaim sovereignty, dancers from several American Indian groups come together for a pre-dawn ceremony on the rock. The event is free but ferry tickets to and from Alcatraz can be purchased through \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\" rel=\"noopener\">Blue and Gold Fleet ferries.\u003c/a>\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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>Despite lacking an abundance of mainstream recognition, the world of contemporary and traditional American Indian arts is thriving in the Bay Area. This fall, the public has several opportunities to celebrate the creative work of local Native groups—the Ohlone/Costanoan, Coast Miwok, Pomo, and Wappo people call the region home. From museum exhibits to American Indian cinema to community events, there is no shortage of opportunities to celebrate the rich history and legacy of the California’s American Indian community.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916678\" class=\"wp-caption alignleft\" style=\"max-width: 463px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg\" alt=\"8th Annual American Indian Heritage Celebration, San Jose\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">8th Annual American Indian Heritage Celebration, San Jose\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual American Indian Heritage Celebration\u003c/h3>\n\u003ch5>Sept. 12\u003cbr>\nSanta Clara County Fairgrounds, San Jose\u003cbr>\n\u003ca href=\"http://americanindianalliance.org/upcoming_events\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Less than a century ago, traditional Native American dances were banned by the United States and Canadian governments, with most traditional gatherings happening underground in order to avoid persecution. Today, intertribal dances are performed at public gatherings like the American Indian Heritage Celebration in San Jose. In addition to dances from Aztec and California groups (Amah Mutsun and Mi-Wuk), the traditional Big Time and Powwow event hosts an American Indian marketplace with arts, crafts and food vendors, and is also free to the public.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916676\" class=\"wp-caption alignleft\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg\" alt=\"“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\" width=\"703\" height=\"556\" class=\"size-thumbnail wp-image-10916676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243-400x316.jpg 400w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em>\u003c/h3>\n\u003ch5>Through December\u003cbr>\nCalifornia Indian Museum, Santa Rosa\u003cbr>\n\u003ca href=\"http://cimcc.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Known for their Pomo Language revitalization program and for a long-standing exhibit on California Yahi Indian, Ishi, the California Indian Museum in Santa Rosa celebrates the return of the \u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em> exhibit which will run through the fall and winter. The collection features baskets and traditional cradle baskets from Pomo, Miwok, Mono and Chumash weavers, some of which are over 100 years old. Because cradle baskets are rarely made for collectors, this collection features many authentic, traditional pieces on display.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916677\" class=\"wp-caption alignleft\" style=\"max-width: 531px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg\" alt='\"Ambassadors\" Novato' width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-400x452.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg 720w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ambassadors” Novato\u003c/figcaption>\u003c/figure>\n\u003ch3>Museum of the American Indian\u003c/h3>\n\u003ch5>Through Dec.\u003cbr>\nNovato\u003cbr>\n\u003ca href=\"http://www.marinindian.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Located at the site of a Coast Miwok village in Novato, Marin County’s Museum of the American Indian celebrates Native American day Sept. 12 with free admission. The museum currently hosts two exhibits, the first being \u003ci>Ambassadors,\u003c/i> which showcases lithographs of commissioned portraits of tribal leaders who journeyed to Washington D.C. for peace negotiations between 1821 and 1842. The original portraits were destroyed in a fire at The Smithsonian, but the 30 surviving lithographs are on display at the museum through the end of December. The other exhibit features the work of artist Edward Willie (Pomo, Walkiki, and Wintu). Willie received a Traditional Arts Grant from Creative Work Fund in 2011 and created the \u003ci>Kay Key Ya Project\u003c/i> at the museum, which showcases traditional Pomo dance regalia.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916679\" class=\"wp-caption alignleft\" style=\"max-width: 311px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10916679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\" alt=\"21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\" width=\"311\" height=\"270\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\u003c/figcaption>\u003c/figure>\n\u003ch3>21st Annual Indigenous People’s Day Powwow and Indian Market\u003c/h3>\n\u003ch5>Oct. 10\u003cbr>\nCivic Center Park, Berkeley\u003cbr>\n\u003ca href=\"http://ipdpowwow.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For 21 years, American Indians around the Bay Area have gathered in Berkeley to reclaim Columbus Day with an annual Indigenous People’s powwow and traditional Indian market. Intertribal groups, along with non-indigenous attendees, gather at Civic Center Park for a day of traditional dances and music for the powwow. The adjoining market place is full of contemporary and traditional Native American arts, crafts, and food(!) that can be purchased.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916680\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg\" alt=\"American Indian Film Festival poster from 1975 (Roger Fernandes)\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Indian Film Festival poster from 1975 (Roger Fernandes) \u003ccite>(American Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>40th Annual American Indian Film Festival\u003c/h3>\n\u003ch5>Nov. 6 – 14\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The American Indian Film Institute has brought the best in American Indian cinema to audiences since 1975. Featuring award-winning films like \u003cem>Smoke Signals, Frozen River, Tiger Eyes, Horse Tribe and Atanarjuat: The Fast Runner\u003c/em>, the festival celebrates 40 years this November with a fantastic lineup. It’s nothing but high quality features, shorts, documentaries, animation, music videos and experimental films. Also, by attending the festival, you’re also supporting the institute’s work with marginalized American Indian youth — expect some of their pieces in the lineup. Tickets on sale Oct. 1.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916681\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916681\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-800x450.jpg\" alt=\"Remnants of the occupation of Alcatraz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Remnants of the occupation of Alcatraz\u003c/figcaption>\u003c/figure>\n\u003ch3>Indigenous People’s Sunrise Ceremony\u003c/h3>\n\u003ch5>Nov. 26\u003cbr>\nAlcatraz\u003cbr>\n\u003ca href=\"https://www.facebook.com/treatycouncil\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A meaningful alternative to modern day Thanksgiving festivities, the Alcatraz Sunrise Ceremony takes place each year, commemorating the 1971 occupation of Alcatraz by the tribe of all nations. Inspired by the action and commitment to empower American Indians and to reclaim sovereignty, dancers from several American Indian groups come together for a pre-dawn ceremony on the rock. The event is free but ferry tickets to and from Alcatraz can be purchased through \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\" rel=\"noopener\">Blue and Gold Fleet ferries.\u003c/a>\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the surface, baseball and ballet don't seem to have much in common. But in a game against the Chicago Cubs yesterday, SF Giants pitcher Madison Bumgarner brought the two worlds together with a flourish, flying into a pirouette to make a play at first base:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://gifs.com/embed/vqP1PX\" frameborder=\"0\" scrolling=\"no\" width=\"480\" height=\"270\" style=\"-webkit-backface-visibility: hidden;-webkit-transform: scale(1);\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>His graceful move caught the attention of the San Francisco Ballet:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM.png\">\u003cimg class=\"alignnone size-full wp-image-17910\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM.png\" alt=\"Screen Shot 2015-08-28 at 10.33.36 AM\" width=\"627\" height=\"174\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM.png 627w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM-400x111.png 400w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/a>\u003c/p>\n\u003cp>...which made us wonder what Bumgarner would actually look like at the barre. 