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"content": "\u003cp>San Francisco Opera ends the year with a double-bill of hour-long works based on Edgar Allan Poe’s short story \u003cem>The Fall of the House of Usher\u003c/em>: Gordon Getty’s \u003cem>Usher House\u003c/em> and a reconstruction of Claude Debussy’s \u003cem>La Chute de la Maison Usher, \u003c/em>which the French composer left unfinished\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Poe’s hoary Gothic tale tells the story of a tortured brother and sister who cohabit inside a creepy castle. It involves scenes of hypochondria, catalepsy, implied incest, and a grizzly live burial. The dramatic plot might seem perfect for operatic treatment. But San Francisco Opera sadly squanders the opportunity owing to the dry music and a dull staging. When the most interesting things about a performance are the curtain call and the onstage rain, you know you’re in trouble.\u003c/p>\n\u003cp>Director David Pountney’s staging of Getty’s \u003cem>Usher House\u003c/em> looks reminiscent of the Haunted Mansion at Disneyland. Kitsch rules. It all begins with video images of a raven atop a castle. On opening night, the clichéd melodrama of the image provoked laughter from the audience. And the production continues in this spirit, cycling predictably through images of windswept trees, the sound of horses’ hooves and frequent cuts back to the raven. Despite all this visual and sonic activity, the staging feels strangely static. This impression is compounded by the fact that the performers mostly stand still while singing.\u003c/p>\n\u003cp>Getty’s music is sparse, creepy and chromatic. The texture is also generally thin, only involving at most two musical lines at a time. Getty mainly constructs his opera out of dialogue between the characters. There are very few real melodies in all this back and forth.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Where Is My Lady?”\u003cb> \u003c/b>is the one \u003cem>bona fide\u003c/em> aria of Getty’s work. Sung by tenor Jason Bridges in this production, this ballad about the beauty and grace of Madeline Usher, one of the two siblings at the heart of Poe’s story\u003cb>,\u003c/b> is sweet, and Bridges makes the most of it. Oddly, Getty chooses not to include a setting of the one song that’s included in Poe’s original story — “The Haunted Palace” — which Roderick Usher, Madeline’s brother, sings accompanied by his own guitar playing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opera isn’t without moments of clarity. Representing Madeline on stage (singer Jacqueline Piccolino sings off stage later in the piece), dancer Jamielyn Duggan provides welcome movement to the otherwise largely inert staging. Her fluttery steps, choreographed by Jo Jeffries, provide a spark of life and movingly reflect Madeline’s frail state of health. There is also an entertaining ball scene with filmed supernumeraries playing the ghostly forebears of the Ushers. The actors bow at the end of the opera, their reappearance during curtain call providing an amusing touch.\u003c/p>\n\u003cp>There are a couple of existing versions of Debussy’s unfinished \u003cem>La Chute de la Maison Usher. \u003c/em>San Francisco Opera presents a take\u003cem> \u003c/em>completed by music scholar Robert Orledge which received its premiere in 2006. Orledge’s orchestration has none of the lushness and descriptiveness of Debussy’s only finished opera, \u003cem>Pelléas et Mélisande, \u003c/em>or indeed the rest of his music. The result is both strange and staid. It’s no surprise that Debussy, though he labored on this work for nine years, ultimately abandoned it.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Unlike Getty’s opera, Debussy’s is monologue- rather than dialogue-driven, so there are more songs. Yet the music is often more declamatory than lyrical. Poutney’s staging only adds to the heavy-handed feeling, as the video projections focus on the austere architectural details of the Ushers’ home, like the columns and statues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Fall of the House of Usher \u003c/em>comes at the end of a challenging year for San Francisco Opera. Notably, the company has gone through around a dozen casting changes. In this production, for instance, Jason Bridges and Joel Sorenson stepped in for Richard Croft, who was originally scheduled to personify Poe in the Getty and Le Médecin in the Debussy. Yet despite an overall lackluster night out at the opera, the performers — especially baritone Brian Mulligan and soprano Jacqueline Piccolino who play the Usher twins in both pieces — still manage to hold their own.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Opera ends the year with a double-bill of hour-long works based on Edgar Allan Poe’s short story \u003cem>The Fall of the House of Usher\u003c/em>: Gordon Getty’s \u003cem>Usher House\u003c/em> and a reconstruction of Claude Debussy’s \u003cem>La Chute de la Maison Usher, \u003c/em>which the French composer left unfinished\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Poe’s hoary Gothic tale tells the story of a tortured brother and sister who cohabit inside a creepy castle. It involves scenes of hypochondria, catalepsy, implied incest, and a grizzly live burial. The dramatic plot might seem perfect for operatic treatment. But San Francisco Opera sadly squanders the opportunity owing to the dry music and a dull staging. When the most interesting things about a performance are the curtain call and the onstage rain, you know you’re in trouble.\u003c/p>\n\u003cp>Director David Pountney’s staging of Getty’s \u003cem>Usher House\u003c/em> looks reminiscent of the Haunted Mansion at Disneyland. Kitsch rules. It all begins with video images of a raven atop a castle. On opening night, the clichéd melodrama of the image provoked laughter from the audience. And the production continues in this spirit, cycling predictably through images of windswept trees, the sound of horses’ hooves and frequent cuts back to the raven. Despite all this visual and sonic activity, the staging feels strangely static. This impression is compounded by the fact that the performers mostly stand still while singing.\u003c/p>\n\u003cp>Getty’s music is sparse, creepy and chromatic. The texture is also generally thin, only involving at most two musical lines at a time. Getty mainly constructs his opera out of dialogue between the characters. There are very few real melodies in all this back and forth.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Where Is My Lady?”\u003cb> \u003c/b>is the one \u003cem>bona fide\u003c/em> aria of Getty’s work. Sung by tenor Jason Bridges in this production, this ballad about the beauty and grace of Madeline Usher, one of the two siblings at the heart of Poe’s story\u003cb>,\u003c/b> is sweet, and Bridges makes the most of it. Oddly, Getty chooses not to include a setting of the one song that’s included in Poe’s original story — “The Haunted Palace” — which Roderick Usher, Madeline’s brother, sings accompanied by his own guitar playing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opera isn’t without moments of clarity. Representing Madeline on stage (singer Jacqueline Piccolino sings off stage later in the piece), dancer Jamielyn Duggan provides welcome movement to the otherwise largely inert staging. Her fluttery steps, choreographed by Jo Jeffries, provide a spark of life and movingly reflect Madeline’s frail state of health. There is also an entertaining ball scene with filmed supernumeraries playing the ghostly forebears of the Ushers. The actors bow at the end of the opera, their reappearance during curtain call providing an amusing touch.\u003c/p>\n\u003cp>There are a couple of existing versions of Debussy’s unfinished \u003cem>La Chute de la Maison Usher. \u003c/em>San Francisco Opera presents a take\u003cem> \u003c/em>completed by music scholar Robert Orledge which received its premiere in 2006. Orledge’s orchestration has none of the lushness and descriptiveness of Debussy’s only finished opera, \u003cem>Pelléas et Mélisande, \u003c/em>or indeed the rest of his music. The result is both strange and staid. It’s no surprise that Debussy, though he labored on this work for nine years, ultimately abandoned it.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Unlike Getty’s opera, Debussy’s is monologue- rather than dialogue-driven, so there are more songs. Yet the music is often more declamatory than lyrical. Poutney’s staging only adds to the heavy-handed feeling, as the video projections focus on the austere architectural details of the Ushers’ home, like the columns and statues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Fall of the House of Usher \u003c/em>comes at the end of a challenging year for San Francisco Opera. Notably, the company has gone through around a dozen casting changes. In this production, for instance, Jason Bridges and Joel Sorenson stepped in for Richard Croft, who was originally scheduled to personify Poe in the Getty and Le Médecin in the Debussy. Yet despite an overall lackluster night out at the opera, the performers — especially baritone Brian Mulligan and soprano Jacqueline Piccolino who play the Usher twins in both pieces — still manage to hold their own.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cheap-date-punk-rock-karaoke-an-awesome-orchestra-and-more",
"title": "Cheap Date: Punk Rock Karaoke, an Awesöme Orchestra, and More",
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"content": "\u003cp>These days, it can be tough to maintain a positive perspective on the state of the arts in the Bay Area. It seems like every day brings news of a club going under or a nonprofit getting evicted. After reading such headlines, thinking in doomsday terms for independent artists and the intimate events they throw, which make up a hugely necessary part of our arts ecosystem, becomes all too easy.\u003c/p>\n\u003cp>\u003cem>And yet. \u003c/em>Make no mistake — the little guys are still here. Elbo Room just got its \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">lease renewed until 2018\u003c/a>! Noise Pop is bringing one of \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">the brightest young stars in hip-hop\u003c/a> (that’d be Vince Staples) to a relatively tiny room! And our favorite \u003ca href=\"http://hoodline.com/2015/05/roxie-theater-hanging-on-to-location-for-another-three-years\" target=\"_blank\" rel=\"noopener\">independent theaters aren’t going anywhere\u003c/a>!\u003c/p>\n\u003cp>For those of us still living in the ever-more-expensive city, the onus is on us: If we want the little guys to keep thriving, we have to get out and support the little guys. With this responsibility in mind, here are six ways to get out around the Bay this week for $20 and under: It’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11146733\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11146733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg\" alt=\"This could be you at the Rickshaw Stop! \" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This could be you at the Rickshaw Stop! \u003ccite>(via Karaoke Underground)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 11: \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">Karaoke Underground\u003c/a> at the Rickshaw Stop, San Francisco. \u003c/strong>Love karaoke, but perpetually-peeved that your favorite Rancid, Sleater-Kinney, and Jawbreaker songs aren’t on the typical song list? This traveling punk rock and indie amateur fest should do the trick. At April’s event (the first of its kind in SF), all of our usual cynicism went out the window when an impromptu group effort of eight women took the stage for Bikini Kill’s “Rebel Girl.” Bonus: Many punk songs don’t actually require you to sing very well! $5; \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Awesöme Orchestra Concert Party\u003c/a> at American Steel Studios, Oakland. \u003c/strong>This nonprofit, anything-goes orchestra is open to players of all backgrounds, ages and levels, and often provides beer for its participants — which is to say, their shows tend to be \u003cem>really\u003c/em> fun. This year-end party’s program includes tunes by Danny Elfman, Portishead, Leonard Bernstein, and The Lonely Island, among others. Admission is a pay-what-you-want donation to help keep this project of the Intersection for the Arts alive. \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=atN3Nqomjog\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">Battlehooch\u003c/a> at Cafe Stritch, San Jose. \u003c/strong>This San Francisco psych-rock staple makes the kind of music that might have you questioning what decade you’re in — but it’d be a huge disservice to call them retro. Electronic elements, dance-pop beats, and heavy psychedelic detours abound. D\u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">etails here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=osUR2j_JdeA\u003c/p>\n\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Holiday Urban Air Market\u003c/a> at Pier 70, San Francisco.\u003c/strong> Urban Air Market has been curating places for local, sustainable artists and designers to hawk their wares for the past 11 years, but this — their first holiday show — promises a blowout of vast, crafty proportions. More than 170 vendors will help you take care of your holiday shopping all at once, while food trucks keep your belly full and local bands like Vandella keep you grooving, should you tire of spending money. Free! \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>This San Francisco songstress has one of those voices so sneakily smooth that it resonates in your bones — it’s somewhere between a lullaby and a call to arms. Her style veers between folk and bossa nova, with an affinity for looping and other experimentation; but her vocals and an acoustic guitar make for a plenty interesting show in and of themselves. She’ll play the patio during brunch at this North Bay venue. Free; \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TbwZ6KX3lEc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Dec. 15: \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">Republican Presidential Debate Viewing Party \u003c/a>at the New Parkway, Oakland. \u003c/strong>If we have to see Donald Trump’s mug on TV for the next few months, we might as well see it on the big screen — with plenty of pizza and alcohol, surrounded by folks who just might feel like booing and hissing along with us. The fourth debate will be hosted by political blogger Imani Gandy and lawyer/political junkie Dan Roth, and feature a short set of political-themed standup comedy by local gem Karina Dobbins. $10; \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, it can be tough to maintain a positive perspective on the state of the arts in the Bay Area. It seems like every day brings news of a club going under or a nonprofit getting evicted. After reading such headlines, thinking in doomsday terms for independent artists and the intimate events they throw, which make up a hugely necessary part of our arts ecosystem, becomes all too easy.\u003c/p>\n\u003cp>\u003cem>And yet. \u003c/em>Make no mistake — the little guys are still here. Elbo Room just got its \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">lease renewed until 2018\u003c/a>! Noise Pop is bringing one of \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">the brightest young stars in hip-hop\u003c/a> (that’d be Vince Staples) to a relatively tiny room! And our favorite \u003ca href=\"http://hoodline.com/2015/05/roxie-theater-hanging-on-to-location-for-another-three-years\" target=\"_blank\" rel=\"noopener\">independent theaters aren’t going anywhere\u003c/a>!\u003c/p>\n\u003cp>For those of us still living in the ever-more-expensive city, the onus is on us: If we want the little guys to keep thriving, we have to get out and support the little guys. With this responsibility in mind, here are six ways to get out around the Bay this week for $20 and under: It’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11146733\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11146733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg\" alt=\"This could be you at the Rickshaw Stop! \" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This could be you at the Rickshaw Stop! \u003ccite>(via Karaoke Underground)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 11: \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">Karaoke Underground\u003c/a> at the Rickshaw Stop, San Francisco. \u003c/strong>Love karaoke, but perpetually-peeved that your favorite Rancid, Sleater-Kinney, and Jawbreaker songs aren’t on the typical song list? This traveling punk rock and indie amateur fest should do the trick. At April’s event (the first of its kind in SF), all of our usual cynicism went out the window when an impromptu group effort of eight women took the stage for Bikini Kill’s “Rebel Girl.” Bonus: Many punk songs don’t actually require you to sing very well! $5; \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Awesöme Orchestra Concert Party\u003c/a> at American Steel Studios, Oakland. \u003c/strong>This nonprofit, anything-goes orchestra is open to players of all backgrounds, ages and levels, and often provides beer for its participants — which is to say, their shows tend to be \u003cem>really\u003c/em> fun. This year-end party’s program includes tunes by Danny Elfman, Portishead, Leonard Bernstein, and The Lonely Island, among others. Admission is a pay-what-you-want donation to help keep this project of the Intersection for the Arts alive. \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/atN3Nqomjog'\n title='//www.youtube.com/embed/atN3Nqomjog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">Battlehooch\u003c/a> at Cafe Stritch, San Jose. \u003c/strong>This San Francisco psych-rock staple makes the kind of music that might have you questioning what decade you’re in — but it’d be a huge disservice to call them retro. Electronic elements, dance-pop beats, and heavy psychedelic detours abound. D\u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">etails here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/osUR2j_JdeA'\n title='//www.youtube.com/embed/osUR2j_JdeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Holiday Urban Air Market\u003c/a> at Pier 70, San Francisco.\u003c/strong> Urban Air Market has been curating places for local, sustainable artists and designers to hawk their wares for the past 11 years, but this — their first holiday show — promises a blowout of vast, crafty proportions. More than 170 vendors will help you take care of your holiday shopping all at once, while food trucks keep your belly full and local bands like Vandella keep you grooving, should you tire of spending money. Free! \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>This San Francisco songstress has one of those voices so sneakily smooth that it resonates in your bones — it’s somewhere between a lullaby and a call to arms. Her style veers between folk and bossa nova, with an affinity for looping and other experimentation; but her vocals and an acoustic guitar make for a plenty interesting show in and of themselves. She’ll play the patio during brunch at this North Bay venue. Free; \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TbwZ6KX3lEc'\n title='//www.youtube.com/embed/TbwZ6KX3lEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Dec. 15: \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">Republican Presidential Debate Viewing Party \u003c/a>at the New Parkway, Oakland. \u003c/strong>If we have to see Donald Trump’s mug on TV for the next few months, we might as well see it on the big screen — with plenty of pizza and alcohol, surrounded by folks who just might feel like booing and hissing along with us. The fourth debate will be hosted by political blogger Imani Gandy and lawyer/political junkie Dan Roth, and feature a short set of political-themed standup comedy by local gem Karina Dobbins. $10; \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nea-awards-27m-in-grants-for-2016-over-2m-for-bay-area-orgs",
"title": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs",
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"headTitle": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs | KQED",
