To celebrate National Arts Education Month, discover inspiring arts education stories from around the Bay Area featured on KQED, and visit our Arts Education page to discover KQED's creative resources for the classroom, including activities and videos for students about contemporary arts and culture.
Parents Lament Loss as Sunnyvale's California Theatre Center Closes
State Budget Permanently Increases Arts Council Funding by $6.8 Million
'Hamilton': From Broadway Smash to Teaching Tool for Young Students
California Arts Council Announces Record-Breaking Grants Worth $15 Million
Alphabet Rockers Shift Their Children's Songs Toward Social Issues
Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing
Singing about San Francisco's Mission District, and How to Save It
San Jose Graphic Novelist Named National Rep for Young People’s Lit
Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off
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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"shelbypope":{"type":"authors","id":"5566","meta":{"index":"authors_1716337520","id":"5566","found":true},"name":"Shelby Pope","firstName":"Shelby","lastName":"Pope","slug":"shelbypope","email":"shelbylpope@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Shelby Pope is a freelance writer living and eating her way through the East Bay. She’s written about food, art and science for publications including the Smithsonian, Lucky Peach, and the Washington Post's pet blog. When she’s not taste testing sourdough bread to find the Bay Area’s best loaf, you can find her on Twitter \u003ca href=\"https://twitter.com/shelbylpope\">@shelbylpope\u003c/a> or at \u003ca href=\"https://shelbypope.com/\">shelbypope.com\u003c/a>","avatar":"https://secure.gravatar.com/avatar/f0bc7c2dc7ea404f67cbf922a5393d8a?s=600&d=mm&r=g","twitter":"shelbylpope","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"bayareabites","roles":[]},{"site":"food","roles":[]}],"headData":{"title":"Shelby Pope | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/f0bc7c2dc7ea404f67cbf922a5393d8a?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/f0bc7c2dc7ea404f67cbf922a5393d8a?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/shelbypope"},"crnoveno":{"type":"authors","id":"11208","meta":{"index":"authors_1716337520","id":"11208","found":true},"name":"Creo Noveno","firstName":"Creo","lastName":"Noveno","slug":"crnoveno","email":"creonoveno@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Creo Noveno | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/crnoveno"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13695608":{"type":"posts","id":"arts_13695608","meta":{"index":"posts_1716263798","site":"arts","id":"13695608","score":null,"sort":[1500506720000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1500506720,"format":"standard","title":"Parents Lament Loss as Sunnyvale's California Theatre Center Closes","headTitle":"Parents Lament Loss as Sunnyvale’s California Theatre Center Closes | KQED","content":"\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":739,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1705030008,"excerpt":"The California Theatre Center is closing after 41 years of community service to Sunnyvale's families.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The California Theatre Center is closing after 41 years of community service to Sunnyvale's families.","title":"Parents Lament Loss as Sunnyvale's California Theatre Center Closes | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Parents Lament Loss as Sunnyvale's California Theatre Center Closes","datePublished":"2017-07-19T16:25:20-07:00","dateModified":"2024-01-11T19:26:48-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"parents-lament-loss-as-sunnyvales-california-theatre-center-closes","status":"publish","sticky":false,"WpOldSlug":"parents-lament-loss-as-sunnyvales-california-theatre-center-closes-slug-change","path":"/arts/13695608/parents-lament-loss-as-sunnyvales-california-theatre-center-closes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13695608/parents-lament-loss-as-sunnyvales-california-theatre-center-closes","authors":["251"],"programs":["arts_1272"],"series":["arts_838","arts_1372"],"categories":["arts_235","arts_967"],"tags":["arts_1448","arts_596"],"featImg":"arts_13696699","label":"arts_1272"},"arts_13536893":{"type":"posts","id":"arts_13536893","meta":{"index":"posts_1716263798","site":"arts","id":"13536893","score":null,"sort":[1498676201000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1498676201,"format":"standard","title":"State Budget Permanently Increases Arts Council Funding by $6.8 Million","headTitle":"State Budget Permanently Increases Arts Council Funding by $6.8 Million | KQED","content":"\u003cp>In the state budget Gov. Jerry Brown \u003ca href=\"http://www.mercurynews.com/2017/06/27/jerry-brown-signs-125-billion-budget-for-california/\" target=\"_blank\" rel=\"noopener noreferrer\">just signed\u003c/a> there’s a big win for the arts, and specifically the \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=250\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a>: $6.8 million permanently added to the agency’s budget.\u003c/p>\n\u003cp>At a time when federal funding for \u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/in-california-the-beginning-of-the-battle-to-save-arts-funding/\" target=\"_blank\" rel=\"noopener noreferrer\">the arts is in jeopardy\u003c/a>, the state agency can count on a bigger pot of money to support a wide variety of arts programs all over California. It’s also a sign that state legislators have reprioritized arts funding after years of dedicating little money to the council.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, based on this fiscal year. The ranking based on this latest budget hasn’t been released yet.\u003c/p>\n\u003cp>“We are thrilled,” Brad Erickson, Executive Director of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area,\u003c/a> said. He’s followed budget negotiations closely over the years, and in the past, he’s \u003ca href=\"https://ww2.kqed.org/arts/2017/06/13/california-arts-council-announces-record-breaking-grants-worth-15-million/\" target=\"_blank\" rel=\"noopener noreferrer\">criticized state government\u003c/a> for one-time budget boosts that leave the council and its grantees in a state of suspense about the future of programs. The Governor, Erickson says, “has set an new baseline for its future funding.”\u003c/p>\n\u003cp>“What this really means is that the excellent programs begun last year with these funds will continue,” Erickson added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, which provides “high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants this fiscal year, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“In this time when the NEA is on the chopping block, I am pleased to see the Governor sign on to a budget that includes permanent funding. It tells me that the Governor understands and supports the concept and practice of every Californian having access to creativity and art,” Alvarado said.\u003c/p>\n\u003cp>\u003cstrong>But Wait, There’s More\u003c/strong>\u003c/p>\n\u003cp>The California Arts Council budget also includes an additional $750,000 ongoing allocation to support increased arts programming for youth engaged in the juvenile justice system, as well as an additional $2 million increased allocation for California’s \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts in Corrections\u003c/a> program.\u003c/p>\n\u003cp>And then there’s approximately $1.1 million in annual federal support from the National Endowment for the Arts in the council’s budget, and approximately $2.5 million in annual funds from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener noreferrer\">Keep Arts in Schools Fund\u003c/a>. Altogether, the Arts Council’s total 2017-18 budget will be approximately $19.48 million, plus an additional, separate $8 million state allocation for Arts in Corrections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are grateful to Governor Brown and our state legislators for their belief in the power of the arts to enrich our lives and foster safe, healthy, and vibrant California communities,” Donn Harris, California Arts Council Chair, is quoted saying in the agency’s press release. “The state’s increased investment in culture and creative expression has helped to grow arts programs benefitting Californians at all levels of society, and demonstrates clearly who we are and what we value as a state.