30 minutes of Photoshop later et voilà! Feast your eyes on the newest member of the SF Ballet:\u003c/p>\n\u003cfigure id=\"attachment_17927\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy.jpg\">\u003cimg class=\"wp-image-17927 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy.jpg\" alt=\"Photo: SF Ballet and MLB\" width=\"800\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy-400x242.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Erik Tomasson/SF Ballet and MLB\u003c/figcaption>\u003c/figure>\n\u003cp>Bumgarner's en pointe is on point.\u003c/p>\n\u003cfigure id=\"attachment_17925\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120.jpg\">\u003cimg class=\"wp-image-17925 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-800x451.jpg\" alt=\"Photo: SF Ballet and MLB\" width=\"800\" height=\"451\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-960x541.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120.jpg 1496w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Erik Tomasson/SF Ballet and MLB\u003c/figcaption>\u003c/figure>\n\u003cp>Get a load of that limb extension!\u003c/p>\n\u003cfigure id=\"attachment_17926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/sfaballet_composterfigure.jpg\">\u003cimg class=\"wp-image-17926 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/sfaballet_composterfigure-800x600.jpg\" alt=\"Photo: SF Ballet and MLB\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/sfaballet_composterfigure.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/sfaballet_composterfigure-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Erik Tomasson/SF Ballet and MLB\u003c/figcaption>\u003c/figure>\n\u003cp>He believes he can fly. He believes he can touch the sky. He thinks about it every night and day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the surface, baseball and ballet don't seem to have much in common. But in a game against the Chicago Cubs yesterday, SF Giants pitcher Madison Bumgarner brought the two worlds together with a flourish, flying into a pirouette to make a play at first base:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://gifs.com/embed/vqP1PX\" frameborder=\"0\" scrolling=\"no\" width=\"480\" height=\"270\" style=\"-webkit-backface-visibility: hidden;-webkit-transform: scale(1);\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>His graceful move caught the attention of the San Francisco Ballet:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM.png\">\u003cimg class=\"alignnone size-full wp-image-17910\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM.png\" alt=\"Screen Shot 2015-08-28 at 10.33.36 AM\" width=\"627\" height=\"174\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM.png 627w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/Screen-Shot-2015-08-28-at-10.33.36-AM-400x111.png 400w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/a>\u003c/p>\n\u003cp>...which made us wonder what Bumgarner would actually look like at the barre. 30 minutes of Photoshop later et voilà! Feast your eyes on the newest member of the SF Ballet:\u003c/p>\n\u003cfigure id=\"attachment_17927\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy.jpg\">\u003cimg class=\"wp-image-17927 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy.jpg\" alt=\"Photo: SF Ballet and MLB\" width=\"800\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/Verstiginouspreview_eit_lead-Copy-400x242.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Erik Tomasson/SF Ballet and MLB\u003c/figcaption>\u003c/figure>\n\u003cp>Bumgarner's en pointe is on point.\u003c/p>\n\u003cfigure id=\"attachment_17925\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120.jpg\">\u003cimg class=\"wp-image-17925 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-800x451.jpg\" alt=\"Photo: SF Ballet and MLB\" width=\"800\" height=\"451\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120-960x541.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/AsBALLETROMEO-e1430410960120.jpg 1496w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Erik Tomasson/SF Ballet and MLB\u003c/figcaption>\u003c/figure>\n\u003cp>Get a load of that limb extension!\u003c/p>\n\u003cfigure id=\"attachment_17926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/sfaballet_composterfigure.jpg\">\u003cimg class=\"wp-image-17926 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/sfaballet_composterfigure-800x600.jpg\" alt=\"Photo: SF Ballet and MLB\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/sfaballet_composterfigure.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/sfaballet_composterfigure-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Erik Tomasson/SF Ballet and MLB\u003c/figcaption>\u003c/figure>\n\u003cp>He believes he can fly. He believes he can touch the sky. He thinks about it every night and day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ballet Programs Look for More Boys to Step Up to the Barre",
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"content": "\u003cp>A beautiful ballerina and a handsome prince are at the heart of the world’s most famous ballets. \u003cem>Sleeping Beauty. Swan Lake. The Nutcracker, \u003c/em>of course.\u003c/p>\n\u003cp>And at training grounds for future dancers, plenty of girls hope to someday wear the prima ballerina’s tutu.\u003c/p>\n\u003cp>But it’s become a challenge to find the boys who will one day form the other half of the \u003cem>pas de deux\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>‘Cooties And Stuff’\u003c/strong>\u003c/p>\n\u003cp>Canyon Concert Ballet in Fort Collins, Colo., is a sea of pink tutus and giggling little girls with their hair pulled into tight buns atop their heads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a single boy: Eight-year-old Finn Miller Vaughan, who danced in his first Nutcracker when he was 3 years old.\u003c/p>\n\u003cp>He says it can be kind of fun to be the only boy, but …\u003c/p>\n\u003cp>“Sometimes there’s a downside, ’cause the girls kind of tease you sometimes,” he says. “They say I have cooties and stuff, but I know that isn’t true.”\u003c/p>\n\u003cp>He also knows that the stigmas often attached to boys who take ballet aren’t true either.\u003c/p>\n\u003cp>“Usually they think of girls only taking ballet, like wearing dresses and stuff,” he says. “They always think that it’s weird and it’s not that cool.”\u003c/p>\n\u003cp>Canyon’s artistic director Daniel Simmons heard that a lot.\u003c/p>\n\u003cp>“I was from Texas — Southern Texas. Nobody dances in Texas,” he says. “Because in Southern Texas, you either were on the football team and you got to do everything or if you didn’t play football, you didn’t do anything.”\u003c/p>\n\u003cp>\u003cstrong>Sweetening The Deal For Male Dancers\u003c/strong>\u003c/p>\n\u003cp>Simmons has spent almost 60 years dancing. Looking back, he says he was lucky. Once he walked through the door of his first ballet studio, everyone made it easier.\u003c/p>\n\u003cp>“They gave me my shoes, they gave me my tights. They gave me everything I needed. I never bought anything,” he says. “And university is the same way.\u003c/p>\n\u003cp>“Some of the boys go through four years of college not paying a cent,” he says.\u003c/p>\n\u003cp>Every program needs more boys, says Valerie Madonia, director of the Colorado Ballet Academy — whether it’s the famed Joffrey ballet school in New York, or a hometown dance studio.\u003c/p>\n\u003cp>“Programs fight to get boys to come to their programs and offer them incredible financial packages, just to come to their summer workshops,” Madonia says.\u003c/p>\n\u003cp>“They might get full tuition. In many places, they get housing. Sometimes they even provide transportation, a stipend, a living expense.”\u003c/p>\n\u003cp>The programs know you can’t have a \u003cem>Nutcracker\u003c/em> without a Nutcracker prince.\u003c/p>\n\u003cfigure id=\"attachment_10912184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ballet4-edit_slide-d1fd64459af6c122dad9e4b87ee2f0e4bb973b36-800x533.jpg\" alt=\"Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10912184\">\u003cfigcaption class=\"wp-caption-text\">Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver. \u003ccite>(Stacy Nick/KUNC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tougher Than Sports\u003c/strong>\u003c/p>\n\u003cp>Even the Colorado Ballet Academy’s intensive class this summer has fewer than a dozen boys participating — and 165 girls.