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"content": "\u003cp>Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area.\u003c/p>\n\u003cp>In its first 50 years, the NEA has reportedly provided \u003ca href=\"https://www.arts.gov/news/2015/27-million-awarded-arts-projects\" target=\"_blank\" rel=\"noopener\">more than $5 billion in grants\u003c/a> to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area.\u003c/p>\n\u003cp>The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to audio recording programs like Women’s Audio Mission. \u003c/p>\n\u003cp>Below is all of the Bay Area organizations that will be receiving \u003ca href=\"https://www.arts.gov/sites/default/files/Fall_2015_State_grant_list.pdf\" target=\"_blank\" rel=\"noopener\">NEA grants in 2016\u003c/a>. (According to the NEA, some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of Dec. 1, 2015.) \u003c/p>\n\u003ch3>\nBerkeley Repertory Theatre (aka Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The Center encompasses Berkeley Rep’s efforts to sustain and develop relationships with both emerging and mature artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Gamelan Sekar Jaya\u003c/h3>\n\u003ch5>$20,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Artists-in-Residence from Bali, Indonesia. Guest artists, including composers and a choreographer, will create and direct new work exploring and celebrating artistic precision embedded within Balinese arts. In addition to performing in concerts and offering workshops to the public, the resident artists will work closely with the musicians of Gamelan Sekar Jaya to refine and maintain important classic Balinese works.\u003c/p>\n\u003ch3>Kala Institute (aka Kala Art Institute)\u003c/h3>\n\u003ch5>$10,000 Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: \u003c/strong>Artist Communities\u003cbr>\nTo support residencies and related activities. National and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (aka Telluride Film Festival)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held during Labor Day weekend, the event includes the presentation of feature-length and short films from the United States and abroad as well as panel discussions, retrospectives, and educational programs. Recent festivals have included the premieres of films such as \u003cem>12 Years A Slave\u003c/em>, \u003cem>The Act of Killing\u003c/em>, \u003cem>Gravity\u003c/em>, \u003cem>Pina,\u003c/em> \u003cem>Argo\u003c/em>, and \u003cem>Birdman\u003c/em>. Held each year in Telluride, Colorado, the festival is devoted to promoting the discovery of new trends and directions in film as well as to unveil lost masterpieces and unheralded artists of the past. Festival programming will also include free public events such as daytime seminars and interviews with filmmakers.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley\u003c/h3>\n\u003ch5>$10,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support Cinema Mon Amour, a curated exhibition series. Presented at the Pacific Film Archives in downtown Berkeley, the series will invite acclaimed filmmakers and Bay Area artists to present films that have inspired and influenced them. Potential artists include Jane Campion, Daniel Clowes, and Jean-Marie Teno.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Berkeley Art Museum)\u003c/h3>\n\u003ch5>$30,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support public programs for an exhibition about architecture and life’s experiences. These programs will reflect the content of an inaugural exhibition \u003cem>Architecture of Life\u003c/em>, that examines the transformative nature of art and architecture against the backdrop of the Berkeley Art Museum’s new downtown building. Works by artists and architects in the exhibition include George Ault, Marcel Duchamp, Lee Bontecou, Louise Bourgeois,Buckminster Fuller, Diller Scofidio + Renfro and many others. Lectures, gallery talks, art-making workshops, school and family programs, and live performances are among the public programs that will engage audiences.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Cal Performances)\u003c/h3>\n\u003ch5>$35,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music/Imagine Your Parks\u003cbr>\nTo support the Cal Performances’ Saint Louis Symphony residency and a collaboration with the Trust for Public Land, an Imagine Your Parks project. Cal Performances will present the Saint Louis Symphony with Music Director David Robertson in a multi-day residency on the Berkeley, California campus, which will be anchored by a performance of French composer Olivier Messiaen’s “Des canyons aux etoiles… (From the canyons to the stars…),” a work commissioned by Alice Tully in 1971 for the bicentennial celebration of the United States of America. The performance will be accompanied by a visual installation by landscape photographer Deborah O’Grady designed to capture the grandeur of Utah’s desert landscapes. A co-commission with Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Sydney Symphony Orchestra, and Washington Performing Arts, the performance will celebrate the centenary of the National Park Service. Using Cal Performances’ model of artistic literacy, staff will engage local middle- and high school students in a creative process inspired by Messiaen’s work and the landscape photography of Ms. O’Grady. The Trust will document and disseminate the process and the work online.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 (Healdsburg, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Oceans of Time: A Journey Through the Music of Billy “Jabali” Hart component of the Healdsburg Jazz Festival. The two-day mini-festival will celebrate the diverse career, creative vision, and impact of drummer Billy Hart. Proposed programming includes a reunion of Hart with his pioneering Enhance and Quest ensembles as well as performances by his Oceans of Time group and his current quartet with pianist Ethan Iverson, Ben Street, and Mark Turner. Other participating artists may include NEA Jazz Master Dave Liebman as well as Geri Allen, Steve Coleman, Mark Feldman, Eddie Henderson, Dave Holland, Oliver Lake, Billy Harper, and other musicians Hart has performed with throughout his career.\u003c/p>\n\u003ch3>Marin Theatre Company (aka MTC)\u003c/h3>\n\u003ch5>$20,000 (Mill Valley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “Swimmers” by Rachel Bonds. The play is set in a business industrial park and its plot travels up the floors of an office building in which no one does any work. The news of a sexual harassment case quickly ascends the building’s 11 floors and eventually ends up on the roof. As the details of the situation become more ambiguous and surreal, coyotes howl in the distance and the end of the world may be nigh. \u003cem>Swimmers\u003c/em> will feature a multicultural cast and will mark Bonds’ premiere as a playwright in California’s Bay Area.\u003c/p>\n\u003ch3>AXIS Dance Company (aka AXIS)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support Dance Access Education and Outreach programs in the Bay Area and on a national tour. AXIS will offer a variety of events for youth and adults with and without disabilities who are based locally and nationally.\u003c/p>\n\u003cp>Project activities may include dance classes, school assemblies, a dance camp for youth, teacher training, and a dance apprentice program for students with spinal cord injuries. Additional activities may comprise workshops for emerging choreographers and professional dancers, community workshops, lecture-demonstrations, and presentations. A new program that will be offered locally and while on tour will include open rehearsals and movement experience for veterans.\u003c/p>\n\u003ch3>Destiny Arts Center (aka Destiny Arts)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support Destiny Arts Youth Performance Company’s collaboration with professional dancers, choreographers, and theater artists, culminating in dance theater productions that express life challenges and aspirations. Productions will combine hip-hop, modern, and aerial dance with acting and dramatic recitation. The project will support rehearsals leading up to a spring performance as well as auditions, retreat, and rehearsal for a fall performance. Students will have many opportunities to perform in self-produced concerts, conferences, festivals, and other community venues.\u003c/p>\n\u003ch3>East Bay Performing Arts (aka Oakland East Bay Symphony)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: Music\u003c/strong>\u003cbr>\nTo support the creation and premiere of a new work by composer Van-Anh Vanessa Vo performed by Oakland Symphony with related educational activities. The work, titled “Notes from Vietnam” will be scored for orchestra and dan tranh, a traditional Vietnamese zither. The premiere will feature the composer as soloist. Communityevents may include workshops on Vietnamese culture and traditional music instruments as well as performances by the composer’s dan tranh zither students.\u003c/p>\n\u003ch3>International Society for the Arts, Sciences and Technology (aka Leonardo)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies for artists and scientists. Artists whose works are inspired by mathematics or scientific disciplines will connect with scientists who are involved in art-related research and/or who are artist themselves at Leonardo. Previously, Santa Cruz choreographer mathematician/educator Karl Schaffer collaborated with Spanish physicist Guillermo Munoz to create a new dance based on string polyhedra. Additional activities will include presentations of the residents’ work in public forums, as well as the publication of their work in an international journal and online.\u003c/p>\n\u003ch3>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the creation and presentation of “Iron Shoes.” The ensemble will work in collaboration with stage director/choreographer Erika Chong Shuch and members of her dance-theater company The ESP Project, as well as composer Janet Kutulas and production designer Allen Willner, to create a multidisciplinary piece inspired by Eastern European fairy tales. The artists will explore themes of female empowerment and disempowerment, confinement and mobility, youth and age, daily life and dreams, and the relationship to self.\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support: In the Name of Love, the 14th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will include the Oakland Interfaith Gospel Choir and the Oakland Children’s Community Choir, as well as proposed vocalists Paula West, Terrance Kelly, Patti Cathcart, Zoe Ellis, and Destani Wolff, specializing in the performance of jazz and gospel music. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist, pianist, and composer Nina Simone. \u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (aka OIGC)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature the world premiere of “I Ain’t Here To Stay,” a new vocal suite about African-American male slave experiences, influenced by traditional spirituals and composed by vocalist Terrance Kelly. Hawkins will also premiere his own new compositions and conduct a performance that will include gospel choirs such as the Arcata Interfaith Gospel Choir, the Universal Gospel Choir, the Portland Interfaith Gospel Choir, the Limon Interfaith Gospel Choir, the SKRUK choir, and the Total Experience Gospel Choir. Associated outreach activities\u003cbr>\nwill include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists. \u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$30,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of a dance work to commemorate the National Park Service’s centennial, an Imagine Your Parks project. Coyote Waltzes by Artistic Director Amelia Rudolph will explore the Native American myth of the trickster coyote through dances. The work will be performed on mountains in Yosemite National Park. Young performers from Oakland’s Destiny Arts will be involved in the execution of the work. The company also will work with Yosemite staff to connect the next generation of park stewards to its mission, introducing them to environmental responsibility and conservation through the project. The work will be presented to the public through social media platforms and livestreaming. BANDALOOP also plans to share\u003cbr>\nthe work through interactive projections of the performance on city buildings. “Coyote Waltzes” will culminate in a performance on the Great Wall in Oakland.\u003c/p>\n\u003ch3>Youth Radio\u003c/h3>\n\u003ch5>$60,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Arts Pathway initiative for youth. Participating students from underserved communities will receive mentoring from professional artists, develop platforms to distribute their art at the community and national level, and operate downtown Oakland’s only storefront youth arts center (known as 1719 Broadway). Works created in the Arts Pathway program will be presented to public audiences, displayed in public spaces, and distributed through a national media network.\u003c/p>\n\u003ch3>East Bay Center for the Performing Arts\u003c/h3>\n\u003ch5>$65,000 (Richmond, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Artist Diploma Program. The project is a multi-year dance, media, music, and theater training program for middle and high school students from underserved communities in west Contra Costa County. Professional artists will teach ongoing group classes and individual lessons that will take place in the Iron Triangle Neighborhood of Richmond, California. In addition to Western art forms (classical music, ballet, jazz, contemporary dance, hip-hop, voice), instruction is also offered in the music and dance of Mexico, West Africa, and Laos, and the Caribbean. After the fourth year, some students can continue to be involved in the program as paid teaching assistants, mentoring younger students. The participating students will receive individual coaching and increased opportunities for solo and small ensemble performances at a wide variety of community and professional events.\u003c/p>\n\u003ch3>Each One Reach One\u003c/h3>\n\u003ch5>$20,000 (S. San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Playwriting Workshops. The program will provide arts education services to incarcerated teenagers. Each workshop cycle will provide as many as ten, three-hour sessions to detainees who will be mentored one-on-one to create and develop one-act plays. Workshops will take place inside San Francisco’s\u003cbr>\nJuvenile Justice Center, the Success Center of the San Francisco Youth Summer Program, the San Mateo County Youth Services Center, and Camp Kemp for Girls. Participants will learn how to articulate a dramatic narrative, explore conflict through dialogue, create characters, and how to write a dramatic climax and resolution. Each\u003cbr>\nworkshop will culminate with the reading of participants’ plays by professional actors before an audience of parents, peers, teachers, probation officers, and invited members of the public.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (aka 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The festival will screen full-length features, documentaries, and short films by independent South Asian filmmakers from the United States, India, Pakistan, Bangladesh, Sri Lanka, Canada, and Europe. The festival’s focus – its screenings, media artist presentations, and panel discussion – is intended to offer a diverse range of perspectives on the lives of South Asian people in places through the world.\u003c/p>\n\u003ch3>Asian American Women Artists Association (aka AAWAA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a multidisciplinary art exhibition inspired by the life and work of Japanese-American civil rights leader Yuri Kochiyama. The exhibition will feature invited and juror-selected emerging and established artists from around the country. Priority outreach will be focused on Asian- and Pacific Islander-American, AfricanAmerican,\u003cbr>\nand Latino communities, but the exhibition will be open to artists of all ethnicities and genders. Exhibition programming will include a panel discussion. The primary exhibition site will be SOMArts Culture Center in San Francisco, with a smaller satellite exhibition held in Oakland.\u003c/p>\n\u003ch3>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made available to the public for live and online exhibitions. Approximately\u003cbr>\n300 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include The Other Minds Music Festival, Dance Theatre of Harlem, The Poetry Center and American Poetry Archive, and Video Data Bank.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, “Zoom In.”.\u003c/p>\n\u003ch3>Center for Asian American Media (aka CAAM)\n\u003ch3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support CAAMFest 2016, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Berkley, Oakland, and San Jose, the festival features film, music, and digital media as well as live events and multimedia performances. Festival programming will include screenings from the filmmaking workshop “Muslim Youth Voices” and works portraying untold stories of Asian and Asian-American experience.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books selected for publication will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Community Music Center (aka CMC)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Musicians Program (YMP). This free program for diverse middle and high school students from underserved communities focuses on a variety of musical styles including Latin, Jazz, popular, and classical. The Mission District YMP is a bilingual program primarily for Latino youth and focuses on repertoire and skills\u003cbr>\nfundamental to Latin traditional and popular music. YMP works with students nominated by their public school music teachers to study chamber music, jazz, and string orchestra. The project also provides group classes in chamber music, jazz and string orchestra, and theory and music history to advanced students. Each component provides multiple community-based performance opportunities for youth.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the CounterPULSE Artist Residency and Commissioning (ARC) Program. The program will identify local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience. CounterPULSE will provide space and support for those artists to create new dances. During the residency, some of the artists will develop, teach, and perform new works. Other artists will be commissioned to continue developing their works into full length world premieres. Residency tracks include Edge, focusing on contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and culturally engaged work. Activities may also include dance workshops for the public taught by the artists-in-residence, and work-in-progress showings where residents and the public provide feedback on the work. The residencies will culminate in a fully produced premiere of the works, which will run during two weeks.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (aka Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “On a Wonderverse” by Geetha Reddy. The second in Reddy’s trilogy of plays inspired by Hindu mythology, the play centers on the deity Shiva the Destroyer. The work also explores the intersection between physics, women in science, and Hindu mythology. Set at CERN’s (the European Council for Nuclear Research) Large Hadron Collider in Switzerland, a brilliant young physicist Alpheratz Schen leads a research team, but is overlooked when her male co-author receives the coveted Nobel Prize. Her frustration leads to another discovery that has the potential to unleash critical insight into the origins of life. The theater may partner with California Girls in STEM at The Lawrence Hall of Science as well as the Stanford branch of Tech Trek, a science camp for eighth-grade girls, to create conversations between the artists and young women around the issues in the play.\u003c/p>\n\u003ch3>Cutting Ball Theater\u003c/h3>\n\n\u003cp>$10,000 (San Francisco, CA)\n\u003c/p>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “Ondine” by Katharine Sherman. Based on an ancient mermaid myth that inspired Jean Giraudoux’s seminal 1938 work of the same title and Hans Christian Andersen’s \u003cem>The Little Mermaid\u003c/em>, Sherman’s \u003cem>Ondine\u003c/em> is a contemporary retelling of the story of a water spirit who comes to land\u003cbr>\nto be with her lover. The production will be directed by Founding Artistic Director Rob Melrose. The playwright will be in residence in San Francisco for the duration of the rehearsal period leading up to the world premiere production.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of multidisciplinary works and performances celebrating the importance of light to the arts. Using items such as emulsion, film, lenses, mirrors, projectors, and screens, artists will create work that illuminates the physics of light that are fundamental to their creative practices. Exploratorium stresses that a transparent creative process and experiential learning will lead to a meaningful understanding of the project’s complex theme.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support international artists at the San Francisco International Arts Festival. The festival will feature a variety of performances by artists from the Bay Area and approximately 10 different countries. Artist fees, per diems, hotel costs and legal fees to support international artists performing at the San Francisco Arts Festival.\u003c/p>\n\u003ch3>Fort Mason Center\u003c/h3>\n\u003cp>$20,000 San Francisco, CA\u003cbr>\nFIELD/DISCIPLINE: Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support \u003cem>The Rainbow: Certain Principles of Light and Shapes Between Forms\u003c/em>, an Imagine Your Parks project. The Fort Mason Center will project a dense waterwall created by installation artist Michael Jones McKean at timed intervals to reveal a rainbow over the center’s three piers that extend into the San Francisco\u003cbr>\nBay. An accompanying exhibition created by McKean will include historical objects from the area. Fort Mason Center is located within the Golden Gate National Recreation Area, part of the National Park Service.\u003c/p>\n\u003ch3>Frameline (aka San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. All screenings are free. This year, the San Francisco International LGBT Film Festival program will include continued expansion to locations in Oakland, Berkeley, and surrounding areas in the East Bay. Feature-length and short film programs representing the LGBTQ community will be shown at each venue.\u003c/p>\n\u003ch3>Garrett Moulton Productions (aka Garrett Moulton Productions)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of an evening-length work, by Co-Artistic Directors Janice Garrett and Charles Moulton. Titled \u003ci>To Hear the Angels Sing,\u003c/i> the work will explore the themes of transcendence and hope, and will be a large-scale new work comprised of Garret + Moulton’s six company dancers; an 18-dancer\u003cbr>\n“movement choir;” a chorus of 12 singers who will be integrated into the stage action; and an ensemble of eight musicians. The work will premiere at the Yerba Buena Center for the Arts in San Francisco and will include open rehearsals and post-show question-and-answer sessions.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “The Most Dangerous Highway in the World” by Kevin Artigue, and the West Coast premiere of \u003ci>Our Enemies: Lively Scenes of Love and Combat\u003c/i> by Yussef El Guindi. Set on the Jalalabad-Kabul Highway in Afghanistan. Artigue’s play portrays a precocious nine-year-old “business man” who survives by\u003cbr>\nselling old fish to truck drivers and the random passersby. Through humor and with poignant honesty, the playwright creates a world that is both foreign and familiar. \u003c/p>\n\u003cp>The production will introduce a new theatrical voice and will deepen the theater’s relationship with the Bay Area’s Afghan population. Golden Thread has served as an artistic home for Arab-American playwright El Guindi for more than 15 years. The theater will produce the second production of his play about the politics of representation in the publishing industry.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (aka Cultural Odyssey)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and production of \u003cem>When Did Your Hands Become a Weapon\u003c/em>. Cultural Odyssey CoArtistic Director Rhodessa Jones, who is also the director of the Media Project: Theater for Incarcerated Women, will collaborate with the Women’s HIV Program at the University of San Francisco Medical Center to develop a\u003cbr>\nmusical theater work focusing on the issues of violence and addiction. The Media Project uses the performing arts to work with female inmates and ex-inmates. Jones will utilize its longstanding method to empower women currently living in the community with HIV. Community forums will share information on HIV and encourage women living with the disease to develop supportive networks, overcome additions, and to leave abusive partners.\u003c/p>\n\u003ch3>inkBoat, Inc. (aka inkBoat)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of “The Monster and the Hero” an Imagine Your Parks project. inkBoat will collaborate with the theater company We Players and the Rova Saxophone Quartet to create a new multidisciplinary work inspired by \u003cem>Beowulf\u003c/em>. Working in the San Francisco Maritime National Historical Park and adjacent Fort Mason, the artists will draw inspiration from the National Park Service sites, including Coast Miwok people settlements, U.S. military history, and historic ships. Workshop performances will be open to the public leading up to the premiere of the site-specific work.\u003c/p>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of a new work by choreographer Joe Goode. The work will be performed to an original score by French string quartet Quatuor. Goode’s inspiration for the work is the French village Oradour-sur-Glane, which was completely demolished during the Nazi occupation of France. Goode and his company will interview residents of the village and their responses to the work will become verbatim text incorporated in the work. The work will premiere in San Francisco after its premiere in France during the Festival du Haut Limousin.