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":581,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":13},"modified":1705030200,"excerpt":"After a few years of temporary increases, the state budget has made boosting arts a priority","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"After a few years of temporary increases, the state budget has made boosting arts a priority","title":"State Budget Permanently Increases Arts Council Funding by $6.8 Million | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"State Budget Permanently Increases Arts Council Funding by $6.8 Million","datePublished":"2017-06-28T11:56:41-07:00","dateModified":"2024-01-11T19:30:00-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"state-budget-permanently-increases-arts-council-funding-by-6-8-million","status":"publish","sticky":false,"path":"/arts/13536893/state-budget-permanently-increases-arts-council-funding-by-6-8-million","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the state budget Gov. Jerry Brown \u003ca href=\"http://www.mercurynews.com/2017/06/27/jerry-brown-signs-125-billion-budget-for-california/\" target=\"_blank\" rel=\"noopener noreferrer\">just signed\u003c/a> there’s a big win for the arts, and specifically the \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=250\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a>: $6.8 million permanently added to the agency’s budget.\u003c/p>\n\u003cp>At a time when federal funding for \u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/in-california-the-beginning-of-the-battle-to-save-arts-funding/\" target=\"_blank\" rel=\"noopener noreferrer\">the arts is in jeopardy\u003c/a>, the state agency can count on a bigger pot of money to support a wide variety of arts programs all over California. It’s also a sign that state legislators have reprioritized arts funding after years of dedicating little money to the council.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, based on this fiscal year. The ranking based on this latest budget hasn’t been released yet.\u003c/p>\n\u003cp>“We are thrilled,” Brad Erickson, Executive Director of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area,\u003c/a> said. He’s followed budget negotiations closely over the years, and in the past, he’s \u003ca href=\"https://ww2.kqed.org/arts/2017/06/13/california-arts-council-announces-record-breaking-grants-worth-15-million/\" target=\"_blank\" rel=\"noopener noreferrer\">criticized state government\u003c/a> for one-time budget boosts that leave the council and its grantees in a state of suspense about the future of programs. The Governor, Erickson says, “has set an new baseline for its future funding.”\u003c/p>\n\u003cp>“What this really means is that the excellent programs begun last year with these funds will continue,” Erickson added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, which provides “high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants this fiscal year, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“In this time when the NEA is on the chopping block, I am pleased to see the Governor sign on to a budget that includes permanent funding. It tells me that the Governor understands and supports the concept and practice of every Californian having access to creativity and art,” Alvarado said.\u003c/p>\n\u003cp>\u003cstrong>But Wait, There’s More\u003c/strong>\u003c/p>\n\u003cp>The California Arts Council budget also includes an additional $750,000 ongoing allocation to support increased arts programming for youth engaged in the juvenile justice system, as well as an additional $2 million increased allocation for California’s \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts in Corrections\u003c/a> program.\u003c/p>\n\u003cp>And then there’s approximately $1.1 million in annual federal support from the National Endowment for the Arts in the council’s budget, and approximately $2.5 million in annual funds from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener noreferrer\">Keep Arts in Schools Fund\u003c/a>. Altogether, the Arts Council’s total 2017-18 budget will be approximately $19.48 million, plus an additional, separate $8 million state allocation for Arts in Corrections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are grateful to Governor Brown and our state legislators for their belief in the power of the arts to enrich our lives and foster safe, healthy, and vibrant California communities,” Donn Harris, California Arts Council Chair, is quoted saying in the agency’s press release. “The state’s increased investment in culture and creative expression has helped to grow arts programs benefitting Californians at all levels of society, and demonstrates clearly who we are and what we value as a state.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13536893/state-budget-permanently-increases-arts-council-funding-by-6-8-million","authors":["251"],"programs":["arts_1272"],"series":["arts_610","arts_838"],"categories":["arts_1","arts_235"],"tags":["arts_1448","arts_596"],"featImg":"arts_13537802","label":"arts_1272"},"arts_13516134":{"type":"posts","id":"arts_13516134","meta":{"index":"posts_1716263798","site":"arts","id":"13516134","score":null,"sort":[1498586419000]},"guestAuthors":[],"slug":"hamilton-from-broadway-smash-to-teaching-tool-for-students","title":"'Hamilton': From Broadway Smash to Teaching Tool for Young Students","publishDate":1498586419,"format":"standard","headTitle":"‘Hamilton’: From Broadway Smash to Teaching Tool for Young Students | KQED","labelTerm":{"term":838,"site":"arts"},"content":"\u003cp>Mariah Rankine-Landers wasn’t excited to see the play her friend dragged her to. She had flown to New York for one reason, and one reason, only: Taye Diggs.\u003c/p>\n\u003cp>At the time, Diggs was starring in a Broadway production of \u003cem>Hedwig and the Angry Inch\u003c/em>, and Rankine-Landers and her friend Jessa Brie Moreno flew across the country to see it. During the trip, however, Moreno bought tickets to another play, one Rankine-Landers hadn’t heard of: \u003cem>Hamilton\u003c/em>.\u003c/p>\n\u003cp>When the curtains went up, Rankine-Landers noticed that the cast looked like her — a rarity in the theater world. \u003cem>Great\u003c/em>, she thought, \u003cem>another musical starting with a slave song\u003c/em>. Soon, though, she realized that the black actors in this play weren’t relegated to typical disenfranchised roles: they were the protagonists. She felt tears in her eyes, remembering all the times she had been told that she couldn’t play dress-up in historical costumes. “In that moment, she said, “I realized, ‘The world is changing.’”\u003c/p>\n\u003cfigure id=\"attachment_13531208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, Rankine-Landers told this story to a group of about 25 teachers at the Museum of the African Diaspora. Rankine-Landers is part of Rise Up!, a group developing curriculum for educators using \u003cem>Hamilton\u003c/em> as a teaching tool. Weeks before the group’s website with public resources goes live, the teachers, armed with notebooks and coffee, were there to learn how to take advantage of the cultural zeitgeist.\u003c/p>\n\u003cp>For students, the play’s themes of revolution and power have taken on a particular significance since the election. “What’s changed is young people have a new and vital response to civic action,” said Marc Bamuthi Joseph, who developed the day’s curriculum with Rakine-Landers. Joseph is the Chief of Program and Pedagogy at Yerba Buena Center for the Arts (his title, he joked, is “what happens when poets name themselves”), whose introduction to the play came from Daveed Diggs. One of the musical’s breakout stars, Diggs’ last pre-\u003cem>Hamilton\u003c/em> role was in Joesph’s own choreopoem \u003cem>Word Becomes Flesh\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13516258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13516258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg\" alt=\"Marc Bamuthi Joseph takes notes during one of the event's discussions.