Strains of Puccini and Verdi Fill the Halls of Silicon Valley Tech Firms
San Jose Building With Chávez Ties Named National Historic Landmark
Taraneh Hemami Creates a Sense of Place for Displaced Iranians
The Other Big Party: How Silicon Valley Celebrates Lunar New Year
Bassist Marcus Shelby Finds Freedom’s Message in the Music
Andres Amador's Earthscapes: Art that Goes Out with the Tide
Santa Cruz Quilter Helps Piece Together the Lost Art of Hawaiian Kapa
Comedy's Worst-Kept Secret: Mark Pitta & Friends at Mill Valley's Throckmorton Theatre
Silicon Valley Businesswoman Builds a Future for Ancient Arts
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That gave the folks at \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San José\u003c/a> an idea. What if they took advantage of those captive audiences to make a pitch for opera?\u003c/p>\n\u003cp>Enter “\u003ca href=\"https://www.operasj.org/wp-content/uploads/2017/07/Arias-in-the-Office-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arias in the Office\u003c/a>,” a new pop-up series touring South Bay tech companies this fall. “The idea is to bring what we do to people who are fans and to people who’ve never heard it,” said Aaron Nicholson, director of marketing and development for Opera San José.\u003c/p>\n\u003cp>On a recent sunny Tuesday at noon, people passing through the lobby of Adobe’s West Tower in San Jose were confronted by soprano Katherine Gunnink soaring through a performance of the famous aria “Ch’il Bel Sogno” by the 19th century Italian composer Giacomo Puccini, accompanied on the piano by Veronika Agranov-Dafoe.\u003c/p>\n\u003cfigure id=\"attachment_13804634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg\" alt=\"Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San José to various workplaces around Silicon Valley for 40 minute performances during the lunch hour.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San Jose to various workplaces around Silicon Valley for 40 minute performances during the lunch hour. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These pop-up performances are not only designed to sell tickets to full concerts, but also to introduce people to the very concept of opera. Many of those present in the audience at Adobe were opera newbies.\u003c/p>\n\u003cp>Among them was Adobe employee Jyh-Jiun Liu, who’s lived in nearby Sunnyvale for 25 years but had no clue of Opera San José’s existence until she heard the company’s singers performing in the lobby. She said she hasn’t paid much attention to opera in the past, but was impressed by what she heard. “I really like it,” she said. “So if I see they will have a performance, maybe I will purchase a ticket.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of those present, like Zori Sanchez of Adobe’s finance department, were already opera fans. “I go with friends periodically,” she said. “I tend to go with people who kind of love it.”\u003c/p>\n\u003cfigure id=\"attachment_13804635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg\" alt='Adobe employees listen to singers from Opera San Jose perform as part of a touring series called \"Arias in the Office\" at Adobe Headquarters in San Jose, Calif. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to singers from Opera San José perform as part of a touring series called “Arias in the Office” at Adobe Headquarters in San Jose, Calif. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, a growing number of opera artists and organizations have cultivated new fans with pop-up concerts in parks, pubs and other non-traditional venues.\u003c/p>\n\u003cp>“We can’t just expect that if we put together a great season, people will come,” said soprano Indre Viskontas, who runs the San Francisco chapter of \u003ca href=\"http://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera on Tap\u003c/a>, a national nonprofit that brings opera to bars and other unlikely places. “We need to go to where they are, and show them how awesome our art is, and \u003cem>then\u003c/em> they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13804636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13804636 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg\" alt=\"Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to hosting the opera pop-up, Adobe also donated $10,000 to Opera San José for the first time this year. The arts organization is just one among several Bay Area nonprofits chosen by employee advisory committees for support.\u003c/p>\n\u003cp>In addition to Adobe, “Arias in the Office” has visited Oracle and Nvidia. Cisco, Applied Materials, and other firms are on the hit list for September.\u003c/p>\n\u003cp>“You know, opera is an older art genre, and it typically appeals to an older generation,” Neal said. “So it’s always nice to present to a younger audience an art form that we love, in a way that’s fresh and accessible.