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution, and public access to the program will offered through the podcast and additional digital platforms. In 2016, episodes will include features on the lives, history, tradition, food, music, and rituals of Native Americans, Alaskan Natives, and native Hawaiians.\u003c/p>\n\u003ch3>Kronos Performing Arts Association (aka KRONOS QUARTET)\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cb>FIELD/DISCIPLINE:\u003c/b> Music\u003cbr>\nTo support year one of Fifty for the Future, a commissioning project by the Kronos Quartet. Plans include the creation of five string quartets for players of multiple skill levels (ranging from beginner to pre-professional). Scores, individual parts, and an array of other project materials will be available online at no charge. Premieres of the new works will take place in conjunction with residencies throughout the country. Educational activities will include master classes and workshops.\u003c/p>\n\u003ch3>Kulintang Arts (aka Kularts)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support \u003cem>Mariang Makiling\u003c/em>, a Filipino dance theater production and associated activities. Filipino folkloric choreographer Jay Loyola and musician and composer Florante Aguilar will work with Kularts to develop the piece inspired by Philippine myths and native spirituality. In advance of the public performance, Loyola will present an advanced dance workshop for members of the folkloric dance community.\u003c/p>\n\u003ch3>LEVYdance, Inc. (aka LEVYdance)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support AMP (Artists Maximizing Potential), a program that seeks to innovate the single choreographer dance company model. Choreographer Sara Shelton Mann and her dancers will engage in an eight-week residency to create a new work with LEVYdance. The program will support the artistic process from the research and development phase, to production and touring, and will include a technical residency at ODC Theater. The program will culminate in a performance and tour of the new work.\u003c/p>\n\u003ch3>Lighthouse for the Blind and Visually Impaired (aka LightHouse for the Blind)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support Superfest, an international disability film festival. The festival will showcase multi-genre films complemented by panel discussions with filmmakers, actors, disability leaders, and audience members. The festival will provide assisted listening systems, live captioning, braille, large print programs, and audio description. \u003c/p>\n\u003ch3>Magic Theatre, Inc. (aka Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Mid-Career Playwright Initiative. Playwright Jessica Hagedorn will be in residence to continue developing her seminal theater work “Dogeaters” and to create an adaptation for the stage of her novel, \u003cem>Gangster of Love\u003c/em>. She may revise the text of \u003cem>Dogeaters\u003c/em> to incorporate additional dialogue in Tagalog to make the play bilingual. The play will be produced for a San Francisco premiere and may feature immersive and interactive design and staging that will allow audiences to access the play’s exuberant and unpredictable world more closely. A possible approach may be transforming a found space in San Francisco’s historically Filipino Tenderloin neighborhood into the underground Manila disco in which the events of the play unfold. Community and student outreach efforts will accompany the production.\u003c/p>\n\u003ch3>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Site Series 2 (Inside Outside)\u003c/em>. Propelled by the vagabond nature of being a performance artist, a metaphor for all of life’s journeys, Margaret Jenkins and her company will choreograph small, site-specific works to be performed in non-traditional spaces, like churches, homes, and museums. The works can be presented as individual vignettes or as a complete evening-length work.\u003c/p>\n\u003ch3>ODC (aka Oberlin Dance Collective)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director Brenda Way will choreograph, \u003cem>Walk Back the Cat\u003c/em>, to a commissioned score by composer Paul Drescher, with set design by Alex Nichols. Guest artist Kate Weare will choreograph \u003cem>Criss Cross\u003c/em>. The works will premiere at the Yerba Buena Center for the Arts prior to touring to Chico, California, and White Bird in Portland, Oregon.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the ODC Theater Presents program. The project will include The Walking Distance Dance Festival-SF, as well as presentations of Monique Jenkinson’s mini-series, \u003cem>Gender in Transition\u003c/em>, French-Algerian Compagnie Herve Koubi’s \u003cem>What the Day Owes to The Night\u003c/em>, Scott Wells’ and Keith Hennessy’s \u003cem>Touchy Subjects\u003c/em>, RAWdance’s \u003cem>Double Exposure\u003c/em>, and Hope Mohr Dance’s \u003cem>Manifesting\u003c/em>. ODC Theater’s primary mission is to be the West Coast’s premier venue for the contemporary performing arts and a home to nurture artists.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (aka Philharmonia)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support period-instrument performances of an all-Mozart concert program. Under the direction of Music Director Nicholas McGegan, the project will feature guest artist keyboardist Kristian Bezuidenhout, who will perform on the pianoforte. Programming will include such works by Wolfgang Amadeus Mozart as Concerto for\u003cbr>\nFortepiano no. 23 in A major, Symphony No. 27 in G major, and Symphony No. 39 in E-flat major. The project will celebrate Nicholas McGegan’s 30th anniversary as music director of the orchestra.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (aka Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in development at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend, during which national new play producers are invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>San Francisco Arts Commission\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Local Arts Agencies\u003cbr>\nTo support Affordable Housing and Sustainable Communities for San Francisco Artists. Working in partnership with the Mayor’s Office of Housing, the Council of Community Housing Organizations, and private developers, the commission will offer comprehensive services integrating outreach, education, individualized support, workshops, peer-support, and access to the municipal services necessary to meet the basic eligibility requirements for affordable housing. Outreach will focus on low- to moderate-income artists to ensure that individuals are aware of the affordable housing options available.\u003c/p>\n\u003ch3>San Francisco Camerawork, Inc. (aka SF Camerawork)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support an exhibition and publication series by emerging and underrepresented national and international artists. The selected artists will receive conceptual, logistical, financial, and administrative support to develop their work. The series will include gallery exhibitions in San Francisco, including public programming and the publication of three accompanying books with critical essays.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (aka SFCMP)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support an artist residency project. The ensemble will present a residency, titled \u003cem>X-SCAPE: New Spaces for New Music\u003c/em>, which will explore space in the physical, metaphorical, and poetic sense, at the Z-Space Theater Artaud, in the Mission District of San Francisco. Programming will include works by composers such as David Lang, Gerard Grisey, Marianthi Papalexandri-Alexadri, Zosha DiCastri, Louis Andreissen, and Morton Feldman. Project activities will include educational events, such as pre-concert discussions, artistic director and composer talks open to the public, and student rehearsals with the ensemble.\u003c/p>\n\u003ch3>San Francisco Film Society (aka SFFS)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 59th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, educational programs, and live performances. Additional programming throughout the year will include a series devoted to cinema from Hong Kong, and Screenings in Schools, in which students view films and engage with the filmmakers in person or via Skype. In partnership with the San Francisco Museum of Modern Art, SFFS presents a year-round series celebrating established and emerging masters of cinema.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (aka SFJAZZ)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by each member and arrangements of music by Michael Jackson. The ensemble will play as many as 18 live concerts on its 2016 national tour and present pre-concert talks, engage in master classes, workshops, school programs, and outreach events in tour cities which will include West Lafayette and Carmel, Indiana; Dubuque, Iowa; Louisville, Kentucky; North Bethesda, Maryland; Boston, Massachusetts; Detroit, Michigan; Saint Louis, Missouri; New York, New York; Pittsburgh, Pennsylvania; as well as Dallas and Houston, Texas. The SFJAZZ Collective members are Obed Calvaire, Robin Eubanks, Sean Jones, Matt Penman, Davis Sanchez, Edward Simon, Warren Wolf, and Miguel Zenon.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (aka San Francisco Jewish Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 36th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Recent films screened at the festival included Doug Block’s \u003cem>112 Weddings\u003c/em>, \u003cem>The Green Prince\u003c/em> by Nadav Schirman, and \u003cem>Theodore Bikel: In the Shoes of Sholom Aleichem\u003c/em> by John Lollos.\u003c/p>\n\u003ch3>San Francisco Opera Association (aka San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support the world premiere of \u003cem>Dream of the Red Chamber\u003c/em> by composer Bright Sheng with a libretto by playwright David Henry Hwang and Sheng. The text was written in the 18th century by Cao Xueqin, and is considered one of China’s four great classical novels, telling the story of a heartbreaking and timeless love\u003cbr>\ntriangle. The creative team may include Tony Award-winner David Henry Hwang, playwright and director Stan Lai, Academy Award-winning designer and art director Tim Yip, conductor George Manahan, and contralto Qiu Lin Zhang. Outreach activities will focus on the local and national Chinese-American community, college/university programs in music and Chinese/Asian studies, and cultural institutions in the Bay Area such as the Asian Art Museum of San Francisco. As many as six performances will be presented in the fall of 2016 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Performances, Inc. (aka San Francisco Performances)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of music and dance performances. The series will feature performances by pianist Leif Ove Andsnes (Norway), pianist Jonathan Biss, the Brentano String Quartet, Dorrance Dance, the Dover Quartet, pianist Marc-Andre Hamelin (Canada), cellist Harriet Krigjh (The Netherlands), tenor Mark Padmore, Paul Taylor Dance Company, and pianist Javier Perianes (Spain). Educational and outreach activities will include lectures, open rehearsals, and workshops.\u003c/p>\n\u003ch3>San Francisco Symphony (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Artistic Development Program of the San Francisco Symphony Youth Orchestra. Designed to complement the youth orchestra’s core program of weekly rehearsals and concert performances, the free program will provide middle to high school students with coaching, mentorship, and specialized training in chamber music. Students will receive free tickets to San Francisco Symphony performances and participate in master classes with guest artists. In addition to rehearsals with San Francisco Symphony Youth Orchestra Music Director Donato Cabrera, participants will rehearse with San Francisco Symphony Music Director Michael Tilson Thomas.\u003c/p>\n\u003ch3>San Francisco Symphony\u003c/h3>\n\u003ch5>$75,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a commissioning, performance, and composer residency project. Under the direction of Artistic Director Michael Tilson Thomas, the \u003cem>Mason Bates: Composer in 360\u003c/em> project will feature the world premiere performance of a new work by Bates titled “Auditorium” with guest conductor Pablo Heras-Casado (named Musical America’s 2014 Conductor of the Year). The composer will begin his two-week residency by curating musical evenings in SoundBox, the orchestra’s new performance space located backstage at Davies Symphony Hall. Activities will include community engagements, such as pre-concert lectures and conversations.\u003c/p>\n\u003ch3>Silent Film Festival (aka San Francisco Silent Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 21st San Francisco Silent Film Festival. The four-day event showcases silent films with live musical accompaniment at the Castro Theatre in San Francisco. The 2016 festival will celebrate the centennial of a pivotal year in film history – 1916 – with screenings of films made in that year, such as D.W. Griffith’s \u003ci>Intolerance.\u003c/i>\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. A rotating curatorial committee will select the artists. Participating artists will receive conceptual, logistical, and administrative support to develop their work; a stipend and materials budget; and published essays.\u003c/p>\n\u003ch3>Stern Grove Festival Association (aka Stern Grove Festival)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>The SF Playhouse (aka San Francisco Playhouse)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Sandbox New Play Program. The program supports playwrights through the commissioning and development of new works. Development opportunities will include a monthly reading series, week-long workshops with professional artists, and the Sandbox Series of world premiere productions. Designed to serve as a bridge between readings and mainstage productions, the program will provide a low-risk environment and community of support in which playwrights can hone their craft. The project will include the world premiere of a new play by Theresa Rebeck as well as a second production of \u003cem>You Mean to Do Me Harm\u003c/em> by Christopher Chen.\u003c/p>\n\u003ch3>Theatre of Yugen, Incorporated (aka Theatre of Yugen at NOHspace)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and production of \u003cem>A Play on a Plate\u003c/em>, a theatrical event fusing theater with culinary arts. Developed in collaboration with Japanese chef Nobuaki Fushiki through the company’s Fermentation Lab, the performance will take the form of a theater/dinner pop-up event inspired by the many ways fermentation influences Japanese cuisine. The project will explore the potential of food to bring together diverse communities, including the local corporate community, prominent members of San Francisco’s foodie culture, students, and scientists in the growing biotech industry. The project development period will include educational outreach events and work-in-progress showings.\u003c/p>\n\u003ch3>Women’s Audio Mission (aka WAM)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (aka San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the presentation of the 38th annual San Francisco Ethnic Dance Festival. The festival provides underserved artists with the opportunity to perform in a professional setting. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend dancers’ rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces. After a rigorous audition process, more than 30 Northern California dance ensembles, whose work is rooted in various cultural traditions, will be selected to perform at the festival.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (aka Yerba Buena Gardens Festival (YBGF))\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Yerba Buena Gardens Festival. The outdoor series will include world premiere presentations of new works and performances by artists in world music, dance, and Latin jazz, among others. The festival also will include partnerships with other local performing arts organizations.\u003c/p>\n\u003ch3>Zaccho SF (aka Zaccho Dance Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the second biennial SF Aerial Dance Festival. The festival will bring together aerial dance artists, students, and audiences for a dynamic week of performances, workshops, and discussions. Emerging and established aerial dance choreographers will be featured, including Flyaway Productions, Project BANDALOOP, and Zaccho Dance Theatre. Performances will take place at the historic Fort Mason Center, with workshops happening at the Zaccho Studio in Bayview/Hunter’s Point.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (aka ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of the journal “ZYZZYVA.” Showcasing the work of acclaimed and emerging West Coast writers, the journal publishes fiction, poetry, nonfiction, and artwork. The journal will be promoted at literary festivals and conferences; additional content, such as original writing and video interviews with contributors, will be made available online.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support the Aimusic International Festival: Intangible Chinese Heritage Celebration. Performers from China and other Asian countries will showcase a variety of traditional Asian operas, as well as offer a seminar on Chinese opera. As many as 20 groups are expected to present performances that will include Kunqu Opera, Peking Opera, Yueju Opera, and Tibetan Opera. Additionally, the Firebird Youth Chinese Orchestra will rehearse special music for the festival and receive training in traditional Chinese customs and etiquette to receive the international artists properly.\u003c/p>\n\u003ch3>Mexican Heritage Corporation (aka VivaFest!)\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support VivaFest!, the San Jose Mexican Heritage and Mariachi Festival. The project will celebrate the contributions of Mexican Americans and new Latino immigrants to the culture of the U.S. through performances, workshops, and art exhibits. Additionally, the program will offer master classes for mariachi and ballet folklorico.\u003c/p>\n\u003ch3>Movimiento de Arte y Cultura Latino Americana de San Jose, Inc. (aka MACLA)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater\u003cbr>\nTo support the production of \u003ci>’57 Chevy,\u003c/i> a solo performance piece based on the script by Cris Franco, and associated outreach activities. Ricardo Salinas will perform the autobiographical story about a young man traversing the physical and cultural borders from Mexico City to the United States in the back seat of his father’s\u003cbr>\n1957 Chevrolet. The production will premiere at the Castellano Playhouse and will include performances for area high schools that serve a Latino majority.\u003c/p>\n\u003ch3>Opera Cultura\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support commission, development, and workshop presentations of \u003cem>Bless Me, Ultima\u003c/em> a Mexican-American opera by composer/librettist Hector Armienta. The opera is based on Rudolfo Anaya’s novel of the same title (which is part of the NEA’s Big Read initiative). The story follows a young boy, Antonio, as he comes of age with\u003cbr>\nthe guidance of his curandera (shaman) and protector Ultima. Under her wing, he will probe the family ties that bind and rend him, and discover the magical secrets of the llano (grasslands) and the river. Community engagement activities will include youth writing workshops and a workshop presentation in summer 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support dance performances featuring Lula Washington Dance Theatre, choreographed by Lula Washington, with associated outreach activities. The performances will explore African-American racial identity and experience, merging the choreographer’s reflections about important historical events, such as the Civil Rights Movement, while simultaneously exploring contemporary racial tension within the United States. Associated outreach, intended to benefit economically disadvantaged, primarily African-American students, will also include a student matinee performance, a free workshop, and free transportation for youth participants.\u003c/p>\n\u003ch3>San Jose Museum of Art Association (aka San Jose Museum of Art)\u003c/h3>\n\u003ch5>$45,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support an exhibition of new collaborative work by photographer Richard Misrach and composer Guillermo Galindo addressing issues related to the U.S./Mexico border. Titled \u003cem>Bordos Cantos\u003c/em>, the exhibition will juxtapose large-scale photographs by Misrach with musical instruments handcrafted by Galindo from ordinary objects collected along the border. The exhibition will be accompanied by communitywide public programming intended to serve the city’s large immigrant community.\u003c/p>\n\u003ch3>ZeroOne – The Art and Technology Network (aka ZERO1)\u003c/h3>\n\u003ch5>$20,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the creation of new work by Tahir Hemphill. Hemphill’s solo exhibition, \u003cem>Maximum Distance Minimum Displacement\u003c/em>, builds upon research undertaken at the STUDIO for Creative Inquiry at Carnegie Mellon University. The exhibition will feature new photography, video, and sculptural works, created using data drawn from a linguistic analysis of the work of several well-known rap musicians. The project will include training of teens at the artist’s Rap Research Lab, a studio for the production of creative technology projects and a space to teach art, design, cultural analysis, media criticism, data mining, and data visualization.\u003c/p>\n\u003ch3>Los Cenzontles Mexican Arts Center (aka Los Cenzontles Cultural Academy)\u003c/h3>\n\u003ch5>$35,000 (San Pablo, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Routes of Resilience. A series of traditional and contemporary Mexican musical performances will be presented to the Mexican-American community. Live performances, web-based videos, and recordings will highlight the immigration experience, illuminating how personal and collective resilience have guided individuals and families through the challenging transitions particular to Mexican-American communities. Some performances will be supplemented with workshops, lecture-demonstrations, film screenings, and discussions.\u003c/p>\n\u003ch3>California Film Institute (aka CFI)\u003c/h3>\n\u003ch5>$30,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 39th Mill Valley Film Festival. The festival will present narrative, documentary, and short American and international independent films. The program also will include panels, master classes, and free daytime screenings for students.