\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-520x273.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph takes notes during one of the event’s discussions. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m so nervous,” Rankine-Landers said before the event, tapping at a laptop. “I hope that they’re piqued.” The Rise Up! Curriculum encourages educators to have their students tie their personal experiences, their own revolutions, to the American Revolution. To model that, Rankine-Landers and Joesph had to ask the teachers deep, uncomfortable questions about their lived experiences. One of Rankine-Landers’ goals for the day was encourage educators to become comfortable with the uncomfortable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After an opening prayer wherein the group agreed to acknowledge their past and move toward a future of more inclusive narratives, Rankine-Landers introduced handshake shapes, which she demonstrated with Jessa Brie Moreno (the friend who originally introduced Rankine-Landers to \u003cem>Hamilton\u003c/em>, and one of the leaders of Rise Up!). Partners started with a handshake or fist bump. Then, one partner broke away to establish a new point of contact, while the other partner remained in the original position. The process repeated until partners were tangled around each other, any awkwardness forgotten. For some, the result was a floundering waltz, or a choppy yoga routine. “That’s too much, I’m not trying to fall right now,” one woman warned her partner. Others ended up on the floor. “So good to get into the body,” Joseph enthused.\u003c/p>\n\u003cfigure id=\"attachment_13531206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Attendees then went through a series of exercises where they were asked to interrogate themselves. Think of a memory or experience you’ve had, instructors asked, that you’d like to plant in the brain of of our 45th president (the class’ preferred way of referring to Trump). During other exercises, they were asked to examine their memories and definitions of the world, as well as those of their personal relationships: \u003cem>Who are the five people you’re most accountable to? Who are you engaged with? Who are you not close with?\u003c/em>\u003c/p>\n\u003cp>This excavation helped teachers develop a framework that would allow them to incorporate their students’ personal narratives into the study of history, to “think about personal experiences and connect them to traditional paradigms of power,” as Joseph said. “Where does accountability to one another come up in history? Who are you responsible for throughout history? How does compassion play into the American revolution?” Joseph asked, eliciting approving snaps from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13516262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg\" alt=\"Attendees at the Museum of the African Diaspora's Saturday event, Rise Up! An American Curriculum.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13516262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-375x160.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-520x222.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Museum of the African Diaspora’s Saturday event, Rise Up! An American Curriculum. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before they could pose those questions to their students, the teachers had to ask themselves the questions first. Rankine-Landers’ goal wasn’t to provide didactic instructions about how to teach \u003cem>Hamilton\u003c/em>, but to create a space where teachers could be vulnerable, a place to address the complex emotions that Hamilton — and teaching — can provoke. \u003c/p>\n\u003cp>In that regard, the class had been a success, she said afterward, as she watched attendees mingling after three hours of sharing stories, challenges and tears. “My favorite part is creating this community,” she said. “They walked in as strangers, and now they’re hugging.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"A workshop from the group Rise Up! gives teachers skills to inspire students through the lens of the hit musical 'Hamilton.'","status":"publish","parent":0,"modified":1720818340,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":952},"headData":{"title":"'Hamilton': From Broadway Smash to Teaching Tool for Young Students | KQED","description":"A workshop from the group Rise Up! gives teachers skills to inspire students through the lens of the hit musical 'Hamilton.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Hamilton': From Broadway Smash to Teaching Tool for Young Students","datePublished":"2017-06-27T11:00:19-07:00","dateModified":"2024-07-12T14:05:40-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13516134/hamilton-from-broadway-smash-to-teaching-tool-for-students","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mariah Rankine-Landers wasn’t excited to see the play her friend dragged her to. She had flown to New York for one reason, and one reason, only: Taye Diggs.\u003c/p>\n\u003cp>At the time, Diggs was starring in a Broadway production of \u003cem>Hedwig and the Angry Inch\u003c/em>, and Rankine-Landers and her friend Jessa Brie Moreno flew across the country to see it. During the trip, however, Moreno bought tickets to another play, one Rankine-Landers hadn’t heard of: \u003cem>Hamilton\u003c/em>.\u003c/p>\n\u003cp>When the curtains went up, Rankine-Landers noticed that the cast looked like her — a rarity in the theater world. \u003cem>Great\u003c/em>, she thought, \u003cem>another musical starting with a slave song\u003c/em>. Soon, though, she realized that the black actors in this play weren’t relegated to typical disenfranchised roles: they were the protagonists. She felt tears in her eyes, remembering all the times she had been told that she couldn’t play dress-up in historical costumes. “In that moment, she said, “I realized, ‘The world is changing.’”\u003c/p>\n\u003cfigure id=\"attachment_13531208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, Rankine-Landers told this story to a group of about 25 teachers at the Museum of the African Diaspora. Rankine-Landers is part of Rise Up!, a group developing curriculum for educators using \u003cem>Hamilton\u003c/em> as a teaching tool. Weeks before the group’s website with public resources goes live, the teachers, armed with notebooks and coffee, were there to learn how to take advantage of the cultural zeitgeist.\u003c/p>\n\u003cp>For students, the play’s themes of revolution and power have taken on a particular significance since the election. “What’s changed is young people have a new and vital response to civic action,” said Marc Bamuthi Joseph, who developed the day’s curriculum with Rakine-Landers. Joseph is the Chief of Program and Pedagogy at Yerba Buena Center for the Arts (his title, he joked, is “what happens when poets name themselves”), whose introduction to the play came from Daveed Diggs. One of the musical’s breakout stars, Diggs’ last pre-\u003cem>Hamilton\u003c/em> role was in Joesph’s own choreopoem \u003cem>Word Becomes Flesh\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13516258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13516258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg\" alt=\"Marc Bamuthi Joseph takes notes during one of the event's discussions.\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-520x273.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph takes notes during one of the event’s discussions. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m so nervous,” Rankine-Landers said before the event, tapping at a laptop. “I hope that they’re piqued.” The Rise Up! Curriculum encourages educators to have their students tie their personal experiences, their own revolutions, to the American Revolution. To model that, Rankine-Landers and Joesph had to ask the teachers deep, uncomfortable questions about their lived experiences. One of Rankine-Landers’ goals for the day was encourage educators to become comfortable with the uncomfortable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After an opening prayer wherein the group agreed to acknowledge their past and move toward a future of more inclusive narratives, Rankine-Landers introduced handshake shapes, which she demonstrated with Jessa Brie Moreno (the friend who originally introduced Rankine-Landers to \u003cem>Hamilton\u003c/em>, and one of the leaders of Rise Up!). Partners started with a handshake or fist bump. Then, one partner broke away to establish a new point of contact, while the other partner remained in the original position. The process repeated until partners were tangled around each other, any awkwardness forgotten. For some, the result was a floundering waltz, or a choppy yoga routine. “That’s too much, I’m not trying to fall right now,” one woman warned her partner. Others ended up on the floor. “So good to get into the body,” Joseph enthused.\u003c/p>\n\u003cfigure id=\"attachment_13531206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Attendees then went through a series of exercises where they were asked to interrogate themselves. Think of a memory or experience you’ve had, instructors asked, that you’d like to plant in the brain of of our 45th president (the class’ preferred way of referring to Trump). During other exercises, they were asked to examine their memories and definitions of the world, as well as those of their personal relationships: \u003cem>Who are the five people you’re most accountable to? Who are you engaged with? Who are you not close with?\u003c/em>\u003c/p>\n\u003cp>This excavation helped teachers develop a framework that would allow them to incorporate their students’ personal narratives into the study of history, to “think about personal experiences and connect them to traditional paradigms of power,” as Joseph said. “Where does accountability to one another come up in history? Who are you responsible for throughout history? How does compassion play into the American revolution?” Joseph asked, eliciting approving snaps from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13516262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg\" alt=\"Attendees at the Museum of the African Diaspora's Saturday event, Rise Up! An American Curriculum.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13516262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-375x160.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-520x222.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Museum of the African Diaspora’s Saturday event, Rise Up! An American Curriculum. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before they could pose those questions to their students, the teachers had to ask themselves the questions first. Rankine-Landers’ goal wasn’t to provide didactic instructions about how to teach \u003cem>Hamilton\u003c/em>, but to create a space where teachers could be vulnerable, a place to address the complex emotions that Hamilton — and teaching — can provoke. \u003c/p>\n\u003cp>In that regard, the class had been a success, she said afterward, as she watched attendees mingling after three hours of sharing stories, challenges and tears. “My favorite part is creating this community,” she said. “They walked in as strangers, and now they’re hugging.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13516134/hamilton-from-broadway-smash-to-teaching-tool-for-students","authors":["5566"],"series":["arts_610","arts_838"],"categories":["arts_967"],"tags":["arts_1118","arts_1922","arts_596"],"featImg":"arts_13531698","label":"arts_838"},"arts_13421685":{"type":"posts","id":"arts_13421685","meta":{"index":"posts_1716263798","site":"arts","id":"13421685","score":null,"sort":[1497337207000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1497337207,"format":"audio","title":"California Arts Council Announces Record-Breaking Grants Worth $15 Million","headTitle":"California Arts Council Announces Record-Breaking Grants Worth $15 Million | KQED","content":"\u003cp>The state’s Arts Council has announced more than 1,000 grants statewide totaling $15 million. California’s plowing more money into the arts than ever before — but it’s not clear how long that will last.\u003c/p>\n\u003cp>The California Arts Council funds programs focused largely on veterans, former inmates and kids. The Council’s Director of Public Affairs Caitlin Fitzwater says this year’s record-setting budget will deliver new programs for pre-schools, as well as field trips, and after-school and summer programs.\u003c/p>\n\u003cp>“Young people, we know, want to come to school and stay in school in many cases, because they have arts programs,” Fitzwater said.\u003c/p>\n\u003cfigure id=\"attachment_13426433\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13426433\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg\" alt=\"The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council.\" width=\"600\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-520x738.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut.jpg 749w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council. \u003ccite>(Photo: Courtesy of Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, “providing high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“These are pretty significant for us,” Alvarado said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Organizations can also ask for more money this fiscal year: the maximum grant request has gone from $12,000 to 18,000.\u003c/p>\n\u003cp>\u003cstrong>How long will the good times last?\u003c/strong>\u003c/p>\n\u003cp>Brad Erickson, of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, explains the Council has been enjoying steady budget increases over the last four years after a long dry spell.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, after years of languishing near last place.\u003c/p>\n\u003cp>But Erickson warns much of the new spending comes in the form of huge one-time payments that constitute close to half of the council’s total budget. This year, that one-time allocation is $6.8 million out of $15 million.\u003c/p>\n\u003cp>“We still have a long way to go in terms of investing in the arts in the way that other states do,” Erickson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens to the budget next year? It’s anyone’s guess.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":412,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":14},"modified":1705030367,"excerpt":"California’s plowing more money into the arts than ever before. Will the commitment continue next year?","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"California’s plowing more money into the arts than ever before. Will the commitment continue next year?","title":"California Arts Council Announces Record-Breaking Grants Worth $15 Million | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"California Arts Council Announces Record-Breaking Grants Worth $15 Million","datePublished":"2017-06-13T00:00:07-07:00","dateModified":"2024-01-11T19:32:47-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"california-arts-council-announces-record-breaking-grants-worth-15-million","status":"publish","audioUrl":"http://www.kqed.org/.stream/anon/radio/tcr/2017/06/CaliforniaArtsCouncil170613.mp3","sticky":false,"guestFields":"0","path":"/arts/13421685/california-arts-council-announces-record-breaking-grants-worth-15-million","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The state’s Arts Council has announced more than 1,000 grants statewide totaling $15 million. California’s plowing more money into the arts than ever before — but it’s not clear how long that will last.\u003c/p>\n\u003cp>The California Arts Council funds programs focused largely on veterans, former inmates and kids. The Council’s Director of Public Affairs Caitlin Fitzwater says this year’s record-setting budget will deliver new programs for pre-schools, as well as field trips, and after-school and summer programs.