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/336436625″ 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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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> \u003c/p>\n\n","blocks":[],"excerpt":"Opera San José seeks to win over new fans with free lunchtime performances at companies like Adobe, Oracle and Cisco.","status":"publish","parent":0,"modified":1705029828,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":720},"headData":{"title":"Strains of Puccini and Verdi Fill the Halls of Silicon Valley Tech Firms | KQED","description":"Opera San José seeks to win over new fans with free lunchtime performances at companies like Adobe, Oracle and Cisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Strains of Puccini and Verdi Fill the Halls of Silicon Valley Tech Firms","datePublished":"2017-08-08T15:00:53.000Z","dateModified":"2024-01-12T03:23:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://www.kqed.org/.stream/anon/radio/RDnews/2017/08/AriasintheOfficeMyrow.mp3","guestFields":"0","sticky":false,"path":"/arts/13804610/strains-of-puccini-and-verdi-fill-the-halls-of-silicon-valley-tech-firms","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silicon Valley companies pull in all sorts of celebrities and theatrical acts for lunchtime entertainment to keep techies tethered to their corporate campuses. That gave the folks at \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San José\u003c/a> an idea. What if they took advantage of those captive audiences to make a pitch for opera?\u003c/p>\n\u003cp>Enter “\u003ca href=\"https://www.operasj.org/wp-content/uploads/2017/07/Arias-in-the-Office-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arias in the Office\u003c/a>,” a new pop-up series touring South Bay tech companies this fall. “The idea is to bring what we do to people who are fans and to people who’ve never heard it,” said Aaron Nicholson, director of marketing and development for Opera San José.\u003c/p>\n\u003cp>On a recent sunny Tuesday at noon, people passing through the lobby of Adobe’s West Tower in San Jose were confronted by soprano Katherine Gunnink soaring through a performance of the famous aria “Ch’il Bel Sogno” by the 19th century Italian composer Giacomo Puccini, accompanied on the piano by Veronika Agranov-Dafoe.\u003c/p>\n\u003cfigure id=\"attachment_13804634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg\" alt=\"Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San José to various workplaces around Silicon Valley for 40 minute performances during the lunch hour.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San Jose to various workplaces around Silicon Valley for 40 minute performances during the lunch hour. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These pop-up performances are not only designed to sell tickets to full concerts, but also to introduce people to the very concept of opera. Many of those present in the audience at Adobe were opera newbies.\u003c/p>\n\u003cp>Among them was Adobe employee Jyh-Jiun Liu, who’s lived in nearby Sunnyvale for 25 years but had no clue of Opera San José’s existence until she heard the company’s singers performing in the lobby. She said she hasn’t paid much attention to opera in the past, but was impressed by what she heard. “I really like it,” she said. “So if I see they will have a performance, maybe I will purchase a ticket.”\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>Some of those present, like Zori Sanchez of Adobe’s finance department, were already opera fans. “I go with friends periodically,” she said. “I tend to go with people who kind of love it.”\u003c/p>\n\u003cfigure id=\"attachment_13804635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg\" alt='Adobe employees listen to singers from Opera San Jose perform as part of a touring series called \"Arias in the Office\" at Adobe Headquarters in San Jose, Calif. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to singers from Opera San José perform as part of a touring series called “Arias in the Office” at Adobe Headquarters in San Jose, Calif. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, a growing number of opera artists and organizations have cultivated new fans with pop-up concerts in parks, pubs and other non-traditional venues.\u003c/p>\n\u003cp>“We can’t just expect that if we put together a great season, people will come,” said soprano Indre Viskontas, who runs the San Francisco chapter of \u003ca href=\"http://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera on Tap\u003c/a>, a national nonprofit that brings opera to bars and other unlikely places. “We need to go to where they are, and show them how awesome our art is, and \u003cem>then\u003c/em> they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13804636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13804636 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg\" alt=\"Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to hosting the opera pop-up, Adobe also donated $10,000 to Opera San José for the first time this year. The arts organization is just one among several Bay Area nonprofits chosen by employee advisory committees for support.\u003c/p>\n\u003cp>In addition to Adobe, “Arias in the Office” has visited Oracle and Nvidia. Cisco, Applied Materials, and other firms are on the hit list for September.\u003c/p>\n\u003cp>“You know, opera is an older art genre, and it typically appeals to an older generation,” Neal said. “So it’s always nice to present to a younger audience an art form that we love, in a way that’s fresh and accessible.”