\u003c/p>\n\u003ch3>Marin Shakespeare Company\u003c/h3>\n\u003ch5>$10,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support theater workshops at San Quentin State Prison. The workshops for incarcerated veterans, including participants with disabilities, will include the creation and performance of an original theater piece addressing veterans’ issues. Performance artist Andrew Salvage will perform for the workshop participants and will lead sessions on autobiographical playwriting. \u003c/p>\n\u003ch3>Cabrillo Festival of Contemporary Music (aka Cabrillo Music Festival)\u003c/h3>\n\u003ch5>$25,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Cabrillo Festival of Contemporary Music. Under the direction of Music Director Marin Alsop, the festival orchestra will perform music by living composers. Festival concerts will be held at the Santa Cruz Civic Auditorium. Other activities will include chamber music concerts, composers-in-residence, and a workshop for conductors and composers. Past composers-in-residence have included Mason Bates, Hannah Lash, and Missy Mazzoli, among many others. Featured programming will include the commissioning and world premiere of a new work by composer Anna Clyne and a collaboration with The Choral Project, a San Jose-based chorus, on its 20th anniversary. Educational and community activities will include open rehearsals, panel discussions, and a street fair.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a concert series with NEA Jazz Master Charles Lloyd. Plans include several concerts in celebration of the 50th anniversary of Lloyd’s seminal \u003ci>Forest Flower: Live at Monterey\u003c/i> recording. Among the artists slated to perform alongside Lloyd, in differently sized ensembles and a duo-setting, are Jason Moran, Eric Harland, Reuben Rogers, Gerald Clayton, as well as 1999 NEA National Heritage Fellow Zakir Hussein. Members of the Kuumbwa Honor Jazz Band, composed of local high school student musicians, may be invited to observe preperformance sound checks and engage with the artists.\u003c/p>\n\u003ch3>Santa Rosa Symphony Association (aka Santa Rosa Symphony)\u003c/h3>\n\u003ch5>$10,000 (Santa Rosa, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a performance, a workshop, and related outreach activities featuring Venezuelan pianist Gabriela Martinez. The project is intended to serve economically disadvantaged, primarily Latino residents, and Martinez will conduct a free workshop for elementary and middle school violinists, participate in free rehearsals for the\u003cbr>\ncommunity, and offer a bilingual pre-concert talk. Organizations such Big Brothers Big Sisters of the North Bay, the YWCA Sonoma County, California Parenting Institute, the Boys and Girls Club Central Santa Rosa, and Hanna Boys Center – selected for their ties to local, underserved communities – will assist with targeted outreach and free ticket distribution for the main stage performance at the Green Music Center.\u003c/p>\n\u003ch3>Montalvo Association (aka Montalvo Arts Center)\u003c/h3>\n\u003ch5>$15,000 (Saratoga, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies and related activities. Selected emerging and mid-career American artists from diverse disciplines will be offered fully funded residencies. Artists will present their work on-site and in the community through exhibitions and performances, as well as through educational and outreach activities.\u003c/p>\n\u003ch3>Headlands Center for the Arts (aka Headlands)\u003c/h3>\n\u003ch5>$35,000 (Sausalito, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities/Imagine Your Parks\u003cbr>\nTo support artist residencies, an alumni new works program, and an artist commissioning program. Residencies will focus on emerging and mid-career artists. The alumni new works and commissioning programs will offer support for special projects created by past participating artists and local artists. The commissioning program’s goals include supporting and investing in artists whose work will impact the cultural landscape; providing artists with the support to produce a project which might not otherwise happen; and encouraging artists to make work inspired by the Marin Headlands, part of the National Park Service.\u003c/p>\n\u003ch3>Voice of Roma (aka VOR)\u003c/h3>\n\u003ch5>$35,000 (Sebastopol, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support \u003cem>Opre Khetanes! (Rise Up Together!): Romani Culture in Diaspora\u003c/em>. The cultural contributions of the Roma Gypsies will be explored through a symposium and multi-city tour of Romani artists, including 2011 NEA National Heritage Fellow Yuri Yunakov. The tour will begin at New York University and conclude at the Voice of Roma’s annual Herdeljezi Festival in San Francisco.\u003c/p>\n\u003ch3>Stanford Jazz Workshop (aka SJW)\u003c/h3>\n\u003ch5>$20,000 (Stanford, CA)\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Middle School Jazz Initiative, including Giant Steps Day Camp, Giant Steps Jazz Singers, and Giant Steps Big Band ensemble. This jazz education program enables middle school students to interact with master jazz educators and artists through year-round, weekly after-school instrumental music instruction. The middle\u003cbr>\nschool programs all share the program name “Giant Steps,” to not only indicate the progress the students make as a result of participating, but also refers to the jazz composition, “Giant Steps” by the late John Coltrane. Giant Steps program directors and faculty are selected for their extensive experience and recognized success teaching jazz at the middle school level. Taught at local host school sites and during SJW’s jazz immersion camps in the summer on the Stanford University campus, students follow a personalized curriculum that includes improvisation, jazz styles, ear training, technique, and playing in small and large ensembles. The program culminates in a final public performance at the end of each academic semester and at the end of each week of jazz immersion camp.\u003c/p>\n\n",
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"title": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs | KQED",
"description": "Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area. In its first 50 years, the NEA has reportedly provided more than $5 billion in grants to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area. The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to",
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"headline": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs",
"datePublished": "2015-12-08T16:40:56-08:00",
"dateModified": "2024-09-19T09:37:29-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area.\u003c/p>\n\u003cp>In its first 50 years, the NEA has reportedly provided \u003ca href=\"https://www.arts.gov/news/2015/27-million-awarded-arts-projects\" target=\"_blank\" rel=\"noopener\">more than $5 billion in grants\u003c/a> to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area.\u003c/p>\n\u003cp>The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to audio recording programs like Women’s Audio Mission. \u003c/p>\n\u003cp>Below is all of the Bay Area organizations that will be receiving \u003ca href=\"https://www.arts.gov/sites/default/files/Fall_2015_State_grant_list.pdf\" target=\"_blank\" rel=\"noopener\">NEA grants in 2016\u003c/a>. (According to the NEA, some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of Dec. 1, 2015.) \u003c/p>\n\u003ch3>\nBerkeley Repertory Theatre (aka Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The Center encompasses Berkeley Rep’s efforts to sustain and develop relationships with both emerging and mature artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Gamelan Sekar Jaya\u003c/h3>\n\u003ch5>$20,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Artists-in-Residence from Bali, Indonesia. Guest artists, including composers and a choreographer, will create and direct new work exploring and celebrating artistic precision embedded within Balinese arts. In addition to performing in concerts and offering workshops to the public, the resident artists will work closely with the musicians of Gamelan Sekar Jaya to refine and maintain important classic Balinese works.\u003c/p>\n\u003ch3>Kala Institute (aka Kala Art Institute)\u003c/h3>\n\u003ch5>$10,000 Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: \u003c/strong>Artist Communities\u003cbr>\nTo support residencies and related activities. National and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (aka Telluride Film Festival)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held during Labor Day weekend, the event includes the presentation of feature-length and short films from the United States and abroad as well as panel discussions, retrospectives, and educational programs. Recent festivals have included the premieres of films such as \u003cem>12 Years A Slave\u003c/em>, \u003cem>The Act of Killing\u003c/em>, \u003cem>Gravity\u003c/em>, \u003cem>Pina,\u003c/em> \u003cem>Argo\u003c/em>, and \u003cem>Birdman\u003c/em>. Held each year in Telluride, Colorado, the festival is devoted to promoting the discovery of new trends and directions in film as well as to unveil lost masterpieces and unheralded artists of the past. Festival programming will also include free public events such as daytime seminars and interviews with filmmakers.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley\u003c/h3>\n\u003ch5>$10,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support Cinema Mon Amour, a curated exhibition series. Presented at the Pacific Film Archives in downtown Berkeley, the series will invite acclaimed filmmakers and Bay Area artists to present films that have inspired and influenced them. Potential artists include Jane Campion, Daniel Clowes, and Jean-Marie Teno.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Berkeley Art Museum)\u003c/h3>\n\u003ch5>$30,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support public programs for an exhibition about architecture and life’s experiences. These programs will reflect the content of an inaugural exhibition \u003cem>Architecture of Life\u003c/em>, that examines the transformative nature of art and architecture against the backdrop of the Berkeley Art Museum’s new downtown building. Works by artists and architects in the exhibition include George Ault, Marcel Duchamp, Lee Bontecou, Louise Bourgeois,Buckminster Fuller, Diller Scofidio + Renfro and many others. Lectures, gallery talks, art-making workshops, school and family programs, and live performances are among the public programs that will engage audiences.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Cal Performances)\u003c/h3>\n\u003ch5>$35,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music/Imagine Your Parks\u003cbr>\nTo support the Cal Performances’ Saint Louis Symphony residency and a collaboration with the Trust for Public Land, an Imagine Your Parks project. Cal Performances will present the Saint Louis Symphony with Music Director David Robertson in a multi-day residency on the Berkeley, California campus, which will be anchored by a performance of French composer Olivier Messiaen’s “Des canyons aux etoiles… (From the canyons to the stars…),” a work commissioned by Alice Tully in 1971 for the bicentennial celebration of the United States of America. The performance will be accompanied by a visual installation by landscape photographer Deborah O’Grady designed to capture the grandeur of Utah’s desert landscapes. A co-commission with Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Sydney Symphony Orchestra, and Washington Performing Arts, the performance will celebrate the centenary of the National Park Service. Using Cal Performances’ model of artistic literacy, staff will engage local middle- and high school students in a creative process inspired by Messiaen’s work and the landscape photography of Ms. O’Grady. The Trust will document and disseminate the process and the work online.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 (Healdsburg, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Oceans of Time: A Journey Through the Music of Billy “Jabali” Hart component of the Healdsburg Jazz Festival. The two-day mini-festival will celebrate the diverse career, creative vision, and impact of drummer Billy Hart. Proposed programming includes a reunion of Hart with his pioneering Enhance and Quest ensembles as well as performances by his Oceans of Time group and his current quartet with pianist Ethan Iverson, Ben Street, and Mark Turner. Other participating artists may include NEA Jazz Master Dave Liebman as well as Geri Allen, Steve Coleman, Mark Feldman, Eddie Henderson, Dave Holland, Oliver Lake, Billy Harper, and other musicians Hart has performed with throughout his career.\u003c/p>\n\u003ch3>Marin Theatre Company (aka MTC)\u003c/h3>\n\u003ch5>$20,000 (Mill Valley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “Swimmers” by Rachel Bonds. The play is set in a business industrial park and its plot travels up the floors of an office building in which no one does any work. The news of a sexual harassment case quickly ascends the building’s 11 floors and eventually ends up on the roof. As the details of the situation become more ambiguous and surreal, coyotes howl in the distance and the end of the world may be nigh. \u003cem>Swimmers\u003c/em> will feature a multicultural cast and will mark Bonds’ premiere as a playwright in California’s Bay Area.\u003c/p>\n\u003ch3>AXIS Dance Company (aka AXIS)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support Dance Access Education and Outreach programs in the Bay Area and on a national tour. AXIS will offer a variety of events for youth and adults with and without disabilities who are based locally and nationally.\u003c/p>\n\u003cp>Project activities may include dance classes, school assemblies, a dance camp for youth, teacher training, and a dance apprentice program for students with spinal cord injuries. Additional activities may comprise workshops for emerging choreographers and professional dancers, community workshops, lecture-demonstrations, and presentations. A new program that will be offered locally and while on tour will include open rehearsals and movement experience for veterans.\u003c/p>\n\u003ch3>Destiny Arts Center (aka Destiny Arts)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support Destiny Arts Youth Performance Company’s collaboration with professional dancers, choreographers, and theater artists, culminating in dance theater productions that express life challenges and aspirations. Productions will combine hip-hop, modern, and aerial dance with acting and dramatic recitation. The project will support rehearsals leading up to a spring performance as well as auditions, retreat, and rehearsal for a fall performance. Students will have many opportunities to perform in self-produced concerts, conferences, festivals, and other community venues.\u003c/p>\n\u003ch3>East Bay Performing Arts (aka Oakland East Bay Symphony)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: Music\u003c/strong>\u003cbr>\nTo support the creation and premiere of a new work by composer Van-Anh Vanessa Vo performed by Oakland Symphony with related educational activities. The work, titled “Notes from Vietnam” will be scored for orchestra and dan tranh, a traditional Vietnamese zither. The premiere will feature the composer as soloist. Communityevents may include workshops on Vietnamese culture and traditional music instruments as well as performances by the composer’s dan tranh zither students.\u003c/p>\n\u003ch3>International Society for the Arts, Sciences and Technology (aka Leonardo)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies for artists and scientists. Artists whose works are inspired by mathematics or scientific disciplines will connect with scientists who are involved in art-related research and/or who are artist themselves at Leonardo. Previously, Santa Cruz choreographer mathematician/educator Karl Schaffer collaborated with Spanish physicist Guillermo Munoz to create a new dance based on string polyhedra. Additional activities will include presentations of the residents’ work in public forums, as well as the publication of their work in an international journal and online.\u003c/p>\n\u003ch3>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the creation and presentation of “Iron Shoes.” The ensemble will work in collaboration with stage director/choreographer Erika Chong Shuch and members of her dance-theater company The ESP Project, as well as composer Janet Kutulas and production designer Allen Willner, to create a multidisciplinary piece inspired by Eastern European fairy tales. The artists will explore themes of female empowerment and disempowerment, confinement and mobility, youth and age, daily life and dreams, and the relationship to self.\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support: In the Name of Love, the 14th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will include the Oakland Interfaith Gospel Choir and the Oakland Children’s Community Choir, as well as proposed vocalists Paula West, Terrance Kelly, Patti Cathcart, Zoe Ellis, and Destani Wolff, specializing in the performance of jazz and gospel music. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist, pianist, and composer Nina Simone. \u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (aka OIGC)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature the world premiere of “I Ain’t Here To Stay,” a new vocal suite about African-American male slave experiences, influenced by traditional spirituals and composed by vocalist Terrance Kelly. Hawkins will also premiere his own new compositions and conduct a performance that will include gospel choirs such as the Arcata Interfaith Gospel Choir, the Universal Gospel Choir, the Portland Interfaith Gospel Choir, the Limon Interfaith Gospel Choir, the SKRUK choir, and the Total Experience Gospel Choir. Associated outreach activities\u003cbr>\nwill include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists. \u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$30,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of a dance work to commemorate the National Park Service’s centennial, an Imagine Your Parks project. Coyote Waltzes by Artistic Director Amelia Rudolph will explore the Native American myth of the trickster coyote through dances. The work will be performed on mountains in Yosemite National Park. Young performers from Oakland’s Destiny Arts will be involved in the execution of the work. The company also will work with Yosemite staff to connect the next generation of park stewards to its mission, introducing them to environmental responsibility and conservation through the project. The work will be presented to the public through social media platforms and livestreaming. BANDALOOP also plans to share\u003cbr>\nthe work through interactive projections of the performance on city buildings. “Coyote Waltzes” will culminate in a performance on the Great Wall in Oakland.\u003c/p>\n\u003ch3>Youth Radio\u003c/h3>\n\u003ch5>$60,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Arts Pathway initiative for youth. Participating students from underserved communities will receive mentoring from professional artists, develop platforms to distribute their art at the community and national level, and operate downtown Oakland’s only storefront youth arts center (known as 1719 Broadway). Works created in the Arts Pathway program will be presented to public audiences, displayed in public spaces, and distributed through a national media network.\u003c/p>\n\u003ch3>East Bay Center for the Performing Arts\u003c/h3>\n\u003ch5>$65,000 (Richmond, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Artist Diploma Program. The project is a multi-year dance, media, music, and theater training program for middle and high school students from underserved communities in west Contra Costa County. Professional artists will teach ongoing group classes and individual lessons that will take place in the Iron Triangle Neighborhood of Richmond, California. In addition to Western art forms (classical music, ballet, jazz, contemporary dance, hip-hop, voice), instruction is also offered in the music and dance of Mexico, West Africa, and Laos, and the Caribbean. After the fourth year, some students can continue to be involved in the program as paid teaching assistants, mentoring younger students. The participating students will receive individual coaching and increased opportunities for solo and small ensemble performances at a wide variety of community and professional events.\u003c/p>\n\u003ch3>Each One Reach One\u003c/h3>\n\u003ch5>$20,000 (S. San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Playwriting Workshops. The program will provide arts education services to incarcerated teenagers. Each workshop cycle will provide as many as ten, three-hour sessions to detainees who will be mentored one-on-one to create and develop one-act plays. Workshops will take place inside San Francisco’s\u003cbr>\nJuvenile Justice Center, the Success Center of the San Francisco Youth Summer Program, the San Mateo County Youth Services Center, and Camp Kemp for Girls. Participants will learn how to articulate a dramatic narrative, explore conflict through dialogue, create characters, and how to write a dramatic climax and resolution. Each\u003cbr>\nworkshop will culminate with the reading of participants’ plays by professional actors before an audience of parents, peers, teachers, probation officers, and invited members of the public.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (aka 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The festival will screen full-length features, documentaries, and short films by independent South Asian filmmakers from the United States, India, Pakistan, Bangladesh, Sri Lanka, Canada, and Europe. The festival’s focus – its screenings, media artist presentations, and panel discussion – is intended to offer a diverse range of perspectives on the lives of South Asian people in places through the world.\u003c/p>\n\u003ch3>Asian American Women Artists Association (aka AAWAA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a multidisciplinary art exhibition inspired by the life and work of Japanese-American civil rights leader Yuri Kochiyama. The exhibition will feature invited and juror-selected emerging and established artists from around the country. Priority outreach will be focused on Asian- and Pacific Islander-American, AfricanAmerican,\u003cbr>\nand Latino communities, but the exhibition will be open to artists of all ethnicities and genders. Exhibition programming will include a panel discussion. The primary exhibition site will be SOMArts Culture Center in San Francisco, with a smaller satellite exhibition held in Oakland.\u003c/p>\n\u003ch3>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made available to the public for live and online exhibitions. Approximately\u003cbr>\n300 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include The Other Minds Music Festival, Dance Theatre of Harlem, The Poetry Center and American Poetry Archive, and Video Data Bank.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, “Zoom In.”.\u003c/p>\n\u003ch3>Center for Asian American Media (aka CAAM)\n\u003ch3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support CAAMFest 2016, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Berkley, Oakland, and San Jose, the festival features film, music, and digital media as well as live events and multimedia performances. Festival programming will include screenings from the filmmaking workshop “Muslim Youth Voices” and works portraying untold stories of Asian and Asian-American experience.