\u003c/p>\n\u003cp>“The teachers have to be very creative, using one partner for maybe 7 girls,” Madonia says.\u003c/p>\n\u003cp>They also try to make the boys feel a little more boyish.\u003c/p>\n\u003cp>Before the plies, there’s a boys-only class that begins with push-ups, says ballet master John Gardner.\u003c/p>\n\u003cp>“You’re going to find out in your training in ballet — if you’ve done sports before — that ballet’s a lot more difficult,” he says.\u003c/p>\n\u003cp>That’s something 15-year-old Patrick Koenigs, who plays soccer \u003cem>and\u003c/em> does ballet, can relate to. He says he’s loved to dance since he was a little boy.\u003c/p>\n\u003cp>“My sister took dance classes when she was little and after class she would always come home and kind of teach me the moves,” he says. “I would always get excited for her to come home and kind of teach me what she had learned … I think that’s when I kind of fell in love with dance.”\u003c/p>\n\u003cp>\u003cstrong>Playing Catch-Up\u003c/strong>\u003c/p>\n\u003cp>Koenigs stands out in the class — he’s almost 6 feet tall, with a shock of red hair. But he only decided to commit to ballet three years ago. To make up for lost time, he’s training six days a week over the summer.\u003c/p>\n\u003cp>“Most girls start around like, 6 or 7, whereas most boys start at around 11,” Koenigs says. “And so it’s always hard because you have to do this catch-up.”\u003c/p>\n\u003cp>Not for Finn Miller Vaughan. He’s sure his opportunities are limitless.\u003c/p>\n\u003cp>“I’m hoping that I’ll get big parts as a boy when I’m older,” he says. “There’s a lot of girls who take ballet. But the boys, there’s only like 5 or 6, so all of them get a part.\u003c/p>\n\u003cp>“So that’s an advantage of being a boy,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But first, male dancers have to get past the teasing and walk through the ballet school door. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">http://kunc.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ballet+Programs+Look+For+More+Boys+To+Step+Up+To+The+Barre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It takes two to dance a \u003cem>pas de deux\u003c/em>, but demand for the male half of the \u003cem>duex\u003c/em> far outstrips supply. Many schools and ballet programs offer special classes and steep discounts to male students.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A beautiful ballerina and a handsome prince are at the heart of the world’s most famous ballets. \u003cem>Sleeping Beauty. Swan Lake. The Nutcracker, \u003c/em>of course.\u003c/p>\n\u003cp>And at training grounds for future dancers, plenty of girls hope to someday wear the prima ballerina’s tutu.\u003c/p>\n\u003cp>But it’s become a challenge to find the boys who will one day form the other half of the \u003cem>pas de deux\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>‘Cooties And Stuff’\u003c/strong>\u003c/p>\n\u003cp>Canyon Concert Ballet in Fort Collins, Colo., is a sea of pink tutus and giggling little girls with their hair pulled into tight buns atop their heads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a single boy: Eight-year-old Finn Miller Vaughan, who danced in his first Nutcracker when he was 3 years old.\u003c/p>\n\u003cp>He says it can be kind of fun to be the only boy, but …\u003c/p>\n\u003cp>“Sometimes there’s a downside, ’cause the girls kind of tease you sometimes,” he says. “They say I have cooties and stuff, but I know that isn’t true.”\u003c/p>\n\u003cp>He also knows that the stigmas often attached to boys who take ballet aren’t true either.\u003c/p>\n\u003cp>“Usually they think of girls only taking ballet, like wearing dresses and stuff,” he says. “They always think that it’s weird and it’s not that cool.”\u003c/p>\n\u003cp>Canyon’s artistic director Daniel Simmons heard that a lot.\u003c/p>\n\u003cp>“I was from Texas — Southern Texas. Nobody dances in Texas,” he says. “Because in Southern Texas, you either were on the football team and you got to do everything or if you didn’t play football, you didn’t do anything.”\u003c/p>\n\u003cp>\u003cstrong>Sweetening The Deal For Male Dancers\u003c/strong>\u003c/p>\n\u003cp>Simmons has spent almost 60 years dancing. Looking back, he says he was lucky. Once he walked through the door of his first ballet studio, everyone made it easier.\u003c/p>\n\u003cp>“They gave me my shoes, they gave me my tights. They gave me everything I needed. I never bought anything,” he says. “And university is the same way.\u003c/p>\n\u003cp>“Some of the boys go through four years of college not paying a cent,” he says.\u003c/p>\n\u003cp>Every program needs more boys, says Valerie Madonia, director of the Colorado Ballet Academy — whether it’s the famed Joffrey ballet school in New York, or a hometown dance studio.\u003c/p>\n\u003cp>“Programs fight to get boys to come to their programs and offer them incredible financial packages, just to come to their summer workshops,” Madonia says.\u003c/p>\n\u003cp>“They might get full tuition. In many places, they get housing. Sometimes they even provide transportation, a stipend, a living expense.”\u003c/p>\n\u003cp>The programs know you can’t have a \u003cem>Nutcracker\u003c/em> without a Nutcracker prince.\u003c/p>\n\u003cfigure id=\"attachment_10912184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ballet4-edit_slide-d1fd64459af6c122dad9e4b87ee2f0e4bb973b36-800x533.jpg\" alt=\"Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10912184\">\u003cfigcaption class=\"wp-caption-text\">Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver. \u003ccite>(Stacy Nick/KUNC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tougher Than Sports\u003c/strong>\u003c/p>\n\u003cp>Even the Colorado Ballet Academy’s intensive class this summer has fewer than a dozen boys participating — and 165 girls.\u003c/p>\n\u003cp>“The teachers have to be very creative, using one partner for maybe 7 girls,” Madonia says.\u003c/p>\n\u003cp>They also try to make the boys feel a little more boyish.\u003c/p>\n\u003cp>Before the plies, there’s a boys-only class that begins with push-ups, says ballet master John Gardner.\u003c/p>\n\u003cp>“You’re going to find out in your training in ballet — if you’ve done sports before — that ballet’s a lot more difficult,” he says.\u003c/p>\n\u003cp>That’s something 15-year-old Patrick Koenigs, who plays soccer \u003cem>and\u003c/em> does ballet, can relate to. He says he’s loved to dance since he was a little boy.\u003c/p>\n\u003cp>“My sister took dance classes when she was little and after class she would always come home and kind of teach me the moves,” he says. “I would always get excited for her to come home and kind of teach me what she had learned … I think that’s when I kind of fell in love with dance.”\u003c/p>\n\u003cp>\u003cstrong>Playing Catch-Up\u003c/strong>\u003c/p>\n\u003cp>Koenigs stands out in the class — he’s almost 6 feet tall, with a shock of red hair. But he only decided to commit to ballet three years ago. To make up for lost time, he’s training six days a week over the summer.\u003c/p>\n\u003cp>“Most girls start around like, 6 or 7, whereas most boys start at around 11,” Koenigs says. “And so it’s always hard because you have to do this catch-up.”\u003c/p>\n\u003cp>Not for Finn Miller Vaughan. He’s sure his opportunities are limitless.\u003c/p>\n\u003cp>“I’m hoping that I’ll get big parts as a boy when I’m older,” he says. “There’s a lot of girls who take ballet. But the boys, there’s only like 5 or 6, so all of them get a part.\u003c/p>\n\u003cp>“So that’s an advantage of being a boy,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But first, male dancers have to get past the teasing and walk through the ballet school door. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">http://kunc.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ballet+Programs+Look+For+More+Boys+To+Step+Up+To+The+Barre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent Saturday morning, Bay Area Beyoncé fans reveled in the rare opportunity to get down with the man behind some of Queen Bee’s fiercest dance moves.\u003c/p>\n\u003cp>With KQED video cameras rolling, Los Angeles-based professional choreographer James Alsop led participants through two high-energy dance classes, based on the stage choreography he helped create for the song \u003ca class=\"dfromytb\" href=\"https://www.youtube.com/watch?v=-zvbDkVkD0Y\" target=\"_blank\" rel=\"noopener\">“End of Time,”\u003c/a> from the Beyoncé album \u003cem>4\u003c/em>.