\u003c/p>\n\u003cp>“Young people, we know, want to come to school and stay in school in many cases, because they have arts programs,” Fitzwater said.\u003c/p>\n\u003cfigure id=\"attachment_13426433\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13426433\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg\" alt=\"The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council.\" width=\"600\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-520x738.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut.jpg 749w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council. \u003ccite>(Photo: Courtesy of Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, “providing high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“These are pretty significant for us,” Alvarado said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Organizations can also ask for more money this fiscal year: the maximum grant request has gone from $12,000 to 18,000.\u003c/p>\n\u003cp>\u003cstrong>How long will the good times last?\u003c/strong>\u003c/p>\n\u003cp>Brad Erickson, of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, explains the Council has been enjoying steady budget increases over the last four years after a long dry spell.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, after years of languishing near last place.\u003c/p>\n\u003cp>But Erickson warns much of the new spending comes in the form of huge one-time payments that constitute close to half of the council’s total budget. This year, that one-time allocation is $6.8 million out of $15 million.\u003c/p>\n\u003cp>“We still have a long way to go in terms of investing in the arts in the way that other states do,” Erickson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens to the budget next year? It’s anyone’s guess.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13421685/california-arts-council-announces-record-breaking-grants-worth-15-million","authors":["251"],"programs":["arts_1272"],"series":["arts_838"],"categories":["arts_1","arts_235"],"tags":["arts_1448","arts_1118","arts_596"],"featImg":"arts_13422707","label":"arts_1272"},"arts_12704362":{"type":"posts","id":"arts_12704362","meta":{"index":"posts_1716263798","site":"arts","id":"12704362","score":null,"sort":[1485979233000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1485979233,"format":"standard","title":"Alphabet Rockers Shift Their Children's Songs Toward Social Issues","headTitle":"Alphabet Rockers Shift Their Children’s Songs Toward Social Issues | KQED","content":"\u003cp>For children’s hip-hop group the \u003ca href=\"http://alphabetrockers.com/\" target=\"_blank\" rel=\"noopener\">Alphabet Rockers\u003c/a>, 2017 is the year to get real.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The band’s two main songwriters, Kaitlin McGaw and Tommy Shepherd, have worked together since 2008, releasing three albums of children’s songs with traditional subjects like eating right, going to school and learning the alphabet. This year, their release \u003ci>Playground Zone\u003c/i> (featuring the single “Player’s Life”) was included on the Association for Library Service to Children’s \u003ca href=\"http://www.ala.org/alsc/awardsgrants/notalists/ncr\" target=\"_blank\" rel=\"noopener\">2017 list of notable recordings\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SbjKCKnYjFg\u003c/p>\n\u003cp>Last summer — when it looked like Hillary Clinton would be president — McGaw and Shepherd decided to work on an album of deeper topics, such as bias and inclusivity. The artists hoped the new release would help answer certain questions, like “Are parents ready to talk to their kids about skin color and the world around them?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Is childhood about protecting our kids?” McGaw says. “Or is it allowing them to imagine the influence they can have on the world?”\u003c/p>\n\u003cp>After the election of Donald Trump, McGaw and Shepherd’s mission went from asking questions to providing opportunities and tools for family conversations around social issues. At their December show at Berkeley’s Freight and Salvage, the artists unveiled two new songs, both of which are about embracing diversity and fighting prejudice.\u003c/p>\n\u003cp>“I have a dream / I have a dream / Yes I float like a butterfly and sting like a bee,” go the lyrics to one of the songs, “Rise,” which draws inspiration from Muhammad Ali, Maya Angelou, Martin Luther King, Jr., and other notable figures. \u003c/p>\n\u003cp>“We wanted to frame our show around the fact you the have the opportunity to look around and be seen for who you are,” McGaw says. “For us to know your name, and that it comes from a beautiful place.”\u003c/p>\n\u003cp>Here are the full lyrics for “Rise” by the Alphabet Rockers (Kaitlin McGaw, Tommy Shepherd):\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003cbr>\n\u003cem> Whatever it is we got to keep it moving\u003c/em>\u003c/p>\n\u003cp>\u003cem>I have a dream\u003c/em>\u003cbr>\n\u003cem> I have a dream\u003c/em>\u003cbr>\n\u003cem> Yes I float like a butterfly and sting like a bee —\u003c/em>\u003cbr>\n\u003cem> Gonna be the change in the world that we gotta see…\u003c/em>\u003cbr>\n\u003cem> Yes I fall down, time and time again I Fall down time and time again I fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>But still – I – rise\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>You may get me with your words\u003c/em>\u003cbr>\n\u003cem> You may cut me with your eyes\u003c/em>\u003cbr>\n\u003cem> You may hurt me with your hatefulness\u003c/em>\u003cbr>\n\u003cem> Nonetheless just like air still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003c/p>\n\u003cp>\u003cem>People say amazing things\u003c/em>\u003cbr>\n\u003cem> People do amazing things\u003c/em>\u003cbr>\n\u003cem> People are amazing beings\u003c/em>\u003cbr>\n\u003cem> You are what amazing is\u003c/em>\u003c/p>\n\u003cp>\u003cem>POEM – Tatyana Fazlalizadeh\u003c/em>\u003cbr>\n\u003cem> America is black\u003c/em>\u003cbr>\n\u003cem> It is native\u003c/em>\u003cbr>\n\u003cem> It wears a hijab\u003c/em>\u003cbr>\n\u003cem> It is a Spanish speaking tongue\u003c/em>\u003cbr>\n\u003cem> It is migrant\u003c/em>\u003cbr>\n\u003cem> It is a woman\u003c/em>\u003cbr>\n\u003cem> It is here — has been here\u003c/em>\u003cbr>\n\u003cem> And it’s not going anywhere\u003c/em>\u003c/p>\n\u003cp>\u003cem>YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003cbr>\n\u003cem> YOU ARE HERE TO LIVE THAT LIFE\u003c/em>\u003cbr>\n\u003cem> DREAM HIGH – DREAM WITH ALL YOUR MIGHT\u003c/em>\u003cbr>\n\u003cem> CUZ YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003c/p>\n\u003cp>\u003cem>If they call us bad names – look them in the eye\u003c/em>\u003cbr>\n\u003cem> If they push us down – be a true ally\u003c/em>\u003cbr>\n\u003cem> If they try to build a wall, we won’t comply\u003c/em>\u003cbr>\n\u003cem> Cuz when they go low — we go high\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Alphabet Rockers\u003c/b> play Ashkenaz in Berkeley on Sunday, Feb. 26 at 3pm. Tickets are $8. For more information, \u003ca href=\"https://www.eventbrite.com/e/alphabet-rockers-tickets-31165699446?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">visit the event page\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":698,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1705031700,"excerpt":"The Bay Area duo that makes hip-hop albums for kids has a new message: encourage them to do what's right.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Bay Area duo that makes hip-hop albums for kids has a new message: encourage them to do what's right.","title":"Alphabet Rockers Shift Their Children's Songs Toward Social Issues | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Alphabet Rockers Shift Their Children's Songs Toward Social Issues","datePublished":"2017-02-01T12:00:33-08:00","dateModified":"2024-01-11T19:55:00-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"alphabet-rockers-now-making-childrens-songs-about-social-issues","status":"publish","sticky":false,"path":"/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For children’s hip-hop group the \u003ca href=\"http://alphabetrockers.com/\" target=\"_blank\" rel=\"noopener\">Alphabet Rockers\u003c/a>, 2017 is the year to get real.