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books selected for publication will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Community Music Center (aka CMC)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Musicians Program (YMP). This free program for diverse middle and high school students from underserved communities focuses on a variety of musical styles including Latin, Jazz, popular, and classical. The Mission District YMP is a bilingual program primarily for Latino youth and focuses on repertoire and skills\u003cbr>\nfundamental to Latin traditional and popular music. YMP works with students nominated by their public school music teachers to study chamber music, jazz, and string orchestra. The project also provides group classes in chamber music, jazz and string orchestra, and theory and music history to advanced students. Each component provides multiple community-based performance opportunities for youth.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the CounterPULSE Artist Residency and Commissioning (ARC) Program. The program will identify local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience. CounterPULSE will provide space and support for those artists to create new dances. During the residency, some of the artists will develop, teach, and perform new works. Other artists will be commissioned to continue developing their works into full length world premieres. Residency tracks include Edge, focusing on contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and culturally engaged work. Activities may also include dance workshops for the public taught by the artists-in-residence, and work-in-progress showings where residents and the public provide feedback on the work. The residencies will culminate in a fully produced premiere of the works, which will run during two weeks.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (aka Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “On a Wonderverse” by Geetha Reddy. The second in Reddy’s trilogy of plays inspired by Hindu mythology, the play centers on the deity Shiva the Destroyer. The work also explores the intersection between physics, women in science, and Hindu mythology. Set at CERN’s (the European Council for Nuclear Research) Large Hadron Collider in Switzerland, a brilliant young physicist Alpheratz Schen leads a research team, but is overlooked when her male co-author receives the coveted Nobel Prize. Her frustration leads to another discovery that has the potential to unleash critical insight into the origins of life. The theater may partner with California Girls in STEM at The Lawrence Hall of Science as well as the Stanford branch of Tech Trek, a science camp for eighth-grade girls, to create conversations between the artists and young women around the issues in the play.\u003c/p>\n\u003ch3>Cutting Ball Theater\u003c/h3>\n\n\u003cp>$10,000 (San Francisco, CA)\n\u003c/p>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “Ondine” by Katharine Sherman. Based on an ancient mermaid myth that inspired Jean Giraudoux’s seminal 1938 work of the same title and Hans Christian Andersen’s \u003cem>The Little Mermaid\u003c/em>, Sherman’s \u003cem>Ondine\u003c/em> is a contemporary retelling of the story of a water spirit who comes to land\u003cbr>\nto be with her lover. The production will be directed by Founding Artistic Director Rob Melrose. The playwright will be in residence in San Francisco for the duration of the rehearsal period leading up to the world premiere production.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of multidisciplinary works and performances celebrating the importance of light to the arts. Using items such as emulsion, film, lenses, mirrors, projectors, and screens, artists will create work that illuminates the physics of light that are fundamental to their creative practices. Exploratorium stresses that a transparent creative process and experiential learning will lead to a meaningful understanding of the project’s complex theme.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support international artists at the San Francisco International Arts Festival. The festival will feature a variety of performances by artists from the Bay Area and approximately 10 different countries. Artist fees, per diems, hotel costs and legal fees to support international artists performing at the San Francisco Arts Festival.\u003c/p>\n\u003ch3>Fort Mason Center\u003c/h3>\n\u003cp>$20,000 San Francisco, CA\u003cbr>\nFIELD/DISCIPLINE: Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support \u003cem>The Rainbow: Certain Principles of Light and Shapes Between Forms\u003c/em>, an Imagine Your Parks project. The Fort Mason Center will project a dense waterwall created by installation artist Michael Jones McKean at timed intervals to reveal a rainbow over the center’s three piers that extend into the San Francisco\u003cbr>\nBay. An accompanying exhibition created by McKean will include historical objects from the area. Fort Mason Center is located within the Golden Gate National Recreation Area, part of the National Park Service.\u003c/p>\n\u003ch3>Frameline (aka San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. All screenings are free. This year, the San Francisco International LGBT Film Festival program will include continued expansion to locations in Oakland, Berkeley, and surrounding areas in the East Bay. Feature-length and short film programs representing the LGBTQ community will be shown at each venue.\u003c/p>\n\u003ch3>Garrett Moulton Productions (aka Garrett Moulton Productions)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of an evening-length work, by Co-Artistic Directors Janice Garrett and Charles Moulton. Titled \u003ci>To Hear the Angels Sing,\u003c/i> the work will explore the themes of transcendence and hope, and will be a large-scale new work comprised of Garret + Moulton’s six company dancers; an 18-dancer\u003cbr>\n“movement choir;” a chorus of 12 singers who will be integrated into the stage action; and an ensemble of eight musicians. The work will premiere at the Yerba Buena Center for the Arts in San Francisco and will include open rehearsals and post-show question-and-answer sessions.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “The Most Dangerous Highway in the World” by Kevin Artigue, and the West Coast premiere of \u003ci>Our Enemies: Lively Scenes of Love and Combat\u003c/i> by Yussef El Guindi. Set on the Jalalabad-Kabul Highway in Afghanistan. Artigue’s play portrays a precocious nine-year-old “business man” who survives by\u003cbr>\nselling old fish to truck drivers and the random passersby. Through humor and with poignant honesty, the playwright creates a world that is both foreign and familiar. \u003c/p>\n\u003cp>The production will introduce a new theatrical voice and will deepen the theater’s relationship with the Bay Area’s Afghan population. Golden Thread has served as an artistic home for Arab-American playwright El Guindi for more than 15 years. The theater will produce the second production of his play about the politics of representation in the publishing industry.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (aka Cultural Odyssey)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and production of \u003cem>When Did Your Hands Become a Weapon\u003c/em>. Cultural Odyssey CoArtistic Director Rhodessa Jones, who is also the director of the Media Project: Theater for Incarcerated Women, will collaborate with the Women’s HIV Program at the University of San Francisco Medical Center to develop a\u003cbr>\nmusical theater work focusing on the issues of violence and addiction. The Media Project uses the performing arts to work with female inmates and ex-inmates. Jones will utilize its longstanding method to empower women currently living in the community with HIV. Community forums will share information on HIV and encourage women living with the disease to develop supportive networks, overcome additions, and to leave abusive partners.\u003c/p>\n\u003ch3>inkBoat, Inc. (aka inkBoat)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of “The Monster and the Hero” an Imagine Your Parks project. inkBoat will collaborate with the theater company We Players and the Rova Saxophone Quartet to create a new multidisciplinary work inspired by \u003cem>Beowulf\u003c/em>. Working in the San Francisco Maritime National Historical Park and adjacent Fort Mason, the artists will draw inspiration from the National Park Service sites, including Coast Miwok people settlements, U.S. military history, and historic ships. Workshop performances will be open to the public leading up to the premiere of the site-specific work.\u003c/p>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of a new work by choreographer Joe Goode. The work will be performed to an original score by French string quartet Quatuor. Goode’s inspiration for the work is the French village Oradour-sur-Glane, which was completely demolished during the Nazi occupation of France. Goode and his company will interview residents of the village and their responses to the work will become verbatim text incorporated in the work. The work will premiere in San Francisco after its premiere in France during the Festival du Haut Limousin.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution, and public access to the program will offered through the podcast and additional digital platforms. In 2016, episodes will include features on the lives, history, tradition, food, music, and rituals of Native Americans, Alaskan Natives, and native Hawaiians.\u003c/p>\n\u003ch3>Kronos Performing Arts Association (aka KRONOS QUARTET)\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cb>FIELD/DISCIPLINE:\u003c/b> Music\u003cbr>\nTo support year one of Fifty for the Future, a commissioning project by the Kronos Quartet. Plans include the creation of five string quartets for players of multiple skill levels (ranging from beginner to pre-professional). Scores, individual parts, and an array of other project materials will be available online at no charge. Premieres of the new works will take place in conjunction with residencies throughout the country. Educational activities will include master classes and workshops.\u003c/p>\n\u003ch3>Kulintang Arts (aka Kularts)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support \u003cem>Mariang Makiling\u003c/em>, a Filipino dance theater production and associated activities. Filipino folkloric choreographer Jay Loyola and musician and composer Florante Aguilar will work with Kularts to develop the piece inspired by Philippine myths and native spirituality. In advance of the public performance, Loyola will present an advanced dance workshop for members of the folkloric dance community.\u003c/p>\n\u003ch3>LEVYdance, Inc. (aka LEVYdance)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support AMP (Artists Maximizing Potential), a program that seeks to innovate the single choreographer dance company model. Choreographer Sara Shelton Mann and her dancers will engage in an eight-week residency to create a new work with LEVYdance. The program will support the artistic process from the research and development phase, to production and touring, and will include a technical residency at ODC Theater. The program will culminate in a performance and tour of the new work.\u003c/p>\n\u003ch3>Lighthouse for the Blind and Visually Impaired (aka LightHouse for the Blind)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support Superfest, an international disability film festival. The festival will showcase multi-genre films complemented by panel discussions with filmmakers, actors, disability leaders, and audience members. The festival will provide assisted listening systems, live captioning, braille, large print programs, and audio description. \u003c/p>\n\u003ch3>Magic Theatre, Inc. (aka Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Mid-Career Playwright Initiative. Playwright Jessica Hagedorn will be in residence to continue developing her seminal theater work “Dogeaters” and to create an adaptation for the stage of her novel, \u003cem>Gangster of Love\u003c/em>. She may revise the text of \u003cem>Dogeaters\u003c/em> to incorporate additional dialogue in Tagalog to make the play bilingual. The play will be produced for a San Francisco premiere and may feature immersive and interactive design and staging that will allow audiences to access the play’s exuberant and unpredictable world more closely. A possible approach may be transforming a found space in San Francisco’s historically Filipino Tenderloin neighborhood into the underground Manila disco in which the events of the play unfold. Community and student outreach efforts will accompany the production.\u003c/p>\n\u003ch3>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Site Series 2 (Inside Outside)\u003c/em>. Propelled by the vagabond nature of being a performance artist, a metaphor for all of life’s journeys, Margaret Jenkins and her company will choreograph small, site-specific works to be performed in non-traditional spaces, like churches, homes, and museums. The works can be presented as individual vignettes or as a complete evening-length work.\u003c/p>\n\u003ch3>ODC (aka Oberlin Dance Collective)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director Brenda Way will choreograph, \u003cem>Walk Back the Cat\u003c/em>, to a commissioned score by composer Paul Drescher, with set design by Alex Nichols. Guest artist Kate Weare will choreograph \u003cem>Criss Cross\u003c/em>. The works will premiere at the Yerba Buena Center for the Arts prior to touring to Chico, California, and White Bird in Portland, Oregon.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the ODC Theater Presents program. The project will include The Walking Distance Dance Festival-SF, as well as presentations of Monique Jenkinson’s mini-series, \u003cem>Gender in Transition\u003c/em>, French-Algerian Compagnie Herve Koubi’s \u003cem>What the Day Owes to The Night\u003c/em>, Scott Wells’ and Keith Hennessy’s \u003cem>Touchy Subjects\u003c/em>, RAWdance’s \u003cem>Double Exposure\u003c/em>, and Hope Mohr Dance’s \u003cem>Manifesting\u003c/em>. ODC Theater’s primary mission is to be the West Coast’s premier venue for the contemporary performing arts and a home to nurture artists.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (aka Philharmonia)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support period-instrument performances of an all-Mozart concert program. Under the direction of Music Director Nicholas McGegan, the project will feature guest artist keyboardist Kristian Bezuidenhout, who will perform on the pianoforte. Programming will include such works by Wolfgang Amadeus Mozart as Concerto for\u003cbr>\nFortepiano no. 23 in A major, Symphony No. 27 in G major, and Symphony No. 39 in E-flat major. The project will celebrate Nicholas McGegan’s 30th anniversary as music director of the orchestra.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (aka Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in development at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend, during which national new play producers are invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>San Francisco Arts Commission\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Local Arts Agencies\u003cbr>\nTo support Affordable Housing and Sustainable Communities for San Francisco Artists. Working in partnership with the Mayor’s Office of Housing, the Council of Community Housing Organizations, and private developers, the commission will offer comprehensive services integrating outreach, education, individualized support, workshops, peer-support, and access to the municipal services necessary to meet the basic eligibility requirements for affordable housing. Outreach will focus on low- to moderate-income artists to ensure that individuals are aware of the affordable housing options available.\u003c/p>\n\u003ch3>San Francisco Camerawork, Inc. (aka SF Camerawork)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support an exhibition and publication series by emerging and underrepresented national and international artists. The selected artists will receive conceptual, logistical, financial, and administrative support to develop their work. The series will include gallery exhibitions in San Francisco, including public programming and the publication of three accompanying books with critical essays.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (aka SFCMP)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support an artist residency project. The ensemble will present a residency, titled \u003cem>X-SCAPE: New Spaces for New Music\u003c/em>, which will explore space in the physical, metaphorical, and poetic sense, at the Z-Space Theater Artaud, in the Mission District of San Francisco. Programming will include works by composers such as David Lang, Gerard Grisey, Marianthi Papalexandri-Alexadri, Zosha DiCastri, Louis Andreissen, and Morton Feldman. Project activities will include educational events, such as pre-concert discussions, artistic director and composer talks open to the public, and student rehearsals with the ensemble.\u003c/p>\n\u003ch3>San Francisco Film Society (aka SFFS)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 59th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, educational programs, and live performances. Additional programming throughout the year will include a series devoted to cinema from Hong Kong, and Screenings in Schools, in which students view films and engage with the filmmakers in person or via Skype. In partnership with the San Francisco Museum of Modern Art, SFFS presents a year-round series celebrating established and emerging masters of cinema.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (aka SFJAZZ)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by each member and arrangements of music by Michael Jackson. The ensemble will play as many as 18 live concerts on its 2016 national tour and present pre-concert talks, engage in master classes, workshops, school programs, and outreach events in tour cities which will include West Lafayette and Carmel, Indiana; Dubuque, Iowa; Louisville, Kentucky; North Bethesda, Maryland; Boston, Massachusetts; Detroit, Michigan; Saint Louis, Missouri; New York, New York; Pittsburgh, Pennsylvania; as well as Dallas and Houston, Texas. The SFJAZZ Collective members are Obed Calvaire, Robin Eubanks, Sean Jones, Matt Penman, Davis Sanchez, Edward Simon, Warren Wolf, and Miguel Zenon.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (aka San Francisco Jewish Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 36th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Recent films screened at the festival included Doug Block’s \u003cem>112 Weddings\u003c/em>, \u003cem>The Green Prince\u003c/em> by Nadav Schirman, and \u003cem>Theodore Bikel: In the Shoes of Sholom Aleichem\u003c/em> by John Lollos.\u003c/p>\n\u003ch3>San Francisco Opera Association (aka San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support the world premiere of \u003cem>Dream of the Red Chamber\u003c/em> by composer Bright Sheng with a libretto by playwright David Henry Hwang and Sheng. The text was written in the 18th century by Cao Xueqin, and is considered one of China’s four great classical novels, telling the story of a heartbreaking and timeless love\u003cbr>\ntriangle. The creative team may include Tony Award-winner David Henry Hwang, playwright and director Stan Lai, Academy Award-winning designer and art director Tim Yip, conductor George Manahan, and contralto Qiu Lin Zhang. Outreach activities will focus on the local and national Chinese-American community, college/university programs in music and Chinese/Asian studies, and cultural institutions in the Bay Area such as the Asian Art Museum of San Francisco. As many as six performances will be presented in the fall of 2016 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Performances, Inc. (aka San Francisco Performances)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of music and dance performances. The series will feature performances by pianist Leif Ove Andsnes (Norway), pianist Jonathan Biss, the Brentano String Quartet, Dorrance Dance, the Dover Quartet, pianist Marc-Andre Hamelin (Canada), cellist Harriet Krigjh (The Netherlands), tenor Mark Padmore, Paul Taylor Dance Company, and pianist Javier Perianes (Spain). Educational and outreach activities will include lectures, open rehearsals, and workshops.\u003c/p>\n\u003ch3>San Francisco Symphony (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Artistic Development Program of the San Francisco Symphony Youth Orchestra. Designed to complement the youth orchestra’s core program of weekly rehearsals and concert performances, the free program will provide middle to high school students with coaching, mentorship, and specialized training in chamber music. Students will receive free tickets to San Francisco Symphony performances and participate in master classes with guest artists. In addition to rehearsals with San Francisco Symphony Youth Orchestra Music Director Donato Cabrera, participants will rehearse with San Francisco Symphony Music Director Michael Tilson Thomas.\u003c/p>\n\u003ch3>San Francisco Symphony\u003c/h3>\n\u003ch5>$75,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a commissioning, performance, and composer residency project. Under the direction of Artistic Director Michael Tilson Thomas, the \u003cem>Mason Bates: Composer in 360\u003c/em> project will feature the world premiere performance of a new work by Bates titled “Auditorium” with guest conductor Pablo Heras-Casado (named Musical America’s 2014 Conductor of the Year). The composer will begin his two-week residency by curating musical evenings in SoundBox, the orchestra’s new performance space located backstage at Davies Symphony Hall. Activities will include community engagements, such as pre-concert lectures and conversations.\u003c/p>\n\u003ch3>Silent Film Festival (aka San Francisco Silent Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 21st San Francisco Silent Film Festival. The four-day event showcases silent films with live musical accompaniment at the Castro Theatre in San Francisco. The 2016 festival will celebrate the centennial of a pivotal year in film history – 1916 – with screenings of films made in that year, such as D.W. Griffith’s \u003ci>Intolerance.\u003c/i>\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. A rotating curatorial committee will select the artists. Participating artists will receive conceptual, logistical, and administrative support to develop their work; a stipend and materials budget; and published essays.\u003c/p>\n\u003ch3>Stern Grove Festival Association (aka Stern Grove Festival)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>The SF Playhouse (aka San Francisco Playhouse)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Sandbox New Play Program. The program supports playwrights through the commissioning and development of new works. Development opportunities will include a monthly reading series, week-long workshops with professional artists, and the Sandbox Series of world premiere productions. Designed to serve as a bridge between readings and mainstage productions, the program will provide a low-risk environment and community of support in which playwrights can hone their craft. The project will include the world premiere of a new play by Theresa Rebeck as well as a second production of \u003cem>You Mean to Do Me Harm\u003c/em> by Christopher Chen.