\u003c/p>\n\u003cp>Alsop got his first big break with Bravo’s short-lived reality television show “Step It Up and Dance.” He went on to dance for Kelly Rowland, Jennifer Lopez, and Janelle Monáe. Then, in 2011, the Charlotte, North Carolina-native was tapped to create the choreography for Beyoncé’s “Run the World” music video. “The rest, as they say, is 300-million-views history,” says Alsop.\u003c/p>\n\u003cp>So why make the trek from Los Angeles to teach a group of mostly amateur dancers in the Bay? “I just \u003cem>love\u003c/em> to dance,” he says. And, as a choreographer, working behind the scenes of stardom, “you don’t really realize the impact your work has on everyday people’s lives, until you come here.”\u003c/p>\n\u003cp>At least one class participant, Mackenzie Conway, a San Francisco State grad with experience dancing in Bay Area musical theater, dreams of someday working as a professional tour dancer. But most people showed up that day to celebrate the artist they love, and her message of women’s empowerment and equality. And, of course, there was the opportunity to bust moves with other members of the BeyHive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The dances, the stomps, all the moves, it’s just really fierce,” says Richmond resident Symone Wilson. “You just let yourself go, no inhibitions, that’s what I love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The special master class was part of the Bay Area dance series \u003ca href=\"http://www.popstarbootycamp.com\" target=\"_blank\" rel=\"noopener\">PopStar Booty Camp\u003c/a>, founded by Marin County’s Carol Johnstone, former talent manager for world famous hip-hop dancers Les Twins. The camp has been bringing pop choreography to local dance fans since 2014, producing six-week programs that culminate in public performances at local music clubs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Saturday morning, Bay Area Beyoncé fans reveled in the rare opportunity to get down with the man behind some of Queen Bee’s fiercest dance moves.\u003c/p>\n\u003cp>With KQED video cameras rolling, Los Angeles-based professional choreographer James Alsop led participants through two high-energy dance classes, based on the stage choreography he helped create for the song \u003ca class=\"dfromytb\" href=\"https://www.youtube.com/watch?v=-zvbDkVkD0Y\" target=\"_blank\" rel=\"noopener\">“End of Time,”\u003c/a> from the Beyoncé album \u003cem>4\u003c/em>.\u003c/p>\n\u003cp>Alsop got his first big break with Bravo’s short-lived reality television show “Step It Up and Dance.” He went on to dance for Kelly Rowland, Jennifer Lopez, and Janelle Monáe. Then, in 2011, the Charlotte, North Carolina-native was tapped to create the choreography for Beyoncé’s “Run the World” music video. “The rest, as they say, is 300-million-views history,” says Alsop.\u003c/p>\n\u003cp>So why make the trek from Los Angeles to teach a group of mostly amateur dancers in the Bay? “I just \u003cem>love\u003c/em> to dance,” he says. And, as a choreographer, working behind the scenes of stardom, “you don’t really realize the impact your work has on everyday people’s lives, until you come here.”\u003c/p>\n\u003cp>At least one class participant, Mackenzie Conway, a San Francisco State grad with experience dancing in Bay Area musical theater, dreams of someday working as a professional tour dancer. But most people showed up that day to celebrate the artist they love, and her message of women’s empowerment and equality. And, of course, there was the opportunity to bust moves with other members of the BeyHive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not the sort of dancing the folks at \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse \u003c/a>normally program. But it’s a start.\u003c/p>\n\u003cp>Reporters soft-shoed around debris piles and skipped between the raw steel framing as artistic director Julie Phelps gave a hard hat tour of Counterpulse’s new home at 80 Turk Street in San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10878414\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg\" alt=\"A future apartment for visiting artists at Counterpulse's new space\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A future apartment for visiting artists at Counterpulse’s new space \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance presenter is planning to open its fall season there in October — the gods of construction permitting.\u003c/p>\n\u003cp>The building dates back to 1922, and most recently housed a porn theater named the Dollhouse.\u003c/p>\n\u003cp>Phelps said the two-story building with full basement would be an upgrade on Counterpulse’s old home on Mission Street. “Our offices won’t be in what should be the lobby,” Phelps said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not to mention the three rehearsal studios, state-of-the-art performance space with a 30 by 30 foot stage, new audio system donated by Meyer Sound of Berkeley, and sprung hardwood floor. The building also includes an apartment on the second floor that will house visiting artists working at Counterpulse and neighboring organizations like the Yerba Buena Center for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_10878411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg\" alt=\"Silhouettes of exotic dancers, artifacts of 80 Turk Street's former life as a porn theater\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Silhouettes of exotic dancers, artifacts of 80 Turk Street’s former life as a porn theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new theater will feature 115 seats — 20 more than in Counterpulse’s old home. The number, Phelps said, is perfect for the kind of experimental work the company likes to present.\u003c/p>\n\u003cp>“We aren’t on the road to a 300 seat house,” Phelps said. “The intimacy and scale of our venue is key.”\u003c/p>\n\u003cp>The real news though, is that Counterpulse will own its new home here, despite San Francisco’s toxic real estate market. That’s the result of an intervention of sorts by the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund,\u003c/a> the\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\"> Community Arts Stabilization Trust (CAST)\u003c/a>, and the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>CAST, an offshoot of the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>, negotiated and underwrote the purchase of 80 Turk on Counterpulse’s behalf. CAST Executive Director Moy Eng said the purchase is part of a project to find long term solutions to the loss of non-profit arts organizations in San Francisco. “Not just a finger in the dike,” Eng said during the tour. “To create permanent space so arts and culture remains and endures.”\u003c/p>\n\u003cfigure id=\"attachment_10878412\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg\" alt=\"CAST Executive Director Moy Eng, with Counterpulse's Executive Director Tomas Riley, and Artistic Director Julie Phelps\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">CAST Executive Director Moy Eng, with Counterpulse’s Executive Director Tomas Riley, and Artistic Director Julie Phelps \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST is providing a similar service for mid-market’s \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, another non-profit arts presenter.\u003c/p>\n\u003cp>The purchase is not a gift. “It’s a fancy lease to own agreement,” Phelps said. Counterpulse has five years to pay off the $6 million loan, with no interest, and it’s already raised nearly half of that loan with help from Market Street neighbors Twitter and Zendesk.\u003c/p>\n\u003cp>One unusual aspect of the loan is that once Counterpulse pays it off, CAST will redistribute the money to another non-profit arts group in need of help finding a home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not the sort of dancing the folks at \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse \u003c/a>normally program. But it’s a start.\u003c/p>\n\u003cp>Reporters soft-shoed around debris piles and skipped between the raw steel framing as artistic director Julie Phelps gave a hard hat tour of Counterpulse’s new home at 80 Turk Street in San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10878414\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg\" alt=\"A future apartment for visiting artists at Counterpulse's new space\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A future apartment for visiting artists at Counterpulse’s new space \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance presenter is planning to open its fall season there in October — the gods of construction permitting.