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The band’s two main songwriters, Kaitlin McGaw and Tommy Shepherd, have worked together since 2008, releasing three albums of children’s songs with traditional subjects like eating right, going to school and learning the alphabet. This year, their release \u003ci>Playground Zone\u003c/i> (featuring the single “Player’s Life”) was included on the Association for Library Service to Children’s \u003ca href=\"http://www.ala.org/alsc/awardsgrants/notalists/ncr\" target=\"_blank\" rel=\"noopener\">2017 list of notable recordings\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/SbjKCKnYjFg'\n title='//www.youtube.com/embed/SbjKCKnYjFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last summer — when it looked like Hillary Clinton would be president — McGaw and Shepherd decided to work on an album of deeper topics, such as bias and inclusivity. The artists hoped the new release would help answer certain questions, like “Are parents ready to talk to their kids about skin color and the world around them?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Is childhood about protecting our kids?” McGaw says. “Or is it allowing them to imagine the influence they can have on the world?”\u003c/p>\n\u003cp>After the election of Donald Trump, McGaw and Shepherd’s mission went from asking questions to providing opportunities and tools for family conversations around social issues. At their December show at Berkeley’s Freight and Salvage, the artists unveiled two new songs, both of which are about embracing diversity and fighting prejudice.\u003c/p>\n\u003cp>“I have a dream / I have a dream / Yes I float like a butterfly and sting like a bee,” go the lyrics to one of the songs, “Rise,” which draws inspiration from Muhammad Ali, Maya Angelou, Martin Luther King, Jr., and other notable figures. \u003c/p>\n\u003cp>“We wanted to frame our show around the fact you the have the opportunity to look around and be seen for who you are,” McGaw says. “For us to know your name, and that it comes from a beautiful place.”\u003c/p>\n\u003cp>Here are the full lyrics for “Rise” by the Alphabet Rockers (Kaitlin McGaw, Tommy Shepherd):\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003cbr>\n\u003cem> Whatever it is we got to keep it moving\u003c/em>\u003c/p>\n\u003cp>\u003cem>I have a dream\u003c/em>\u003cbr>\n\u003cem> I have a dream\u003c/em>\u003cbr>\n\u003cem> Yes I float like a butterfly and sting like a bee —\u003c/em>\u003cbr>\n\u003cem> Gonna be the change in the world that we gotta see…\u003c/em>\u003cbr>\n\u003cem> Yes I fall down, time and time again I Fall down time and time again I fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>But still – I – rise\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>You may get me with your words\u003c/em>\u003cbr>\n\u003cem> You may cut me with your eyes\u003c/em>\u003cbr>\n\u003cem> You may hurt me with your hatefulness\u003c/em>\u003cbr>\n\u003cem> Nonetheless just like air still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003c/p>\n\u003cp>\u003cem>People say amazing things\u003c/em>\u003cbr>\n\u003cem> People do amazing things\u003c/em>\u003cbr>\n\u003cem> People are amazing beings\u003c/em>\u003cbr>\n\u003cem> You are what amazing is\u003c/em>\u003c/p>\n\u003cp>\u003cem>POEM – Tatyana Fazlalizadeh\u003c/em>\u003cbr>\n\u003cem> America is black\u003c/em>\u003cbr>\n\u003cem> It is native\u003c/em>\u003cbr>\n\u003cem> It wears a hijab\u003c/em>\u003cbr>\n\u003cem> It is a Spanish speaking tongue\u003c/em>\u003cbr>\n\u003cem> It is migrant\u003c/em>\u003cbr>\n\u003cem> It is a woman\u003c/em>\u003cbr>\n\u003cem> It is here — has been here\u003c/em>\u003cbr>\n\u003cem> And it’s not going anywhere\u003c/em>\u003c/p>\n\u003cp>\u003cem>YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003cbr>\n\u003cem> YOU ARE HERE TO LIVE THAT LIFE\u003c/em>\u003cbr>\n\u003cem> DREAM HIGH – DREAM WITH ALL YOUR MIGHT\u003c/em>\u003cbr>\n\u003cem> CUZ YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003c/p>\n\u003cp>\u003cem>If they call us bad names – look them in the eye\u003c/em>\u003cbr>\n\u003cem> If they push us down – be a true ally\u003c/em>\u003cbr>\n\u003cem> If they try to build a wall, we won’t comply\u003c/em>\u003cbr>\n\u003cem> Cuz when they go low — we go high\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Alphabet Rockers\u003c/b> play Ashkenaz in Berkeley on Sunday, Feb. 26 at 3pm. Tickets are $8. For more information, \u003ca href=\"https://www.eventbrite.com/e/alphabet-rockers-tickets-31165699446?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">visit the event page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues","authors":["93"],"programs":["arts_140"],"series":["arts_610","arts_838"],"categories":["arts_69","arts_235"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_12704564","label":"arts_140"},"arts_12222464":{"type":"posts","id":"arts_12222464","meta":{"index":"posts_1716263798","site":"arts","id":"12222464","score":null,"sort":[1477159252000]},"parent":0,"labelTerm":{"site":"arts","term":1364},"blocks":[],"publishDate":1477159252,"format":"standard","title":"Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing","headTitle":"Youth Drama ‘On The Hill’ Offers Possibilities After Nieto Killing | KQED","content":"\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7jSGy-BnX-U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":930,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":20},"modified":1705032710,"excerpt":"Developed in conjunction with a cast of talented, young, Bay Area actors, Paul Flores' new play addresses loss, gentrification, and the role translation plays in the lives of immigrants and their children.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Developed in conjunction with a cast of talented, young, Bay Area actors, Paul Flores' new play addresses loss, gentrification, and the role translation plays in the lives of immigrants and their children.","title":"Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing","datePublished":"2016-10-22T11:00:52-07:00","dateModified":"2024-01-11T20:11:50-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"youth-drama-on-the-hill-offers-possibilities-after-nieto-killing","status":"publish","sticky":false,"path":"/arts/12222464/youth-drama-on-the-hill-offers-possibilities-after-nieto-killing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\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/7jSGy-BnX-U'\n title='//www.youtube.com/embed/7jSGy-BnX-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12222464/youth-drama-on-the-hill-offers-possibilities-after-nieto-killing","authors":["11208"],"programs":["arts_1364"],"series":["arts_610","arts_838","arts_1357"],"categories":["arts_835","arts_235","arts_967"],"tags":["arts_1119","arts_1118","arts_596","arts_1334"],"featImg":"arts_12232021","label":"arts_1364"},"arts_11414650":{"type":"posts","id":"arts_11414650","meta":{"index":"posts_1716263798","site":"arts","id":"11414650","score":null,"sort":[1458267275000]},"parent":0,"labelTerm":{"site":"arts","term":407},"blocks":[],"publishDate":1458267275,"format":"standard","title":"Singing about San Francisco's Mission District, and How to Save It","headTitle":"Singing about San Francisco’s Mission District, and How to Save It | KQED","content":"\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":616,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":12},"modified":1705044830,"excerpt":"'El Son de la Misión' tells the story of 50 years in the neighborhood, from barrio to hipster heaven.