\u003c/p>\n\u003ch3>Theatre of Yugen, Incorporated (aka Theatre of Yugen at NOHspace)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and production of \u003cem>A Play on a Plate\u003c/em>, a theatrical event fusing theater with culinary arts. Developed in collaboration with Japanese chef Nobuaki Fushiki through the company’s Fermentation Lab, the performance will take the form of a theater/dinner pop-up event inspired by the many ways fermentation influences Japanese cuisine. The project will explore the potential of food to bring together diverse communities, including the local corporate community, prominent members of San Francisco’s foodie culture, students, and scientists in the growing biotech industry. The project development period will include educational outreach events and work-in-progress showings.\u003c/p>\n\u003ch3>Women’s Audio Mission (aka WAM)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (aka San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the presentation of the 38th annual San Francisco Ethnic Dance Festival. The festival provides underserved artists with the opportunity to perform in a professional setting. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend dancers’ rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces. After a rigorous audition process, more than 30 Northern California dance ensembles, whose work is rooted in various cultural traditions, will be selected to perform at the festival.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (aka Yerba Buena Gardens Festival (YBGF))\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Yerba Buena Gardens Festival. The outdoor series will include world premiere presentations of new works and performances by artists in world music, dance, and Latin jazz, among others. The festival also will include partnerships with other local performing arts organizations.\u003c/p>\n\u003ch3>Zaccho SF (aka Zaccho Dance Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the second biennial SF Aerial Dance Festival. The festival will bring together aerial dance artists, students, and audiences for a dynamic week of performances, workshops, and discussions. Emerging and established aerial dance choreographers will be featured, including Flyaway Productions, Project BANDALOOP, and Zaccho Dance Theatre. Performances will take place at the historic Fort Mason Center, with workshops happening at the Zaccho Studio in Bayview/Hunter’s Point.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (aka ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of the journal “ZYZZYVA.” Showcasing the work of acclaimed and emerging West Coast writers, the journal publishes fiction, poetry, nonfiction, and artwork. The journal will be promoted at literary festivals and conferences; additional content, such as original writing and video interviews with contributors, will be made available online.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support the Aimusic International Festival: Intangible Chinese Heritage Celebration. Performers from China and other Asian countries will showcase a variety of traditional Asian operas, as well as offer a seminar on Chinese opera. As many as 20 groups are expected to present performances that will include Kunqu Opera, Peking Opera, Yueju Opera, and Tibetan Opera. Additionally, the Firebird Youth Chinese Orchestra will rehearse special music for the festival and receive training in traditional Chinese customs and etiquette to receive the international artists properly.\u003c/p>\n\u003ch3>Mexican Heritage Corporation (aka VivaFest!)\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support VivaFest!, the San Jose Mexican Heritage and Mariachi Festival. The project will celebrate the contributions of Mexican Americans and new Latino immigrants to the culture of the U.S. through performances, workshops, and art exhibits. Additionally, the program will offer master classes for mariachi and ballet folklorico.\u003c/p>\n\u003ch3>Movimiento de Arte y Cultura Latino Americana de San Jose, Inc. (aka MACLA)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater\u003cbr>\nTo support the production of \u003ci>’57 Chevy,\u003c/i> a solo performance piece based on the script by Cris Franco, and associated outreach activities. Ricardo Salinas will perform the autobiographical story about a young man traversing the physical and cultural borders from Mexico City to the United States in the back seat of his father’s\u003cbr>\n1957 Chevrolet. The production will premiere at the Castellano Playhouse and will include performances for area high schools that serve a Latino majority.\u003c/p>\n\u003ch3>Opera Cultura\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support commission, development, and workshop presentations of \u003cem>Bless Me, Ultima\u003c/em> a Mexican-American opera by composer/librettist Hector Armienta. The opera is based on Rudolfo Anaya’s novel of the same title (which is part of the NEA’s Big Read initiative). The story follows a young boy, Antonio, as he comes of age with\u003cbr>\nthe guidance of his curandera (shaman) and protector Ultima. Under her wing, he will probe the family ties that bind and rend him, and discover the magical secrets of the llano (grasslands) and the river. Community engagement activities will include youth writing workshops and a workshop presentation in summer 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support dance performances featuring Lula Washington Dance Theatre, choreographed by Lula Washington, with associated outreach activities. The performances will explore African-American racial identity and experience, merging the choreographer’s reflections about important historical events, such as the Civil Rights Movement, while simultaneously exploring contemporary racial tension within the United States. Associated outreach, intended to benefit economically disadvantaged, primarily African-American students, will also include a student matinee performance, a free workshop, and free transportation for youth participants.\u003c/p>\n\u003ch3>San Jose Museum of Art Association (aka San Jose Museum of Art)\u003c/h3>\n\u003ch5>$45,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support an exhibition of new collaborative work by photographer Richard Misrach and composer Guillermo Galindo addressing issues related to the U.S./Mexico border. Titled \u003cem>Bordos Cantos\u003c/em>, the exhibition will juxtapose large-scale photographs by Misrach with musical instruments handcrafted by Galindo from ordinary objects collected along the border. The exhibition will be accompanied by communitywide public programming intended to serve the city’s large immigrant community.\u003c/p>\n\u003ch3>ZeroOne – The Art and Technology Network (aka ZERO1)\u003c/h3>\n\u003ch5>$20,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the creation of new work by Tahir Hemphill. Hemphill’s solo exhibition, \u003cem>Maximum Distance Minimum Displacement\u003c/em>, builds upon research undertaken at the STUDIO for Creative Inquiry at Carnegie Mellon University. The exhibition will feature new photography, video, and sculptural works, created using data drawn from a linguistic analysis of the work of several well-known rap musicians. The project will include training of teens at the artist’s Rap Research Lab, a studio for the production of creative technology projects and a space to teach art, design, cultural analysis, media criticism, data mining, and data visualization.\u003c/p>\n\u003ch3>Los Cenzontles Mexican Arts Center (aka Los Cenzontles Cultural Academy)\u003c/h3>\n\u003ch5>$35,000 (San Pablo, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Routes of Resilience. A series of traditional and contemporary Mexican musical performances will be presented to the Mexican-American community. Live performances, web-based videos, and recordings will highlight the immigration experience, illuminating how personal and collective resilience have guided individuals and families through the challenging transitions particular to Mexican-American communities. Some performances will be supplemented with workshops, lecture-demonstrations, film screenings, and discussions.\u003c/p>\n\u003ch3>California Film Institute (aka CFI)\u003c/h3>\n\u003ch5>$30,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 39th Mill Valley Film Festival. The festival will present narrative, documentary, and short American and international independent films. The program also will include panels, master classes, and free daytime screenings for students.\u003c/p>\n\u003ch3>Marin Shakespeare Company\u003c/h3>\n\u003ch5>$10,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support theater workshops at San Quentin State Prison. The workshops for incarcerated veterans, including participants with disabilities, will include the creation and performance of an original theater piece addressing veterans’ issues. Performance artist Andrew Salvage will perform for the workshop participants and will lead sessions on autobiographical playwriting. \u003c/p>\n\u003ch3>Cabrillo Festival of Contemporary Music (aka Cabrillo Music Festival)\u003c/h3>\n\u003ch5>$25,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Cabrillo Festival of Contemporary Music. Under the direction of Music Director Marin Alsop, the festival orchestra will perform music by living composers. Festival concerts will be held at the Santa Cruz Civic Auditorium. Other activities will include chamber music concerts, composers-in-residence, and a workshop for conductors and composers. Past composers-in-residence have included Mason Bates, Hannah Lash, and Missy Mazzoli, among many others. Featured programming will include the commissioning and world premiere of a new work by composer Anna Clyne and a collaboration with The Choral Project, a San Jose-based chorus, on its 20th anniversary. Educational and community activities will include open rehearsals, panel discussions, and a street fair.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a concert series with NEA Jazz Master Charles Lloyd. Plans include several concerts in celebration of the 50th anniversary of Lloyd’s seminal \u003ci>Forest Flower: Live at Monterey\u003c/i> recording. Among the artists slated to perform alongside Lloyd, in differently sized ensembles and a duo-setting, are Jason Moran, Eric Harland, Reuben Rogers, Gerald Clayton, as well as 1999 NEA National Heritage Fellow Zakir Hussein. Members of the Kuumbwa Honor Jazz Band, composed of local high school student musicians, may be invited to observe preperformance sound checks and engage with the artists.\u003c/p>\n\u003ch3>Santa Rosa Symphony Association (aka Santa Rosa Symphony)\u003c/h3>\n\u003ch5>$10,000 (Santa Rosa, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a performance, a workshop, and related outreach activities featuring Venezuelan pianist Gabriela Martinez. The project is intended to serve economically disadvantaged, primarily Latino residents, and Martinez will conduct a free workshop for elementary and middle school violinists, participate in free rehearsals for the\u003cbr>\ncommunity, and offer a bilingual pre-concert talk. Organizations such Big Brothers Big Sisters of the North Bay, the YWCA Sonoma County, California Parenting Institute, the Boys and Girls Club Central Santa Rosa, and Hanna Boys Center – selected for their ties to local, underserved communities – will assist with targeted outreach and free ticket distribution for the main stage performance at the Green Music Center.\u003c/p>\n\u003ch3>Montalvo Association (aka Montalvo Arts Center)\u003c/h3>\n\u003ch5>$15,000 (Saratoga, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies and related activities. Selected emerging and mid-career American artists from diverse disciplines will be offered fully funded residencies. Artists will present their work on-site and in the community through exhibitions and performances, as well as through educational and outreach activities.\u003c/p>\n\u003ch3>Headlands Center for the Arts (aka Headlands)\u003c/h3>\n\u003ch5>$35,000 (Sausalito, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities/Imagine Your Parks\u003cbr>\nTo support artist residencies, an alumni new works program, and an artist commissioning program. Residencies will focus on emerging and mid-career artists. The alumni new works and commissioning programs will offer support for special projects created by past participating artists and local artists. The commissioning program’s goals include supporting and investing in artists whose work will impact the cultural landscape; providing artists with the support to produce a project which might not otherwise happen; and encouraging artists to make work inspired by the Marin Headlands, part of the National Park Service.\u003c/p>\n\u003ch3>Voice of Roma (aka VOR)\u003c/h3>\n\u003ch5>$35,000 (Sebastopol, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support \u003cem>Opre Khetanes! (Rise Up Together!): Romani Culture in Diaspora\u003c/em>. The cultural contributions of the Roma Gypsies will be explored through a symposium and multi-city tour of Romani artists, including 2011 NEA National Heritage Fellow Yuri Yunakov. The tour will begin at New York University and conclude at the Voice of Roma’s annual Herdeljezi Festival in San Francisco.\u003c/p>\n\u003ch3>Stanford Jazz Workshop (aka SJW)\u003c/h3>\n\u003ch5>$20,000 (Stanford, CA)\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Middle School Jazz Initiative, including Giant Steps Day Camp, Giant Steps Jazz Singers, and Giant Steps Big Band ensemble. This jazz education program enables middle school students to interact with master jazz educators and artists through year-round, weekly after-school instrumental music instruction. The middle\u003cbr>\nschool programs all share the program name “Giant Steps,” to not only indicate the progress the students make as a result of participating, but also refers to the jazz composition, “Giant Steps” by the late John Coltrane. Giant Steps program directors and faculty are selected for their extensive experience and recognized success teaching jazz at the middle school level. Taught at local host school sites and during SJW’s jazz immersion camps in the summer on the Stanford University campus, students follow a personalized curriculum that includes improvisation, jazz styles, ear training, technique, and playing in small and large ensembles. The program culminates in a final public performance at the end of each academic semester and at the end of each week of jazz immersion camp.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-drag-queens-on-ice-christmas-revels-and-more",
"title": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More",
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"headTitle": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Hooray for amateurs — the masses of people who exercise their creative muscles for the sheer heck of it and not for money or fame. If more of us spent our spare time learning to dance like Beyonce, writing novels in only a month, and taking improv classes, there’d probably be fewer wars. \u003c/span>\u003c/p>\n\u003cp>Needless to say, the Bay Area is fairly bonkers with opportunities for artistic endeavor for residents and visitors of all ages, ethnicities and cultural interests. And d\u003cspan style=\"font-weight: 400\">uring the holiday season, participation in everything from karaoke at the company Christmas party to the local orchestra’s \u003cem>Singalong \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Messiah\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, goes way up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I wanted to include in this week’s survey of performing arts events a couple of proudly amateur happenings alongside stuff that’s more pro. It’s the first of what I hope will be many nods to the everyday folks who get their kicks from all manner of artistic pastimes, as well as a couple of the institutions that help to make all this creativity possible for cultural hobbyists around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141039 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg\" alt=\"A scene from 'The Fall of the House of Usher' at San Francisco Opera\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Fall of the House of Usher’ at San Francisco Opera \u003ccite>(Photo: David Haneke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tuesday, Dec. 8 – Sunday, Dec. 13: San Francisco Opera presents \u003c/b>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/the-fall-of-the-house-of-usher/\">\u003cb>\u003ci>The Fall of the House of Usher\u003c/i>\u003c/b>\u003c/a>\u003cb> at the War Memorial Opera House, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">That Edgar Allan Poe’s spectral story about a mentally unstable brother, his physically unstable twin sister, and the craggy-decrepit fortress in which they live has captured the minds of opera creators for well over a century is no surprise: This supreme work of Gothic schlockery (on par with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Raven\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) is full of the stuff — an unlikely plot, characters on the brink of death and madness, lightning — that makes opera fans drool. French Impressionist Claude Debussy, American Minimalist Philip Glass and British prog rock songwriter Peter Hammill are among those who have excavated Poe’s story for the opera stage. The San Francisco Opera’s double-bill of short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-inspired works combines Debussy’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Chute de la Maison Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and American composer Gordon Getty’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher House\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to create an evening of stormy music and imposing visuals. Both works star Brian Mulligan, who chilled Bay Area audiences’ bones in the role of Sweeney Todd at San Francisco Opera earlier this season and may do the same now as the emotionally volatile Roderick Usher. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11141045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg\" alt=\"'Drag Queens on Ice'\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1920x1257.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Drag Queens on Ice’ \u003ccite>(Photo: Jerry Yim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://sf.funcheap.com/drag-queens-ice-union-square/\">\u003cb>\u003ci>Drag Queens on Ice\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Union Square holiday ice rink, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Forget the imposing Christmas tree and the streams of sweating shoppers barging their way into Macy’s. You only truly know the holidays have arrived when a bunch of San Francisco’s most celebrated drag queens exchange their heels for ice skates and take to the rink in Union Square. Although the event feels a little like a publicity stunt for big business — Safeway, Bank of the West and Alaska Airlines all have their names slapped on this icecapade — performances in the great art of lip-synching by the likes of Mutha Chuka, Paju Munro, and BeBe Sweetbriar while careening across the ice will doubtless bring some much-needed lipstick, lamế and levity to the downtown holiday shopping scramble.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://www.eventbrite.com/e/james-bond-007-dance-party-theme-thursdays-opal-mtn-vw-tickets-19774119925\">\u003cb>\u003ci>James Bond 007 Dance Party\u003c/i>\u003c/b>\u003c/a>\u003cb> at Opal, Mountain View. \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes the best arts events are the ones you get to participate in yourself. And while it’s become commonplace for karaoke aficionados across the land to give their all to renditions of everything from Shirley Bassey’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Diamonds are Forever\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to Adele’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Skyfall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, hitting the dance floor to express one’s love for all things 007 hasn’t quite yet become quite as run-of-the-mill. Opal, a well-appointed nightspot in Mountain View, is offering Bond fans the chance to sashay to the music that’s helped to make the long-running franchise one of the most revered in pop culture history. Whether you’re attired in Bond Girl chic, a bespoke tuxedo or your regular street clothes, this dance party is a great way to decompress after seeing the latest Bond flick, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spectre\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, showing just the down the road at the local Century 16. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 11 – Sunday, Dec. 20: California Revels presents \u003c/b>\u003ca href=\"http://californiarevels.org/2015_christmas-revels\">\u003cb>\u003ci>Christmas Revels: A Venetian Masque\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Scottish Rite Theater, Oakland. \u003c/b>\u003cspan style=\"font-weight: 400\">For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the \u003c/span>\u003cspan style=\"font-weight: 400\">Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141040 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg\" alt=\"FaultLine Theatre: The team behind 'Dead Dogs Bone.'\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">FaultLine Theatre: The team behind ‘Dead Dogs Bone.’ \u003ccite>(Photo: Clive Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec. 11 – Saturday, Dec. 19: FaultLine Theatre presents \u003c/b>\u003ca href=\"http://www.faultlinetheater.com/#!dead-dogs-bone/c1mro\">\u003cb>\u003ci>Dead Dog’s Bone\u003c/i>\u003c/b>\u003c/a>\u003cb> at PianoFight, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Cole Ferraiuolo, artistic director of FaultLine Theater, described his company’s latest production in an email to me as an “anti-Christmas, Christmas play.” It’s an astute description for the up-and-coming local dramatist Veronica Tjioe’s bleak comedy, which explores how a commitment-phobic twenty-something copes with the impending death of the family dog and her abhorrence of plastic Christmas trees. FaultLine was nominated for 15 Theater Bay Area Awards this year, and Dead Dog’s Bone is the final show of the hardworking young company’s season. \u003c/span>\u003c/p>\n\u003cp>And I can’t let you go without sharing a few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: 42nd Street Moon presents \u003c/b>\u003ca href=\"http://www.42ndstmoon.org/scrooge-in-love\">\u003cb>\u003ci>Scrooge in Love\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Eureka Theatre, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: TheatreFIRST presents \u003c/b>\u003ca href=\"http://www.theatrefirst.com/the-seafarer/\">\u003cb>\u003ci>The Seafarer\u003c/i>\u003c/b> \u003c/a>\u003cb>at the Live Oak Theatre, Berkeley.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: \u003c/b>\u003ca href=\"http://www.emspacedance.org/emspace-detour/\">\u003cb>EmSpace Dance and Detour Dance\u003c/b>\u003c/a>\u003cb> at NOHspace, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "This week our critic's performing arts picks also include a James Bond dance party and a Gothic double bill at the SF Opera.",