\u003c/p>\n\u003cp>The building dates back to 1922, and most recently housed a porn theater named the Dollhouse.\u003c/p>\n\u003cp>Phelps said the two-story building with full basement would be an upgrade on Counterpulse’s old home on Mission Street. “Our offices won’t be in what should be the lobby,” Phelps said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not to mention the three rehearsal studios, state-of-the-art performance space with a 30 by 30 foot stage, new audio system donated by Meyer Sound of Berkeley, and sprung hardwood floor. The building also includes an apartment on the second floor that will house visiting artists working at Counterpulse and neighboring organizations like the Yerba Buena Center for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_10878411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg\" alt=\"Silhouettes of exotic dancers, artifacts of 80 Turk Street's former life as a porn theater\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Silhouettes of exotic dancers, artifacts of 80 Turk Street’s former life as a porn theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new theater will feature 115 seats — 20 more than in Counterpulse’s old home. The number, Phelps said, is perfect for the kind of experimental work the company likes to present.\u003c/p>\n\u003cp>“We aren’t on the road to a 300 seat house,” Phelps said. “The intimacy and scale of our venue is key.”\u003c/p>\n\u003cp>The real news though, is that Counterpulse will own its new home here, despite San Francisco’s toxic real estate market. That’s the result of an intervention of sorts by the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund,\u003c/a> the\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\"> Community Arts Stabilization Trust (CAST)\u003c/a>, and the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>CAST, an offshoot of the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>, negotiated and underwrote the purchase of 80 Turk on Counterpulse’s behalf. CAST Executive Director Moy Eng said the purchase is part of a project to find long term solutions to the loss of non-profit arts organizations in San Francisco. “Not just a finger in the dike,” Eng said during the tour. “To create permanent space so arts and culture remains and endures.”\u003c/p>\n\u003cfigure id=\"attachment_10878412\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg\" alt=\"CAST Executive Director Moy Eng, with Counterpulse's Executive Director Tomas Riley, and Artistic Director Julie Phelps\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">CAST Executive Director Moy Eng, with Counterpulse’s Executive Director Tomas Riley, and Artistic Director Julie Phelps \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST is providing a similar service for mid-market’s \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, another non-profit arts presenter.\u003c/p>\n\u003cp>The purchase is not a gift. “It’s a fancy lease to own agreement,” Phelps said. Counterpulse has five years to pay off the $6 million loan, with no interest, and it’s already raised nearly half of that loan with help from Market Street neighbors Twitter and Zendesk.\u003c/p>\n\u003cp>One unusual aspect of the loan is that once Counterpulse pays it off, CAST will redistribute the money to another non-profit arts group in need of help finding a home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\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 — and a very special announcement.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/07/20150724tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, July 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/social-studies/\" target=\"_blank\" rel=\"noopener\">Social Studies at the Great American Music Hall.\u003c/a> \u003c/strong>A record release show full of feel-good, danceable indie-rock from a well-seasoned San Francisco five-piece.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jay-silent-bob-get-old-with-kevin-smith-and-jason-mewes/\" target=\"_blank\" rel=\"noopener\">Jay & Silent Bob Get Old with Kevin Smith and Jason Mewes. \u003c/a>\u003c/strong>The filmmakers and cult favorites behind Jay and Silent Bob make a rare live appearance in the South Bay.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24 – Saturday, July 25: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-six-pack-of-modern-ballet/\">Post:Ballet’s \u003cem>Six Pack.\u003c/em>\u003c/a> \u003c/strong>Artistic director Robert Dekkers’ latest program features a brand-new dance set to equally new music by Bay Area composer Samuel Adams.\u003c/p>\n\u003cp>\u003cstrong>Sunday, July 26:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/flaco-jimenez-and-max-baca/\" target=\"_blank\" rel=\"noopener\">Flaco Jimenez and Max Baca at SFJAZZ.\u003c/a>\u003c/strong> Two virtuosos from the world of Mexican Polka bring songs from their latest record to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>July 26 – Aug. 9:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">West Edge Opera Festival. \u003c/a>\u003c/strong>A summer festival of three productions in three non-traditional venues — like the historic 16th street train station in West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 18: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">KQED: The Do List Live!\u003c/a> \u003c/strong>The Dodos, Echo Brown, Killing My Lobster and Tiffany Austin join The Do List hosts Cy Musiker and David Wiegand for a night at The Chapel in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, July 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/social-studies/\" target=\"_blank\" rel=\"noopener\">Social Studies at the Great American Music Hall.\u003c/a> \u003c/strong>A record release show full of feel-good, danceable indie-rock from a well-seasoned San Francisco five-piece.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jay-silent-bob-get-old-with-kevin-smith-and-jason-mewes/\" target=\"_blank\" rel=\"noopener\">Jay & Silent Bob Get Old with Kevin Smith and Jason Mewes. \u003c/a>\u003c/strong>The filmmakers and cult favorites behind Jay and Silent Bob make a rare live appearance in the South Bay.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24 – Saturday, July 25: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-six-pack-of-modern-ballet/\">Post:Ballet’s \u003cem>Six Pack.\u003c/em>\u003c/a> \u003c/strong>Artistic director Robert Dekkers’ latest program features a brand-new dance set to equally new music by Bay Area composer Samuel Adams.\u003c/p>\n\u003cp>\u003cstrong>Sunday, July 26:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/flaco-jimenez-and-max-baca/\" target=\"_blank\" rel=\"noopener\">Flaco Jimenez and Max Baca at SFJAZZ.\u003c/a>\u003c/strong> Two virtuosos from the world of Mexican Polka bring songs from their latest record to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>July 26 – Aug. 9:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">West Edge Opera Festival. \u003c/a>\u003c/strong>A summer festival of three productions in three non-traditional venues — like the historic 16th street train station in West Oakland.\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>Aug. 18: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">KQED: The Do List Live!\u003c/a> \u003c/strong>The Dodos, Echo Brown, Killing My Lobster and Tiffany Austin join The Do List hosts Cy Musiker and David Wiegand for a night at The Chapel in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Making Sense of Nudity at Halprin Hyde Street Pier Event",
"headTitle": "Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED",
"content": "\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amy Seiwert's 'Sketches' Fuses Different Approaches",
"headTitle": "Amy Seiwert’s ‘Sketches’ Fuses Different Approaches | KQED",