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"'El Son de la Misión' tells the story of 50 years in the neighborhood, from barrio to hipster heaven.","title":"Singing about San Francisco's Mission District, and How to Save It | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Singing about San Francisco's Mission District, and How to Save It","datePublished":"2016-03-17T19:14:35-07:00","dateModified":"2024-01-11T23:33:50-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"singing-about-san-franciscos-mission-district-and-how-to-save-it","status":"publish","sticky":false,"path":"/arts/11414650/singing-about-san-franciscos-mission-district-and-how-to-save-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11414650/singing-about-san-franciscos-mission-district-and-how-to-save-it","authors":["32"],"series":["arts_610","arts_838","arts_407"],"categories":["arts_835","arts_69","arts_235","arts_967"],"tags":["arts_1119","arts_596"],"featImg":"arts_11414789","label":"arts_407"},"arts_11219669":{"type":"posts","id":"arts_11219669","meta":{"index":"posts_1716263798","site":"arts","id":"11219669","score":null,"sort":[1451948458000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1451948458,"format":"standard","title":"San Jose Graphic Novelist Named National Rep for Young People’s Lit","headTitle":"San Jose Graphic Novelist Named National Rep for Young People’s Lit | KQED","content":"\u003cp>This week, the Library of Congress inaugurates a new national ambassador for young people’s literature: San Jose graphic novelist Gene Luen Yang.\u003c/p>\n\u003cp>Yang may be the first graphic novelist to hold this particular post, but he’s well known in the world of comics. Two of his books, \u003cem>\u003ca href=\"http://geneyang.com/american-born-chinese\" target=\"_blank\" rel=\"noopener\">American Born Chinese\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://geneyang.com/boxers-saints\" target=\"_blank\" rel=\"noopener\">Boxers & Saints\u003c/a>\u003c/em>, were nominated for National Book Awards. \u003cem>American Born Chinese\u003c/em> is also the only graphic novel to win the American Library Association’s Printz Award.\u003c/p>\n\u003cp>“In a lot of ways, I just feel like I was in the right place at the right time,” Yang says. “Historically in America, comics and ‘traditional books’ have been these two separate worlds. They really have been merging over the last decade or two. I think I’ve been a huge beneficiary of that.\u003c/p>\n\u003cp>Mark Siegel, editorial director at Yang’s home imprint, \u003ca href=\"http://www.firstsecondbooks.com/\" target=\"_blank\" rel=\"noopener\">First Second Books\u003c/a>, would say talent has a lot to do with his success, too. Siegel says he was hooked immediately by Yang’s first book, \u003cem>American Born Chinese\u003c/em>, when it was still an unfinished draft.\u003c/p>\n\u003cp>“This was tapping into a bigger conversation,” Siegel explains. “There’s the universal immigration story, but the Chinese version of that story has not been told in the way he tackles it. Then there’s also the story of internalized racism in the second and third generations. This is part of America’s big conversation with itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Siegel adds Yang’s body of work continued to unfold and mature with \u003cem>Boxers & Saints, \u003c/em>which tells the story of the Boxer Rebellion in China at the turn of the 20th century. The story is told from two different, competing perspectives. “It’s kind of rare to find someone who can really rivet you with a story and teach,” Siegel says. “He’s not clobbering you over the head with a message. He’s exploring something with you, and you feel that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T9JLPevOw68\u003c/p>\n\u003cp>Yang is a professional educator. He spent 17 years teaching computer science at Bishop O’Dowd High School in Oakland. \u003ca href=\"http://geneyang.com/secret-coders-book-1\" target=\"_blank\" rel=\"noopener\">Secret Coders\u003c/a>, released in September, was inspired by that experience. “You ought to be able to do basic programming from reading the first volume,” he told the \u003ca href=\"http://www.nytimes.com/2016/01/04/books/library-of-congress-anoints-graphic-novelist-as-ambassador-for-young-peoples-literature.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”BMKhZV4TdRUuWMGdX1DGsvSV69xsXT6S”]\u003c/p>\n\u003cp>Yang is friends with author Marsha Qualey. “She says that at the heart of every young adult book is this equation: belonging+power=identity. I think that a lot of my stories are about those things, about somebody trying to find where they belong, somebody trying to find where their sense of power is, and out of that, trying to construct an identity for themselves.”\u003c/p>\n\u003cp>Once Yang’s publishing career took off in the last decade, the Bay Area native found himself increasingly pulled away from the classroom, until finally he decided to quit teaching at the end of the last school year. But his plans for the ambassador role indicate he’s not giving up his primary focus: kids.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241000582″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>Yang says his passion right now is a program he calls Reading Without Walls, designed to excite young readers to stretch beyond their comfort zone.\u003c/p>\n\u003cp>“Pick up a book that features somebody on the cover that doesn’t look like you, or doesn’t live like you,” Yang says. “Using books to explore subjects that you may not necessarily be comfortable with, or that you may find intimidating.”\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://geneyang.com/superman\" target=\"_blank\" rel=\"noopener\">Superman\u003c/a>. DC Comics invited to write new adventures for Yang’s first super-hero love. It might seem a departure from his deeply person work, but Yang doesn’t think so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Superman is also the prototypical immigrant,” Yang explains. “A lot of his life is about negotiating between these two different identities, these two different cultures. Superman really resonates with the Asian-American experience. You know, he has black hair. He wears glasses. His parents are these non-English speaking scientists who send him to America for a better life. I think all those things are connection points for me into that character.”\u003c/p>\n\u003cfigure id=\"attachment_11219900\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11219900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg\" alt=' Gene Luen Yang is writing Superman for DC Comics. \"You have to find the parts of him that overlap with parts of you.\"' width=\"630\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut-400x267.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is writing Superman for DC Comics. “You have to find the parts of him that overlap with parts of you.” \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":808,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1705045534,"excerpt":"Gene Luen Yang is the first graphic novelist to be a National Ambassador for Young People’s Literature.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Gene Luen Yang is the first graphic novelist to be a National Ambassador for Young People’s Literature.","title":"San Jose Graphic Novelist Named National Rep for Young People’s Lit | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose Graphic Novelist Named National Rep for Young People’s Lit","datePublished":"2016-01-04T15:00:58-08:00","dateModified":"2024-01-11T23:45:34-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"san-jose-graphic-novelist-named-national-rep-for-young-peoples-lit","status":"publish","sticky":false,"nprStoryId":"465633816","path":"/arts/11219669/san-jose-graphic-novelist-named-national-rep-for-young-peoples-lit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the Library of Congress inaugurates a new national ambassador for young people’s literature: San Jose graphic novelist Gene Luen Yang.\u003c/p>\n\u003cp>Yang may be the first graphic novelist to hold this particular post, but he’s well known in the world of comics. Two of his books, \u003cem>\u003ca href=\"http://geneyang.com/american-born-chinese\" target=\"_blank\" rel=\"noopener\">American Born Chinese\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://geneyang.com/boxers-saints\" target=\"_blank\" rel=\"noopener\">Boxers & Saints\u003c/a>\u003c/em>, were nominated for National Book Awards. \u003cem>American Born Chinese\u003c/em> is also the only graphic novel to win the American Library Association’s Printz Award.