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"title": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Hooray for amateurs — the masses of people who exercise their creative muscles for the sheer heck of it and not for money or fame. If more of us spent our spare time learning to dance like Beyonce, writing novels in only a month, and taking improv classes, there’d probably be fewer wars. \u003c/span>\u003c/p>\n\u003cp>Needless to say, the Bay Area is fairly bonkers with opportunities for artistic endeavor for residents and visitors of all ages, ethnicities and cultural interests. And d\u003cspan style=\"font-weight: 400\">uring the holiday season, participation in everything from karaoke at the company Christmas party to the local orchestra’s \u003cem>Singalong \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Messiah\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, goes way up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I wanted to include in this week’s survey of performing arts events a couple of proudly amateur happenings alongside stuff that’s more pro. It’s the first of what I hope will be many nods to the everyday folks who get their kicks from all manner of artistic pastimes, as well as a couple of the institutions that help to make all this creativity possible for cultural hobbyists around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141039 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg\" alt=\"A scene from 'The Fall of the House of Usher' at San Francisco Opera\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Fall of the House of Usher’ at San Francisco Opera \u003ccite>(Photo: David Haneke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tuesday, Dec. 8 – Sunday, Dec. 13: San Francisco Opera presents \u003c/b>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/the-fall-of-the-house-of-usher/\">\u003cb>\u003ci>The Fall of the House of Usher\u003c/i>\u003c/b>\u003c/a>\u003cb> at the War Memorial Opera House, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">That Edgar Allan Poe’s spectral story about a mentally unstable brother, his physically unstable twin sister, and the craggy-decrepit fortress in which they live has captured the minds of opera creators for well over a century is no surprise: This supreme work of Gothic schlockery (on par with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Raven\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) is full of the stuff — an unlikely plot, characters on the brink of death and madness, lightning — that makes opera fans drool. French Impressionist Claude Debussy, American Minimalist Philip Glass and British prog rock songwriter Peter Hammill are among those who have excavated Poe’s story for the opera stage. The San Francisco Opera’s double-bill of short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-inspired works combines Debussy’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Chute de la Maison Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and American composer Gordon Getty’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher House\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to create an evening of stormy music and imposing visuals. Both works star Brian Mulligan, who chilled Bay Area audiences’ bones in the role of Sweeney Todd at San Francisco Opera earlier this season and may do the same now as the emotionally volatile Roderick Usher. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11141045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg\" alt=\"'Drag Queens on Ice'\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1920x1257.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Drag Queens on Ice’ \u003ccite>(Photo: Jerry Yim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://sf.funcheap.com/drag-queens-ice-union-square/\">\u003cb>\u003ci>Drag Queens on Ice\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Union Square holiday ice rink, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Forget the imposing Christmas tree and the streams of sweating shoppers barging their way into Macy’s. You only truly know the holidays have arrived when a bunch of San Francisco’s most celebrated drag queens exchange their heels for ice skates and take to the rink in Union Square. Although the event feels a little like a publicity stunt for big business — Safeway, Bank of the West and Alaska Airlines all have their names slapped on this icecapade — performances in the great art of lip-synching by the likes of Mutha Chuka, Paju Munro, and BeBe Sweetbriar while careening across the ice will doubtless bring some much-needed lipstick, lamế and levity to the downtown holiday shopping scramble.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://www.eventbrite.com/e/james-bond-007-dance-party-theme-thursdays-opal-mtn-vw-tickets-19774119925\">\u003cb>\u003ci>James Bond 007 Dance Party\u003c/i>\u003c/b>\u003c/a>\u003cb> at Opal, Mountain View. \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes the best arts events are the ones you get to participate in yourself. And while it’s become commonplace for karaoke aficionados across the land to give their all to renditions of everything from Shirley Bassey’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Diamonds are Forever\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to Adele’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Skyfall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, hitting the dance floor to express one’s love for all things 007 hasn’t quite yet become quite as run-of-the-mill. Opal, a well-appointed nightspot in Mountain View, is offering Bond fans the chance to sashay to the music that’s helped to make the long-running franchise one of the most revered in pop culture history. Whether you’re attired in Bond Girl chic, a bespoke tuxedo or your regular street clothes, this dance party is a great way to decompress after seeing the latest Bond flick, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spectre\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, showing just the down the road at the local Century 16. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 11 – Sunday, Dec. 20: California Revels presents \u003c/b>\u003ca href=\"http://californiarevels.org/2015_christmas-revels\">\u003cb>\u003ci>Christmas Revels: A Venetian Masque\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Scottish Rite Theater, Oakland. \u003c/b>\u003cspan style=\"font-weight: 400\">For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the \u003c/span>\u003cspan style=\"font-weight: 400\">Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141040 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg\" alt=\"FaultLine Theatre: The team behind 'Dead Dogs Bone.'\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">FaultLine Theatre: The team behind ‘Dead Dogs Bone.’ \u003ccite>(Photo: Clive Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec. 11 – Saturday, Dec. 19: FaultLine Theatre presents \u003c/b>\u003ca href=\"http://www.faultlinetheater.com/#!dead-dogs-bone/c1mro\">\u003cb>\u003ci>Dead Dog’s Bone\u003c/i>\u003c/b>\u003c/a>\u003cb> at PianoFight, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Cole Ferraiuolo, artistic director of FaultLine Theater, described his company’s latest production in an email to me as an “anti-Christmas, Christmas play.” It’s an astute description for the up-and-coming local dramatist Veronica Tjioe’s bleak comedy, which explores how a commitment-phobic twenty-something copes with the impending death of the family dog and her abhorrence of plastic Christmas trees. FaultLine was nominated for 15 Theater Bay Area Awards this year, and Dead Dog’s Bone is the final show of the hardworking young company’s season. \u003c/span>\u003c/p>\n\u003cp>And I can’t let you go without sharing a few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: 42nd Street Moon presents \u003c/b>\u003ca href=\"http://www.42ndstmoon.org/scrooge-in-love\">\u003cb>\u003ci>Scrooge in Love\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Eureka Theatre, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: TheatreFIRST presents \u003c/b>\u003ca href=\"http://www.theatrefirst.com/the-seafarer/\">\u003cb>\u003ci>The Seafarer\u003c/i>\u003c/b> \u003c/a>\u003cb>at the Live Oak Theatre, Berkeley.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: \u003c/b>\u003ca href=\"http://www.emspacedance.org/emspace-detour/\">\u003cb>EmSpace Dance and Detour Dance\u003c/b>\u003c/a>\u003cb> at NOHspace, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>PlayGround, an incubator for burgeoning Bay Area playwrights, announced Tuesday that it had signed a six-year master lease with San Francisco’s Thick House Theater, with the understanding that the organization would make significant improvements, such as installing air-conditioning and a new lighting system.\u003c/p>\n\u003cp>The incubator has occupied the the 78-seat black box theater for nine years, sharing it with local companies like Crowded Fire Theater Company and others. Now having signed a long-term master lease that includes an option to lease the theater until 2026, the organization will address issues such as the almost unbearable heat inside the performance area during the hotter spring and summer months, according to Jim Kleinmann, PlayGround’s artistic director. This will include air-conditioning, a new ventilation system and a specially-designed low heat LED stage lighting system. \u003c/p>\n\u003cp>“We’ll basically be getting the theater up to speed and bringing it into the 21st century,” said Kleinmann.\u003c/p>\n\u003cp>PlayGround has also launched a $260,000-capital campaign to cover the cost of the improvements as well as the loss of revenue during the six-to-eight weeks it anticipates to close the theater for construction. \u003c/p>\n\u003cp>According to \u003ca href=\"http://playground-sf.org/mission.shtml\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>, PlayGround was started in 1994 and “has supported 185 early-career playwrights, developing and staging more than 650 of their original short plays.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PlayGround, an incubator for burgeoning Bay Area playwrights, announced Tuesday that it had signed a six-year master lease with San Francisco’s Thick House Theater, with the understanding that the organization would make significant improvements, such as installing air-conditioning and a new lighting system.\u003c/p>\n\u003cp>The incubator has occupied the the 78-seat black box theater for nine years, sharing it with local companies like Crowded Fire Theater Company and others. Now having signed a long-term master lease that includes an option to lease the theater until 2026, the organization will address issues such as the almost unbearable heat inside the performance area during the hotter spring and summer months, according to Jim Kleinmann, PlayGround’s artistic director. This will include air-conditioning, a new ventilation system and a specially-designed low heat LED stage lighting system. \u003c/p>\n\u003cp>“We’ll basically be getting the theater up to speed and bringing it into the 21st century,” said Kleinmann.\u003c/p>\n\u003cp>PlayGround has also launched a $260,000-capital campaign to cover the cost of the improvements as well as the loss of revenue during the six-to-eight weeks it anticipates to close the theater for construction. \u003c/p>\n\u003cp>According to \u003ca href=\"http://playground-sf.org/mission.shtml\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>, PlayGround was started in 1994 and “has supported 185 early-career playwrights, developing and staging more than 650 of their original short plays.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Around this time of year, it’s easy to get wrapped up in the belief that there’s nothing going on around here except endless, mothballed productions of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Christmas Carol\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true that there are probably more chestnuts on Bay Area stages than there are roasting on an open fire (at least in these parts). But it’s a “yes, and…”-type situation: The typical holiday season fare makes up only a small part of what’s on offer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was reminded of this fact over the weekend when, in a single day, I went from the kitsch jewel that is the annual \u003c/span>\u003ca href=\"http://www.dickensfair.com/\">\u003cb>Dickens Fair\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Cow Palace to a head-spinning, hip-shimmying celebration of Cuban food, music and motion at \u003c/span>\u003ca href=\"http://dancemission.com/performances/upcoming.html#cubacaribe\">\u003cb>Dance Mission Theater\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watching Bay Area residents of all ages and ethnic backgrounds dressed up in bonnets and tailcoats, practicing their English accents, Morris dancing steps and sea-chantey singing, filled me with a kind of awe. There is such dedication and passion in the Dickens Fair community. And to go from this longstanding evocation of a quasi-mythical Christmas of yore in all its mustachioed, Victorian glory, to a very different yet equally committed cultural time-warp — \u003c/span>\u003cspan style=\"font-weight: 400\">a recreation of \u003c/span>\u003cspan style=\"font-weight: 400\">a night out at Havana’s fabled Tropicana nightclub — was deft proof of the depth and diversity of the Bay Area’s holiday season nightlife.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of the latter event (\u003c/span>\u003cspan style=\"font-weight: 400\">CubaCaribe and Dance Mission Theater)\u003c/span> \u003cspan style=\"font-weight: 400\">drew on members of the local Cuban community as well as nubile dancers imported from the homeland to conjure the spirit of the Caribbean island. The costumes were lurid and sparkly, the energy of the performances, unflagging. I staggered home, happy and exhausted, with rum on my tongue and the rhythm of the rumba in my ears.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With nods to shows that are all about Christmas, productions that capture the holiday spirit more obliquely, and events that apparently have little to do with the festive season beyond being scheduled to run in it, this week’s performing arts selections hopefully reflect more of the vitality and breadth of our region’s holiday time programming.\u003c/p>\n\u003cp>\u003cb>Now through Saturday, Dec. 19: Brian Copeland’s \u003c/b>\u003ca href=\"http://themarsh.org/jewelrybox/brian-copeland-3/\">\u003cb>\u003ci>The Jewelry Box\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Marsh, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">When you’re a 6-year-old kid growing up in the East Bay in the 1970s, how do you go about scrimping together the astronomical sum of $11.97 in order to buy your mom the ultimate Christmas gift? That’s the challenge facing the young protagonist in this autobiographical one-man show by Brian Copeland, the creator of long-running solo theater hits like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Not a Genuine Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Copeland is a wry, hilarious observer of his own childhood and surroundings. But there’s also a serious core to what’s essentially a heartwarming holiday show — especially in the way the performer describes the unsettling (and sadly still prescient) economic and racial disparities of Bay Area life 40 years ago. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109950\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg\" alt=\"Smuin Christmas Ballet\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now through Sunday, Dec. 27: Smuin Ballet presents \u003c/b>\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\">\u003cb>\u003ci>The Christmas Ballet\u003c/i>\u003c/b>\u003c/a>\u003cb> at various locations throughout the Bay Area. \u003c/b>\u003cspan style=\"font-weight: 400\">The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">or some derivative of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracke\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member \u003c/span>\u003cspan style=\"font-weight: 400\">dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Saturday, Jan. 2: Theatreworks presents \u003c/b>\u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3067\">\u003cb>\u003ci>Emma \u003c/i>\u003c/b>\u003c/a>\u003cb>at the Lucie Stern Theatre, Palo Alto. \u003c/b>\u003cspan style=\"font-weight: 400\">In January 1814, when Jane Austen embarked upon \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Emma, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">her novel about a young woman’s misguided attempts to play Cupid, the writer reportedly said, “I am going to take a heroine whom no one but myself will much like.” On the surface, composer/lyricist Paul Gordon’s bubbly take on the character is way more positive. Yet while Gordon’s 2007 musical (getting a re-run at Theatreworks, which premiered the piece in 2007) is on the whole a lovely, sugar-dusted confection — aided by the frosted pastel hues and clean lines of the Regency country manor–inspired set and the truffle-contoured costumes — shadows fitfully lurk under those empire-lined petticoats. Austen’s acerbic social commentary can’t help but smudge the musical’s shiny patina: The song “Hartfield” succinctly captures the pettiness, boredom, and claustrophobia of life around Emma’s Highbury home, while the ensemble number “Relations” (about the pros — and superficial cons — of being well-connected by birth) serves to highlight 19th-century class issues.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109956\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg\" alt=\"Sarah Shelton Mann\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-400x188.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1180x556.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1920x905.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-960x452.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Shelton Mann \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec 4 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.ybca.org/erasing-time\">\u003cb>\u003ci>Sarah Shelton Mann: Erasing Time\u003c/i>\u003c/b>\u003c/a>\u003cb> at Yerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">There are few figures who’ve exerted as great an influence on the Bay Area experimental performance scene as the multi-award-winning choreographer Sarah Shelton Mann. So it’s fitting that the first-ever retrospective of the artist’s career should be an epic one. During each of the two marathon, five-hour-long events at Yerba Buena Center for the Arts this weekend, Mann will direct, live in the space, some of her closest and longest-running collaborators in a world premiere that brings together dance, spoken word, music, and video installations. The event also includes a reimagining of one of Shelton Mann’s most seminal works, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Religare\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, from 1986. Bay Area performance stalwarts like Keith Hennessy, Jess Curtis and Kim Epifano made up the original cast of this desolate, violent, quasi-ritualistic piece; those same artists (plus many more) are part of YBCA’s celebration of Shelton Mann’s career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec 4 – Sunday, Jan. 10: Shotgun Players present \u003c/b>\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\">\u003cb>\u003ci>The Mousetrap\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Ashby Stage, Berkeley. \u003c/b>\u003cspan style=\"font-weight: 400\">For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mousetrap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a few more suggestions:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Thursday Dec. 10: \u003c/b>\u003ca href=\"http://sfoasis.com/event.cfm?id=156408&cart\">\u003cb>\u003ci>Absolutely Fabulous Live!: The Holiday Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Oasis, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 3 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.sfcurran.com/event/notes-of-a-native-song/\">\u003cb>\u003ci>Notes to a Native Song\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Curran Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Thursday, Dec 3 – Sunday, Dec. 20 \u003c/b>\u003ca href=\"http://www.hillbarntheatre.org/shows/fiddler-on-the-roof/\">\u003cb>\u003ci>Fiddler on the Roof\u003c/i>\u003c/b>\u003c/a>\u003cb> at Hillbarn Theatre, Foster City\u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Around this time of year, it’s easy to get wrapped up in the belief that there’s nothing going on around here except endless, mothballed productions of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Christmas Carol\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true that there are probably more chestnuts on Bay Area stages than there are roasting on an open fire (at least in these parts). But it’s a “yes, and…”-type situation: The typical holiday season fare makes up only a small part of what’s on offer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was reminded of this fact over the weekend when, in a single day, I went from the kitsch jewel that is the annual \u003c/span>\u003ca href=\"http://www.dickensfair.com/\">\u003cb>Dickens Fair\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Cow Palace to a head-spinning, hip-shimmying celebration of Cuban food, music and motion at \u003c/span>\u003ca href=\"http://dancemission.com/performances/upcoming.html#cubacaribe\">\u003cb>Dance Mission Theater\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watching Bay Area residents of all ages and ethnic backgrounds dressed up in bonnets and tailcoats, practicing their English accents, Morris dancing steps and sea-chantey singing, filled me with a kind of awe. There is such dedication and passion in the Dickens Fair community. And to go from this longstanding evocation of a quasi-mythical Christmas of yore in all its mustachioed, Victorian glory, to a very different yet equally committed cultural time-warp — \u003c/span>\u003cspan style=\"font-weight: 400\">a recreation of \u003c/span>\u003cspan style=\"font-weight: 400\">a night out at Havana’s fabled Tropicana nightclub — was deft proof of the depth and diversity of the Bay Area’s holiday season nightlife.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of the latter event (\u003c/span>\u003cspan style=\"font-weight: 400\">CubaCaribe and Dance Mission Theater)\u003c/span> \u003cspan style=\"font-weight: 400\">drew on members of the local Cuban community as well as nubile dancers imported from the homeland to conjure the spirit of the Caribbean island. The costumes were lurid and sparkly, the energy of the performances, unflagging. I staggered home, happy and exhausted, with rum on my tongue and the rhythm of the rumba in my ears.