"content": "\u003cp>This year choreographer Amy Seiwert switched gears for her \u003cem>Sketch5/Stirrings\u003c/em>. Instead of asking choreographers to create pieces on her dancers, she invited fellow Bay Area dance maker KT Nelson to co-create one for her company. Nelson, a long-time contemporary dance choreographer with ODC Dance, is experienced in collaboration. Seiwert, on the other hand, is a novice.\u003c/p>\n\u003cp>The experiment of co-creating “Starting at the End” comes close to being successful. What’s missing is a common thread that ties individual moments into a cohesive whole. Yet the richness of the material holds the eye captive, as long lines and precarious balances explode into quixotic kicks, drops and delicate finger gestures.\u003c/p>\n\u003cp>Seiwert and Nelson make no attempt to fuse their two approaches to dance together. One minute, a dancer performs a highly formal balletic extension; the next, the same performer rolls on the floor like a ball that’s been kicked.\u003c/p>\n\u003cp>When Brandon Freeman tackles James Gilmer at top speed, you might expect conflict. Yet the dancers’ bodies accommodate each other like two very different trees growing into one.\u003c/p>\n\u003cp>Much of the credit for “Starting at the End” goes to the superb dancers who integrate the movement material so confidently into their bodies. Rachel Furst mesmerizes as much with her delicate yet strong pliancy as she does with her ability to change speed and direction with the velocity of a scared rabbit. Liang Fu courteously partners a pliant Annali Rose while holding his own in a competitive race with two male colleagues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The program also includes Seiwert’s “Traveling Alone,” set on Colorado Ballet in 2012, as well as her reworked “Back to,” created for Cincinnati Ballet as “Yesterday, Tomorrow,” in 2013.\u003c/p>\n\u003cp>Fast-paced and edgy, “Traveling Alone” is a wistful ballad about not fitting in. Guest artist Dana Benton, petite and razor-sharp in her attacks, is the lone traveler who marches self-confidently to center stage, whips her turns and shoots her arms straight at us. That’s one self-absorbed woman, you think.\u003c/p>\n\u003cp>Dressed in elegant red, Benton encounters a world where every one wears white. All she can do is observe and try to fit in. She encounters a trio of bird-like women and forcefully inserts herself into intimate pas de deux. Partnering with individual men leads nowhere. A mirroring duet across space peters out.\u003c/p>\n\u003cp>A lovely touch is Seiwert’s bow to the grand 19\u003csup>th\u003c/sup> century ballet manner. Gilmer and Fu partner the regal Sarah Griffin trophy style. They manipulate her limbs, spin, lift and dive her precariously. But this grand ballerina looks about as lonely as Benton, who seems destined to remain without a partner.\u003c/p>\n\u003cp>At last, Freeman engages her with his strong arms and assertive lifts. But is that the end of this outsider’s journey? Benton’s face remains a question mark.\u003c/p>\n\u003cp>“Back to” is a curiously folksy piece set to some tinny sounding bluegrass music by Gillian Welch and David Rawlings. It may have some ancestry in the hoedown and the frolicking and mishaps that one encounters on a hot Saturday in the local grange hall. A bench serves as a common meeting place.\u003c/p>\n\u003cp>There is something stiff in the way these young people encounter each other. They all look as if they are realizing steps that they or their ancestors have done hundreds of times before. The dancing is bland and dutiful despite the considerable energy invested in it.\u003c/p>\n\u003cp>A central duet for Fu and Rose in “Back to” goes on as if in a loop. After a while, it becomes almost painful to watch. The only person with any sense of individuality is Freeman who plops himself where he likes and slides through the piece with considerable jest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite some moments of levity, such as a mock death, “Back to” is an odd piece about a community in which people are held together more by force of habit than by choice. After a while the piece begins to drag. Seiwert is apparently still tweaking it. Perhaps she can kick some more life into it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year choreographer Amy Seiwert switched gears for her \u003cem>Sketch5/Stirrings\u003c/em>. Instead of asking choreographers to create pieces on her dancers, she invited fellow Bay Area dance maker KT Nelson to co-create one for her company. Nelson, a long-time contemporary dance choreographer with ODC Dance, is experienced in collaboration. Seiwert, on the other hand, is a novice.\u003c/p>\n\u003cp>The experiment of co-creating “Starting at the End” comes close to being successful. What’s missing is a common thread that ties individual moments into a cohesive whole. Yet the richness of the material holds the eye captive, as long lines and precarious balances explode into quixotic kicks, drops and delicate finger gestures.\u003c/p>\n\u003cp>Seiwert and Nelson make no attempt to fuse their two approaches to dance together. One minute, a dancer performs a highly formal balletic extension; the next, the same performer rolls on the floor like a ball that’s been kicked.\u003c/p>\n\u003cp>When Brandon Freeman tackles James Gilmer at top speed, you might expect conflict. Yet the dancers’ bodies accommodate each other like two very different trees growing into one.\u003c/p>\n\u003cp>Much of the credit for “Starting at the End” goes to the superb dancers who integrate the movement material so confidently into their bodies. Rachel Furst mesmerizes as much with her delicate yet strong pliancy as she does with her ability to change speed and direction with the velocity of a scared rabbit. Liang Fu courteously partners a pliant Annali Rose while holding his own in a competitive race with two male colleagues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The program also includes Seiwert’s “Traveling Alone,” set on Colorado Ballet in 2012, as well as her reworked “Back to,” created for Cincinnati Ballet as “Yesterday, Tomorrow,” in 2013.\u003c/p>\n\u003cp>Fast-paced and edgy, “Traveling Alone” is a wistful ballad about not fitting in. Guest artist Dana Benton, petite and razor-sharp in her attacks, is the lone traveler who marches self-confidently to center stage, whips her turns and shoots her arms straight at us. That’s one self-absorbed woman, you think.\u003c/p>\n\u003cp>Dressed in elegant red, Benton encounters a world where every one wears white. All she can do is observe and try to fit in. She encounters a trio of bird-like women and forcefully inserts herself into intimate pas de deux. Partnering with individual men leads nowhere. A mirroring duet across space peters out.\u003c/p>\n\u003cp>A lovely touch is Seiwert’s bow to the grand 19\u003csup>th\u003c/sup> century ballet manner. Gilmer and Fu partner the regal Sarah Griffin trophy style. They manipulate her limbs, spin, lift and dive her precariously. But this grand ballerina looks about as lonely as Benton, who seems destined to remain without a partner.\u003c/p>\n\u003cp>At last, Freeman engages her with his strong arms and assertive lifts. But is that the end of this outsider’s journey? Benton’s face remains a question mark.\u003c/p>\n\u003cp>“Back to” is a curiously folksy piece set to some tinny sounding bluegrass music by Gillian Welch and David Rawlings. It may have some ancestry in the hoedown and the frolicking and mishaps that one encounters on a hot Saturday in the local grange hall. A bench serves as a common meeting place.\u003c/p>\n\u003cp>There is something stiff in the way these young people encounter each other. They all look as if they are realizing steps that they or their ancestors have done hundreds of times before. The dancing is bland and dutiful despite the considerable energy invested in it.\u003c/p>\n\u003cp>A central duet for Fu and Rose in “Back to” goes on as if in a loop. After a while, it becomes almost painful to watch. The only person with any sense of individuality is Freeman who plops himself where he likes and slides through the piece with considerable jest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite some moments of levity, such as a mock death, “Back to” is an odd piece about a community in which people are held together more by force of habit than by choice. After a while the piece begins to drag. Seiwert is apparently still tweaking it. Perhaps she can kick some more life into it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent sun-drenched morning in Oakland, dancers of all shapes, sizes and ages gathered to help the city make it into the record books.\u003c/p>\n\u003cp>Still high from the Golden State Warriors’ first NBA championship in 40 years, the city prepared for its next title: the Guinness World Record for “Largest Soul Train Line.” In order to beat Philadelphia, where the last officially certified record was set in 2012, Oakland needed at least 300 dancers at deFremery Park to shake their stuff on the \u003ca href=\"http://www.oaktrain.org\" target=\"_blank\" rel=\"noopener\">“Oak Train.”\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215915001″ 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>Many who arrived June 20, 2015, dressed in wild, colorful outfits that reflected the origin of the Soul Train line, a staple of the \u003ca href=\"http://soultrain.com/\" target=\"_blank\" rel=\"noopener\">television show\u003c/a> created by former TV news reporter Don Cornelius that ran from 1971 to 2006. Not only did \u003cem>Soul Train\u003c/em> offer a national stage for soul artists like Curtis Mayfield, Barbara Mason and Joe Tex, the show also exposed teenagers around the country to the latest, smoothest dance moves.