\u003c/p>\n\u003cp>“In a lot of ways, I just feel like I was in the right place at the right time,” Yang says. “Historically in America, comics and ‘traditional books’ have been these two separate worlds. They really have been merging over the last decade or two. I think I’ve been a huge beneficiary of that.\u003c/p>\n\u003cp>Mark Siegel, editorial director at Yang’s home imprint, \u003ca href=\"http://www.firstsecondbooks.com/\" target=\"_blank\" rel=\"noopener\">First Second Books\u003c/a>, would say talent has a lot to do with his success, too. Siegel says he was hooked immediately by Yang’s first book, \u003cem>American Born Chinese\u003c/em>, when it was still an unfinished draft.\u003c/p>\n\u003cp>“This was tapping into a bigger conversation,” Siegel explains. “There’s the universal immigration story, but the Chinese version of that story has not been told in the way he tackles it. Then there’s also the story of internalized racism in the second and third generations. This is part of America’s big conversation with itself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Siegel adds Yang’s body of work continued to unfold and mature with \u003cem>Boxers & Saints, \u003c/em>which tells the story of the Boxer Rebellion in China at the turn of the 20th century. The story is told from two different, competing perspectives. “It’s kind of rare to find someone who can really rivet you with a story and teach,” Siegel says. “He’s not clobbering you over the head with a message. He’s exploring something with you, and you feel that.”\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/T9JLPevOw68'\n title='//www.youtube.com/embed/T9JLPevOw68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yang is a professional educator. He spent 17 years teaching computer science at Bishop O’Dowd High School in Oakland. \u003ca href=\"http://geneyang.com/secret-coders-book-1\" target=\"_blank\" rel=\"noopener\">Secret Coders\u003c/a>, released in September, was inspired by that experience. “You ought to be able to do basic programming from reading the first volume,” he told the \u003ca href=\"http://www.nytimes.com/2016/01/04/books/library-of-congress-anoints-graphic-novelist-as-ambassador-for-young-peoples-literature.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yang is friends with author Marsha Qualey. “She says that at the heart of every young adult book is this equation: belonging+power=identity. I think that a lot of my stories are about those things, about somebody trying to find where they belong, somebody trying to find where their sense of power is, and out of that, trying to construct an identity for themselves.”\u003c/p>\n\u003cp>Once Yang’s publishing career took off in the last decade, the Bay Area native found himself increasingly pulled away from the classroom, until finally he decided to quit teaching at the end of the last school year. But his plans for the ambassador role indicate he’s not giving up his primary focus: kids.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/241000582″&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/241000582″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yang says his passion right now is a program he calls Reading Without Walls, designed to excite young readers to stretch beyond their comfort zone.\u003c/p>\n\u003cp>“Pick up a book that features somebody on the cover that doesn’t look like you, or doesn’t live like you,” Yang says. “Using books to explore subjects that you may not necessarily be comfortable with, or that you may find intimidating.”\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://geneyang.com/superman\" target=\"_blank\" rel=\"noopener\">Superman\u003c/a>. DC Comics invited to write new adventures for Yang’s first super-hero love. It might seem a departure from his deeply person work, but Yang doesn’t think so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Superman is also the prototypical immigrant,” Yang explains. “A lot of his life is about negotiating between these two different identities, these two different cultures. Superman really resonates with the Asian-American experience. You know, he has black hair. He wears glasses. His parents are these non-English speaking scientists who send him to America for a better life. I think all those things are connection points for me into that character.”\u003c/p>\n\u003cfigure id=\"attachment_11219900\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11219900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg\" alt=' Gene Luen Yang is writing Superman for DC Comics. \"You have to find the parts of him that overlap with parts of you.\"' width=\"630\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut-400x267.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is writing Superman for DC Comics. “You have to find the parts of him that overlap with parts of you.” \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11219669/san-jose-graphic-novelist-named-national-rep-for-young-peoples-lit","authors":["251"],"programs":["arts_1272"],"series":["arts_838"],"categories":["arts_1","arts_73","arts_235","arts_75"],"tags":["arts_1037","arts_5391","arts_1254","arts_1119","arts_596","arts_4642","arts_3001"],"featImg":"arts_11219670","label":"arts_1272"},"arts_11129413":{"type":"posts","id":"arts_11129413","meta":{"index":"posts_1716263798","site":"arts","id":"11129413","score":null,"sort":[1449259231000]},"parent":0,"labelTerm":{"site":"arts","term":838},"blocks":[],"publishDate":1449259231,"format":"standard","title":"Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off","headTitle":"Bay Area High School Choirs Face Off in ‘American Idol’-Style Sing-Off | KQED","content":"\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236141441″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8vhI9-SQLVc]\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=imt9y_q69jA]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=dSKjR0P_zas]\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/235770439″ 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\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1315,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":32},"modified":1705045780,"excerpt":"Gunn, Monte Vista, San Ramon Valley high school choirs face off in KDFC choral competition: Local Vocals.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Gunn, Monte Vista, San Ramon Valley high school choirs face off in KDFC choral competition: Local Vocals.","title":"Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off","datePublished":"2015-12-04T12:00:31-08:00","dateModified":"2024-01-11T23:49:40-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"bay-area-high-school-choirs-face-off-in-american-idol-style-sing-off","status":"publish","sticky":false,"nprStoryId":"465633761","path":"/arts/11129413/bay-area-high-school-choirs-face-off-in-american-idol-style-sing-off","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/236141441″&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/236141441″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/8vhI9-SQLVc'\n title='//www.youtube.com/embed/8vhI9-SQLVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>\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/imt9y_q69jA'\n title='//www.youtube.com/embed/imt9y_q69jA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>\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/dSKjR0P_zas'\n title='//www.youtube.com/embed/dSKjR0P_zas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/235770439″&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/235770439″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11129413/bay-area-high-school-choirs-face-off-in-american-idol-style-sing-off","authors":["251"],"series":["arts_838"],"categories":["arts_1","arts_69","arts_235","arts_1003"],"tags":["arts_1037","arts_1119","arts_1118","arts_596"],"featImg":"arts_11129415","label":"arts_838"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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