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With nods to shows that are all about Christmas, productions that capture the holiday spirit more obliquely, and events that apparently have little to do with the festive season beyond being scheduled to run in it, this week’s performing arts selections hopefully reflect more of the vitality and breadth of our region’s holiday time programming.\u003c/p>\n\u003cp>\u003cb>Now through Saturday, Dec. 19: Brian Copeland’s \u003c/b>\u003ca href=\"http://themarsh.org/jewelrybox/brian-copeland-3/\">\u003cb>\u003ci>The Jewelry Box\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Marsh, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">When you’re a 6-year-old kid growing up in the East Bay in the 1970s, how do you go about scrimping together the astronomical sum of $11.97 in order to buy your mom the ultimate Christmas gift? That’s the challenge facing the young protagonist in this autobiographical one-man show by Brian Copeland, the creator of long-running solo theater hits like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Not a Genuine Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Copeland is a wry, hilarious observer of his own childhood and surroundings. But there’s also a serious core to what’s essentially a heartwarming holiday show — especially in the way the performer describes the unsettling (and sadly still prescient) economic and racial disparities of Bay Area life 40 years ago. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109950\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg\" alt=\"Smuin Christmas Ballet\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now through Sunday, Dec. 27: Smuin Ballet presents \u003c/b>\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\">\u003cb>\u003ci>The Christmas Ballet\u003c/i>\u003c/b>\u003c/a>\u003cb> at various locations throughout the Bay Area. \u003c/b>\u003cspan style=\"font-weight: 400\">The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">or some derivative of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracke\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member \u003c/span>\u003cspan style=\"font-weight: 400\">dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Saturday, Jan. 2: Theatreworks presents \u003c/b>\u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3067\">\u003cb>\u003ci>Emma \u003c/i>\u003c/b>\u003c/a>\u003cb>at the Lucie Stern Theatre, Palo Alto. \u003c/b>\u003cspan style=\"font-weight: 400\">In January 1814, when Jane Austen embarked upon \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Emma, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">her novel about a young woman’s misguided attempts to play Cupid, the writer reportedly said, “I am going to take a heroine whom no one but myself will much like.” On the surface, composer/lyricist Paul Gordon’s bubbly take on the character is way more positive. Yet while Gordon’s 2007 musical (getting a re-run at Theatreworks, which premiered the piece in 2007) is on the whole a lovely, sugar-dusted confection — aided by the frosted pastel hues and clean lines of the Regency country manor–inspired set and the truffle-contoured costumes — shadows fitfully lurk under those empire-lined petticoats. Austen’s acerbic social commentary can’t help but smudge the musical’s shiny patina: The song “Hartfield” succinctly captures the pettiness, boredom, and claustrophobia of life around Emma’s Highbury home, while the ensemble number “Relations” (about the pros — and superficial cons — of being well-connected by birth) serves to highlight 19th-century class issues.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109956\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg\" alt=\"Sarah Shelton Mann\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-400x188.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1180x556.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1920x905.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-960x452.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Shelton Mann \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec 4 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.ybca.org/erasing-time\">\u003cb>\u003ci>Sarah Shelton Mann: Erasing Time\u003c/i>\u003c/b>\u003c/a>\u003cb> at Yerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">There are few figures who’ve exerted as great an influence on the Bay Area experimental performance scene as the multi-award-winning choreographer Sarah Shelton Mann. So it’s fitting that the first-ever retrospective of the artist’s career should be an epic one. During each of the two marathon, five-hour-long events at Yerba Buena Center for the Arts this weekend, Mann will direct, live in the space, some of her closest and longest-running collaborators in a world premiere that brings together dance, spoken word, music, and video installations. The event also includes a reimagining of one of Shelton Mann’s most seminal works, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Religare\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, from 1986. Bay Area performance stalwarts like Keith Hennessy, Jess Curtis and Kim Epifano made up the original cast of this desolate, violent, quasi-ritualistic piece; those same artists (plus many more) are part of YBCA’s celebration of Shelton Mann’s career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec 4 – Sunday, Jan. 10: Shotgun Players present \u003c/b>\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\">\u003cb>\u003ci>The Mousetrap\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Ashby Stage, Berkeley. \u003c/b>\u003cspan style=\"font-weight: 400\">For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mousetrap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a few more suggestions:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Thursday Dec. 10: \u003c/b>\u003ca href=\"http://sfoasis.com/event.cfm?id=156408&cart\">\u003cb>\u003ci>Absolutely Fabulous Live!: The Holiday Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Oasis, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 3 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.sfcurran.com/event/notes-of-a-native-song/\">\u003cb>\u003ci>Notes to a Native Song\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Curran Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec 3 – Sunday, Dec. 20 \u003c/b>\u003ca href=\"http://www.hillbarntheatre.org/shows/fiddler-on-the-roof/\">\u003cb>\u003ci>Fiddler on the Roof\u003c/i>\u003c/b>\u003c/a>\u003cb> at Hillbarn Theatre, Foster City\u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Theater Junkie: 'Disgraced' Casts Shadow in Wake of Paris Attacks",
"headTitle": "Theater Junkie: ‘Disgraced’ Casts Shadow in Wake of Paris Attacks | KQED",
"content": "\u003cp>Friday the 13th: At the end of the Berkeley Repertory Theatre’s production of Ayad Akhtar’s \u003cem>Disgraced\u003c/em>, the cast comes out for the curtain call, takes in the applause, waits for it to die down, looks out at the audience for a good while, and then leaves. For a few moments everything is quiet. There’s something fitting about silence. It gives you room to breathe and think. It doesn’t ask for agreement or conclusion—it’s its own thing.\u003c/p>\n\u003cp>The production of this Pulitzer Prize-winning drama just happened to open on the day of the Paris attacks, and what seemed to be a timely play got more than a little timelier. When France’s problems with Islam and the banning of the veil came up during a tense dinner party argument on stage, you could feel the actors’ lines land on the audience, jagged and challenging. There was no reaction.\u003c/p>\n\u003cp>In many ways, that curtain call was a much sharper and cunning ending than Akhtar’s, which blunts a far sharper and more radical play: a drama screaming to get out in front of an audience and shock it into submission all the way to the end. That this doesn’t happen is a shame and represents a special kind of failure—the success that evades greatness.\u003c/p>\n\u003cp>Amir and Emily are the type of couple people gush about: “He’s a lawyer, she’s an artist, they’re fantastic!” They might even add, “He’s Muslim, she’s white, that’s fantastic!” Their apartment is certainly fantastic and the play opens with a tableau worthy of Noel Coward: Emily is painting a picture of Amir in the manner of Valázquez’s \u003cem>Portrait of Juan de Pareja. \u003c/em>Yet there’s no sparkle or joy; just a smarmy mix of grievance and privilege.\u003c/p>\n\u003cfigure id=\"attachment_11108180\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI3_lr.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11108180 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI3_lr.jpg\" alt=\"Amir (Bernard White) and Emily (Nisi Sturgis) shared a moment in 'Disgraced.' Photo: Liz Lauren\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI3_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI3_lr-400x266.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir (Bernard White) and Emily (Nisi Sturgis) in ‘Disgraced’. Photo: Liz Lauren/Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Amir might be posing, but Emily’s the poseur. Overly proud of her suave Muslim husband, eager to use his connections to meet a powerful Whitney curator, and chiding him for not defending an Imam accused of funneling money to Hamas, Emily is a recognizable mix of progressive politics and upper class hauteur. Nisi Sturgis is expert at catching the smug, vaulting ambition behind Emily’s sincerity. And Bernard White shows how attractive that might be to a man like Amir, who is just a bit cruder than we’d like him to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this way, the play is immediately off-putting. Of course, Akhtar’s just setting us up. We know Amir’s life is going to come crashing down — that’s why many of us come to the theater in the first place — and so we have more than a rooting interest in seeing it happen. Just as Emily is destined to betray him, so will we. And it’s to Akhtar’s credit that he shows us just how easy it all is.\u003c/p>\n\u003cp>So there’s a real argument here. Amir desperately does not want to take on the role of the Muslim. And in a fundamental way, he is not Muslim, just as we can choose not to be Christian, Hindu, Jewish, or Buddhist. But to do this, Amir must take on a double consciousness. He is both a free man, able to choose the scope and breadth of his life, and on the run from a culture quick to label him a terrorist. That he handles these expectations with grace and imagination should be celebrated. The problem for Amir is that culture never quits and like a viper in paradise, it is always testing, teasing out the moment when it can strike and kill.\u003c/p>\n\u003cp style=\"text-align: left\">Akhtar finds the perfect representation of these pressures in the ebb and flow of a dinner party conversation. From Albee, to Guare, to LaBute, and even Shepard, American playwrights know that the dinner party only seems innocuous. It doesn’t have any of the outwards signs of danger that we’re used to: there’s not the frenzy of the mob, or the vile rhetoric of right-wing demagogues, or even the fear-mongering of Fox News. It just seems a nice way to sit back, relax, and talk, and that’s what makes it so dangerous.\u003c/p>\n\u003cfigure id=\"attachment_11108179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11108179 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI1-800x592.jpg\" alt=\"(From left to right) Amir (Bernard White), Emily (Nisi Sturgis), Jory (Zakiya Young), and Issac (J. Anthony Young)\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-1920x1422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-960x711.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(From left to right) Amir (Bernard White), Emily (Nisi Sturgis), Jory (Zakiya Young), and Issac (J. Anthony Young) in. Photo: Liz Lauren/Berkeley Repertory Theatre. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Amir’s colleague, Jory, and her husband, the powerful Whitney curator, Issac, come to dinner, Amir will not survive the onslaught of conviviality. But again, we wouldn’t expect him to. How he goes down, though, is where \u003cem>Disgraced\u003c/em> distinguishes itself as a piece of potent, political theater. Each turn of the plot twists in the same way: Amir is consistently more reasoned, honest, and alert to the world than his wife and their guests. Yet they seem to win every argument, and do so by reducing Amir to the role of the Muslim, a role he absolutely rejects.\u003c/p>\n\u003cp>That Amir lashes out in increasingly heinous ways as the play unfolds seems neither what he wishes nor who he is. However, the other characters need for him to be the “Muslim” and when they finally get what they want, they flick him away. I wish Akhtar had left it at that, or followed the rude logic of Amir’s sickening response.\u003c/p>\n\u003cp>Instead, we get the wrap up scene, the coda to the main event. The play’s outrages are reduced to rueful melodrama and quiet reflection. As the play ends, Amir stares at Emily’s reworking of the Valázquez painting and sees the man he once was. That might have the feel of profundity, but it’s an astounding retreat from the violent complexity of the previous scene. Its formal perfection, one Amir looking at another, hides a lack of will and imaginative force. Akhtar takes us to the brink—an absolute joy—and then meekly walks us back to safety and privilege, as if none of it mattered. I want more commitment. When you throw a bomb, you should let it explode.\u003c/p>\n\u003cp>\u003cem>Disgraced\u003c/em> runs through December 27 at the Berkeley Rep’s Roda Theater in Berkeley. For tickets and information visit www.berkeleyrep.org.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Ayad Akhtar’s Pulitzer Prize-winning play at Berkeley Rep explores the murky issues surrounding Islamic identity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday the 13th: At the end of the Berkeley Repertory Theatre’s production of Ayad Akhtar’s \u003cem>Disgraced\u003c/em>, the cast comes out for the curtain call, takes in the applause, waits for it to die down, looks out at the audience for a good while, and then leaves. For a few moments everything is quiet. There’s something fitting about silence. It gives you room to breathe and think. It doesn’t ask for agreement or conclusion—it’s its own thing.\u003c/p>\n\u003cp>The production of this Pulitzer Prize-winning drama just happened to open on the day of the Paris attacks, and what seemed to be a timely play got more than a little timelier. When France’s problems with Islam and the banning of the veil came up during a tense dinner party argument on stage, you could feel the actors’ lines land on the audience, jagged and challenging. There was no reaction.\u003c/p>\n\u003cp>In many ways, that curtain call was a much sharper and cunning ending than Akhtar’s, which blunts a far sharper and more radical play: a drama screaming to get out in front of an audience and shock it into submission all the way to the end. That this doesn’t happen is a shame and represents a special kind of failure—the success that evades greatness.\u003c/p>\n\u003cp>Amir and Emily are the type of couple people gush about: “He’s a lawyer, she’s an artist, they’re fantastic!” They might even add, “He’s Muslim, she’s white, that’s fantastic!” Their apartment is certainly fantastic and the play opens with a tableau worthy of Noel Coward: Emily is painting a picture of Amir in the manner of Valázquez’s \u003cem>Portrait of Juan de Pareja. \u003c/em>Yet there’s no sparkle or joy; just a smarmy mix of grievance and privilege.\u003c/p>\n\u003cfigure id=\"attachment_11108180\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI3_lr.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11108180 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI3_lr.jpg\" alt=\"Amir (Bernard White) and Emily (Nisi Sturgis) shared a moment in 'Disgraced.' Photo: Liz Lauren\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI3_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI3_lr-400x266.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir (Bernard White) and Emily (Nisi Sturgis) in ‘Disgraced’. Photo: Liz Lauren/Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Amir might be posing, but Emily’s the poseur. Overly proud of her suave Muslim husband, eager to use his connections to meet a powerful Whitney curator, and chiding him for not defending an Imam accused of funneling money to Hamas, Emily is a recognizable mix of progressive politics and upper class hauteur. Nisi Sturgis is expert at catching the smug, vaulting ambition behind Emily’s sincerity. And Bernard White shows how attractive that might be to a man like Amir, who is just a bit cruder than we’d like him to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this way, the play is immediately off-putting. Of course, Akhtar’s just setting us up. We know Amir’s life is going to come crashing down — that’s why many of us come to the theater in the first place — and so we have more than a rooting interest in seeing it happen. Just as Emily is destined to betray him, so will we. And it’s to Akhtar’s credit that he shows us just how easy it all is.\u003c/p>\n\u003cp>So there’s a real argument here. Amir desperately does not want to take on the role of the Muslim. And in a fundamental way, he is not Muslim, just as we can choose not to be Christian, Hindu, Jewish, or Buddhist. But to do this, Amir must take on a double consciousness. He is both a free man, able to choose the scope and breadth of his life, and on the run from a culture quick to label him a terrorist. That he handles these expectations with grace and imagination should be celebrated. The problem for Amir is that culture never quits and like a viper in paradise, it is always testing, teasing out the moment when it can strike and kill.\u003c/p>\n\u003cp style=\"text-align: left\">Akhtar finds the perfect representation of these pressures in the ebb and flow of a dinner party conversation. From Albee, to Guare, to LaBute, and even Shepard, American playwrights know that the dinner party only seems innocuous. It doesn’t have any of the outwards signs of danger that we’re used to: there’s not the frenzy of the mob, or the vile rhetoric of right-wing demagogues, or even the fear-mongering of Fox News. It just seems a nice way to sit back, relax, and talk, and that’s what makes it so dangerous.\u003c/p>\n\u003cfigure id=\"attachment_11108179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11108179 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DI1-800x592.jpg\" alt=\"(From left to right) Amir (Bernard White), Emily (Nisi Sturgis), Jory (Zakiya Young), and Issac (J. Anthony Young)\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-1920x1422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DI1-960x711.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(From left to right) Amir (Bernard White), Emily (Nisi Sturgis), Jory (Zakiya Young), and Issac (J. Anthony Young) in. Photo: Liz Lauren/Berkeley Repertory Theatre. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Amir’s colleague, Jory, and her husband, the powerful Whitney curator, Issac, come to dinner, Amir will not survive the onslaught of conviviality. But again, we wouldn’t expect him to. How he goes down, though, is where \u003cem>Disgraced\u003c/em> distinguishes itself as a piece of potent, political theater. Each turn of the plot twists in the same way: Amir is consistently more reasoned, honest, and alert to the world than his wife and their guests. Yet they seem to win every argument, and do so by reducing Amir to the role of the Muslim, a role he absolutely rejects.\u003c/p>\n\u003cp>That Amir lashes out in increasingly heinous ways as the play unfolds seems neither what he wishes nor who he is. However, the other characters need for him to be the “Muslim” and when they finally get what they want, they flick him away. I wish Akhtar had left it at that, or followed the rude logic of Amir’s sickening response.\u003c/p>\n\u003cp>Instead, we get the wrap up scene, the coda to the main event. The play’s outrages are reduced to rueful melodrama and quiet reflection. As the play ends, Amir stares at Emily’s reworking of the Valázquez painting and sees the man he once was. That might have the feel of profundity, but it’s an astounding retreat from the violent complexity of the previous scene. Its formal perfection, one Amir looking at another, hides a lack of will and imaginative force. Akhtar takes us to the brink—an absolute joy—and then meekly walks us back to safety and privilege, as if none of it mattered. I want more commitment. When you throw a bomb, you should let it explode.\u003c/p>\n\u003cp>\u003cem>Disgraced\u003c/em> runs through December 27 at the Berkeley Rep’s Roda Theater in Berkeley. For tickets and information visit www.berkeleyrep.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-milk-carton-kids-a-jazz-memorial-a-bilingual-comedy-more",
"title": "Cy and David's Picks: Milk Carton Kids, a Jazz Memorial, and More",
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"content": "\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234729920″ 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\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D7TPxA5sp4I\u003c/p>\n\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/234729920″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/234729920″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D7TPxA5sp4I'\n title='//www.youtube.com/embed/D7TPxA5sp4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\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.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/11/20151120tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U_7vVffjIzM\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>David:\u003c/strong> Tim Flannery, former third base coach for the San Francisco Giants, plays the Freight and Salvage this Sunday, Nov. 22 with his band the Lunatic Fringe. \u003ca href=\"http://www.thefreight.org/tim-flannery-lunatic-fringe-special-guests-berkley-hart\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cy:\u003c/strong> And I’m shouting it out for ‘Salvage’ — a little punk circus show at Kinetic Arts in West Oakland with exceptional acrobatics and clowning that runs through Dec. 20. \u003ca href=\"http://www.kineticartscenter.com/salvage/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U_7vVffjIzM'\n title='//www.youtube.com/embed/U_7vVffjIzM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>David:\u003c/strong> Tim Flannery, former third base coach for the San Francisco Giants, plays the Freight and Salvage this Sunday, Nov. 22 with his band the Lunatic Fringe. \u003ca href=\"http://www.thefreight.org/tim-flannery-lunatic-fringe-special-guests-berkley-hart\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cy:\u003c/strong> And I’m shouting it out for ‘Salvage’ — a little punk circus show at Kinetic Arts in West Oakland with exceptional acrobatics and clowning that runs through Dec. 20. \u003ca href=\"http://www.kineticartscenter.com/salvage/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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