\u003c/p>\n\u003cp>In fact, a few featured dancers from the show came to the park and were treated like royalty, including Jeffrey McCrimon, a software developer from Brentwood who danced on the show from 1987–1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I try to get out once in a while and show the youngsters I still have it, and learn a few new moves since my days back on the ‘Train,'” said McCrimon.\u003c/p>\n\u003cp>The line itself grew to roughly the size of a football field, and it took each duo several minutes to dance down the entire line. After dancing for nearly four hours in the bright sun to R&B and hip-hop hits, the dedicated dancers went from high kicks and booty-shaking to shoulder-shrugging and zombie-like walking in place.\u003c/p>\n\u003cp>But the line came alive again when Oakland City Council President Lynette Gibson McElhaney came on stage to announce that, indeed, they had set a new record with 337 dancers. The participants cheered, the music cranked up, and the crowd kept on dancing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>– Kevin L. Jones\u003c/em>\u003c/p>\n\n",
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"title": "A 50-Year-Old Ballet Company Picks Itself Up, Dusts Itself Off",
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"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/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Oakland Ballet 50th Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">The East Bay dance company celebrates its past and looks to the future with a one-off performance.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Paramount Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a recent Friday, the rapping of pointe shoes emanated from the third floor of downtown Oakland’s \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>In the north studio, choreographer Amy Seiwert worked with five Oakland Ballet dancers to nail the timing of a phrase she’d just created to Vivaldi. Across the hall, in the south studio, former Oakland Ballet star Michael Lowe helped a couple find the right grip for a tricky spiraling lift in his world premiere.\u003c/p>\n\u003cp>Small and bright-eyed, Oakland Ballet artistic director Graham Lustig sat watching.\u003c/p>\n\u003cp>“It’s so exhilarating to be in the studio with these artists and dancers,” Lustig said, then crisply listed off the last names of some of the choreographers of local, national and international acclaim who feature in Oakland Ballet’s 50th anniversary celebration on May 23rd. “One moment we’re doing Fokine, then Massine, then Moses, then King, then Seiwert, then Lowe.”\u003c/p>\n\u003cp>The future of Oakland Ballet depends on the show’s success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under founding artistic director Ronn Guidi, Oakland Ballet built an international reputation for meticulous, energetic resurrections of nearly-lost classics by masters like Michel Fokine and Leonide Massine. The company also regularly commissioned leading Bay Area choreographers like Robert Moses and Alonzo King.\u003c/p>\n\u003cfigure id=\"attachment_10656762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10656762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg\" alt=\"\" width=\"400\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-843x1180.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-960x1344.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Current Oakland Ballet dancers Emily Kerr and Taurean Green in a world premiere ballet by former Oakland Ballet dancer Betsy Erickson. (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003cp>Those glory days ended in 2000, when Guidi retired and his successor, former Dance Theatre of Harlem star Karen Brown, began a bumpy ride that ended with the company closing in 2006.\u003c/p>\n\u003cp>Among other challenges, Brown was forced to liquidate the company’s resplendent costume stash to repay a loan to the city of Oakland.\u003c/p>\n\u003cp>Guidi brought the Oakland Ballet back, tentatively, from 2007-2009. But not until 2010 did the company embark once more on a steady path with the appointment of Lustig.\u003c/p>\n\u003cp>The former artistic director of American Repertory Ballet in New Jersey, Lustig launched the annual presentation of his own “Nutcracker,” brought back the Oakland Ballet’s school and summer training programs, and presented several modest spring programs.\u003c/p>\n\u003cp>Lustig has also faced setbacks: A 2012 program had to be postponed to 2013 due to low ticket sales. He’s counting on the 50th anniversary to “raise the artistic profile of the company.”\u003c/p>\n\u003cp>Saturday’s one-off “Five Decades of Oakland Ballet” performance will intermix excerpts of the historical works with a full-length performance of one watershed ballet, Vaslav Nijinsky’s erotic “Afternoon of a Faun,” from 1912 and six short commissioned ballets.\u003c/p>\n\u003cp>“It’s like a choreographic feast,” Lustig said. “You have classic dishes and nouveau dishes, and you can taste everything. I wanted to put my arms around the whole history of the company.”\u003c/p>\n\u003cfigure id=\"attachment_10656616\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg\" alt=\"Joy Gim and Ron Thiele in Oakland Ballet's 1990 performance of Michel Fokine's "Scheherazade." (Photo: John Markowski)\" width=\"400\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-877x1180.jpg 877w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-960x1291.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Gim and Ron Thiele in Oakland Ballet’s 1990 performance of Michel Fokine’s “Scheherazade.” (Photo: John Markowski)\u003c/figcaption>\u003c/figure>\n\u003cp>The following day at Laney College, company members will repeat the six world premieres alongside performances by nine other East Bay dance groups, from a belly dance troupe to street dancers the Turffeinz.\u003c/p>\n\u003cp>Lustig has needed to rent costumes from other companies for this weekend’s performances.\u003c/p>\n\u003cp>“I can’t afford for this company to be in an ivory tower,” Lustig said. “We have to be right on the ground. That’s how I see the future of this company whether we’re doing Diaghilev or the Turffeinz.”\u003c/p>\n\u003cp>By “Diaghilev,” Lustig means Sergei Diaghilev, the famous impresario who created the avant-garde Ballets Russes company, which between 1909 and 1929 scandalized all of Europe and revolutionized dance by pairing leading composers like Igor Stravinsky and designers such as Coco Chanel with the most daring choreographers of the era — Nijinsky and his sister, Bronislova Nijinska, to name but two.\u003c/p>\n\u003cp>In addition to the full-length ballet “Afternoon of a Faun,” Saturday’s program will also feature excerpts from four other Diaghilev-era works: Fokine’s “Petrouchka,” Massine’s “La Boutique Fantasque,” and Nijinska’s “Le Train Bleu” and “Les Biches.”\u003c/p>\n\u003cp>These are the works that merited Oakland Ballet a place in books like “No Fixed Points: Dance in the 20th Century,” a weighty tome that cites Oakland Ballet as “a true bootstraps operation” that “gained a national reputation” when Guidi invited Eugene Loring to stage his forgotten masterpiece Billy the Kid on the company in 1973. An excerpt from Billy also features on Saturday’s program.\u003c/p>\n\u003cp>Lustig’s personal connection to these works seems to have won over key players from Oakland Ballet’s past.\u003c/p>\n\u003cfigure id=\"attachment_10656615\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg\" alt=\"Oakland Ballet in Bronislava Nijinksa's "Le Train Bleu" in 1996. (Photo: Emilio Mercado)\" width=\"400\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-960x605.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Bronislava Nijinksa’s “Le Train Bleu” in 1996. (Photo: Emilio Mercado)\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe, an Oakland Ballet star from 1972-2000, learned the role of the dashing tennis player in Nijinska’s whimsical “Le Train Bleu” directly from Nijinksa’s daughter, and will coach this restaging. He and Lustig both learned Fokine’s “Petrouchka” from legendary dancer Nikolai Beriozov in the 1970s.\u003c/p>\n\u003cp>“There’s a trust that arises from the similarity in our backgrounds,” Lowe said.\u003c/p>\n\u003cp>Guidi has even given his personal blessing to Lustig’s 50th anniversary program-something he did not do during Karen Brown’s tenure. The Oakland Ballet’s board is growing – it now has 10 members — and major funders like the Fleishhacker Foundation and the Osher Foundation have reinstated their support. Most importantly, the dancers seem motivated and happy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Graham has a knack for picking dancers who have a strong work ethic,” dancer Emily Kerr said. “The rapport in the studio is wonderful. I just wish we had a 30-week season. I look at how we dance together at the end of four weeks and I think, imagine what we could do over 30. But I’m hopeful that can happen in the future.”\u003c/p>\n\n",
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"excerpt": "The Oakland Ballet has gone through rough times and now marks its golden anniversary with performances this weekend that look to its past – and its future.",
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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/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Oakland Ballet 50th Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">The East Bay dance company celebrates its past and looks to the future with a one-off performance.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Paramount Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a recent Friday, the rapping of pointe shoes emanated from the third floor of downtown Oakland’s \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>In the north studio, choreographer Amy Seiwert worked with five Oakland Ballet dancers to nail the timing of a phrase she’d just created to Vivaldi. Across the hall, in the south studio, former Oakland Ballet star Michael Lowe helped a couple find the right grip for a tricky spiraling lift in his world premiere.\u003c/p>\n\u003cp>Small and bright-eyed, Oakland Ballet artistic director Graham Lustig sat watching.\u003c/p>\n\u003cp>“It’s so exhilarating to be in the studio with these artists and dancers,” Lustig said, then crisply listed off the last names of some of the choreographers of local, national and international acclaim who feature in Oakland Ballet’s 50th anniversary celebration on May 23rd. “One moment we’re doing Fokine, then Massine, then Moses, then King, then Seiwert, then Lowe.”\u003c/p>\n\u003cp>The future of Oakland Ballet depends on the show’s success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under founding artistic director Ronn Guidi, Oakland Ballet built an international reputation for meticulous, energetic resurrections of nearly-lost classics by masters like Michel Fokine and Leonide Massine. The company also regularly commissioned leading Bay Area choreographers like Robert Moses and Alonzo King.\u003c/p>\n\u003cfigure id=\"attachment_10656762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10656762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg\" alt=\"\" width=\"400\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-843x1180.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-960x1344.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Current Oakland Ballet dancers Emily Kerr and Taurean Green in a world premiere ballet by former Oakland Ballet dancer Betsy Erickson. (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003cp>Those glory days ended in 2000, when Guidi retired and his successor, former Dance Theatre of Harlem star Karen Brown, began a bumpy ride that ended with the company closing in 2006.\u003c/p>\n\u003cp>Among other challenges, Brown was forced to liquidate the company’s resplendent costume stash to repay a loan to the city of Oakland.\u003c/p>\n\u003cp>Guidi brought the Oakland Ballet back, tentatively, from 2007-2009. But not until 2010 did the company embark once more on a steady path with the appointment of Lustig.\u003c/p>\n\u003cp>The former artistic director of American Repertory Ballet in New Jersey, Lustig launched the annual presentation of his own “Nutcracker,” brought back the Oakland Ballet’s school and summer training programs, and presented several modest spring programs.\u003c/p>\n\u003cp>Lustig has also faced setbacks: A 2012 program had to be postponed to 2013 due to low ticket sales. He’s counting on the 50th anniversary to “raise the artistic profile of the company.”\u003c/p>\n\u003cp>Saturday’s one-off “Five Decades of Oakland Ballet” performance will intermix excerpts of the historical works with a full-length performance of one watershed ballet, Vaslav Nijinsky’s erotic “Afternoon of a Faun,” from 1912 and six short commissioned ballets.\u003c/p>\n\u003cp>“It’s like a choreographic feast,” Lustig said. “You have classic dishes and nouveau dishes, and you can taste everything. I wanted to put my arms around the whole history of the company.”\u003c/p>\n\u003cfigure id=\"attachment_10656616\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg\" alt=\"Joy Gim and Ron Thiele in Oakland Ballet's 1990 performance of Michel Fokine's "Scheherazade." (Photo: John Markowski)\" width=\"400\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-877x1180.jpg 877w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-960x1291.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Gim and Ron Thiele in Oakland Ballet’s 1990 performance of Michel Fokine’s “Scheherazade.” (Photo: John Markowski)\u003c/figcaption>\u003c/figure>\n\u003cp>The following day at Laney College, company members will repeat the six world premieres alongside performances by nine other East Bay dance groups, from a belly dance troupe to street dancers the Turffeinz.\u003c/p>\n\u003cp>Lustig has needed to rent costumes from other companies for this weekend’s performances.\u003c/p>\n\u003cp>“I can’t afford for this company to be in an ivory tower,” Lustig said. “We have to be right on the ground. That’s how I see the future of this company whether we’re doing Diaghilev or the Turffeinz.”\u003c/p>\n\u003cp>By “Diaghilev,” Lustig means Sergei Diaghilev, the famous impresario who created the avant-garde Ballets Russes company, which between 1909 and 1929 scandalized all of Europe and revolutionized dance by pairing leading composers like Igor Stravinsky and designers such as Coco Chanel with the most daring choreographers of the era — Nijinsky and his sister, Bronislova Nijinska, to name but two.\u003c/p>\n\u003cp>In addition to the full-length ballet “Afternoon of a Faun,” Saturday’s program will also feature excerpts from four other Diaghilev-era works: Fokine’s “Petrouchka,” Massine’s “La Boutique Fantasque,” and Nijinska’s “Le Train Bleu” and “Les Biches.”\u003c/p>\n\u003cp>These are the works that merited Oakland Ballet a place in books like “No Fixed Points: Dance in the 20th Century,” a weighty tome that cites Oakland Ballet as “a true bootstraps operation” that “gained a national reputation” when Guidi invited Eugene Loring to stage his forgotten masterpiece Billy the Kid on the company in 1973. An excerpt from Billy also features on Saturday’s program.\u003c/p>\n\u003cp>Lustig’s personal connection to these works seems to have won over key players from Oakland Ballet’s past.\u003c/p>\n\u003cfigure id=\"attachment_10656615\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg\" alt=\"Oakland Ballet in Bronislava Nijinksa's "Le Train Bleu" in 1996. (Photo: Emilio Mercado)\" width=\"400\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-960x605.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Bronislava Nijinksa’s “Le Train Bleu” in 1996. (Photo: Emilio Mercado)\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe, an Oakland Ballet star from 1972-2000, learned the role of the dashing tennis player in Nijinska’s whimsical “Le Train Bleu” directly from Nijinksa’s daughter, and will coach this restaging. He and Lustig both learned Fokine’s “Petrouchka” from legendary dancer Nikolai Beriozov in the 1970s.\u003c/p>\n\u003cp>“There’s a trust that arises from the similarity in our backgrounds,” Lowe said.\u003c/p>\n\u003cp>Guidi has even given his personal blessing to Lustig’s 50th anniversary program-something he did not do during Karen Brown’s tenure. The Oakland Ballet’s board is growing – it now has 10 members — and major funders like the Fleishhacker Foundation and the Osher Foundation have reinstated their support. Most importantly, the dancers seem motivated and happy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Graham has a knack for picking dancers who have a strong work ethic,” dancer Emily Kerr said. “The rapport in the studio is wonderful. I just wish we had a 30-week season. I look at how we dance together at the end of four weeks and I think, imagine what we could do over 30. But I’m hopeful that can happen in the future.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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