\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/336436625″&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/336436625″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13804610/strains-of-puccini-and-verdi-fill-the-halls-of-silicon-valley-tech-firms","authors":["251"],"series":["arts_209"],"categories":["arts_69","arts_235"],"tags":["arts_1037","arts_1119","arts_1118","arts_596","arts_763"],"featImg":"arts_13804615","label":"arts_209"},"arts_12616712":{"type":"posts","id":"arts_12616712","meta":{"index":"posts_1591205157","site":"arts","id":"12616712","score":null,"sort":[1484262204000]},"guestAuthors":[],"slug":"san-jose-building-with-chavez-ties-named-national-historic-landmark","title":"San Jose Building With Chávez Ties Named National Historic Landmark","publishDate":1484262204,"format":"standard","headTitle":"San Jose Building With Chávez Ties Named National Historic Landmark | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Before Cesar Chávez became a national civil rights and labor leader, he worshiped at \u003ca href=\"http://www.olgparishsj.org/\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Parish\u003c/a> in east San Jose.\u003c/p>\n\u003cp>Now the hall on that church campus where Chavez learned to organize impoverished farmworkers is a national historic landmark, recognizing its status as a property of “exceptional value to the nation.”\u003c/p>\n\u003cp>The designation of 24 new National Historic Landmarks this week, “ensures future generations have the ability to learn from the past,” wrote Interior Secretary Sally Jewell in the announcement.\u003c/p>\n\u003cp>The former Our Lady of Guadalupe Mission Chapel in East San Jose, California, was originally built as a parish church in West San Jose in 1911. When the original owners sold the church building in 1953, it was moved to the current parish’s location in East San Jose, reconstructed, and reconsecrated as a mission chapel.\u003c/p>\n\u003cfigure id=\"attachment_12617321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12617321 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg\" alt=\"There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez's activism in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez’s activism in San Jose. \u003ccite>(Photo: Courtesy of the California State Parks Office of Historic Preservation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At that time, the Mayfair neighborhood was filling up with Mexican-American Catholics, and they asked the Diocese of San Francisco for their own church and a Spanish-speaking priest. Rev. Donald McDonnell was an activist priest, who encouraged his parishioners to get involved in politics, especially with issues that affected them directly. One of the parishioners who \u003ca href=\"http://www.ufw.org/_board.php?mode=view&b_code=news_press&b_no=11813\" target=\"_blank\" rel=\"noopener\">took McDonnell’s teachings to heart\u003c/a> was Chávez, whose farmworker parents had moved the family there from Arizona.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chávez later said his education began with the parish priest, according to Marc Grossman, who knew the civil rights icon for the last 24 years of his life and still serves as communications director for the Cesar Chavez Foundation. Chávez was in his early 20s when he met Father McDonnell, but the young man had only an eighth grade education at the time. Father McDonnell introduced to social justice literature in the Catholic Church as well as secular authors like Tolstoy and Machiavelli.\u003c/p>\n\u003cp>Grossman says the priest “did, in a very quiet way, change the world.”\u003c/p>\n\u003cp>Later renamed McDonnell Hall, the modest chapel became a center for grassroots activism on several social fronts and a training ground for community leaders like Chávez. It was at the mission that he and others got involved with the Community Service Organization in the 1950s and ’60s as it conducted voter registration drives, civil rights lawsuits and legislative campaigns, as well as citizenship and literacy classes.\u003c/p>\n\u003cp>Chávez would later apply what he learned in San Jose alongside Dolores Huerta to launch the United Farm Workers Union and organize the famous grape boycott that launched him to national prominence as a civil rights leader and advocate of nonviolent protest.\u003c/p>\n\u003cp>In the \u003ca href=\"https://www.nps.gov/nhl/news/LC/fall2016/OurLadyofGuadalupeChapel.pdf\" target=\"_blank\" rel=\"noopener\">application\u003c/a> for national historic status, El Teatro Campesino founder Luis Valdez (whose family members were parishioners at the mission in the 1950s), is quoted as saying McDonnell Hall not only still resonates as a symbol of the farmworker movement, but also serves as a broader symbol of an “ongoing struggle in the heart of humanity” for “social justice.”\u003c/p>\n\u003cp>\u003cstrong>Watch a KQED Newsroom feature on Chávez in San Jose\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_F5X64bXde0\u003c/p>\n\u003cp>The national status for McDonnell Hall follows a \u003ca href=\"http://www.mercurynews.com/2014/09/14/landmark-status-for-cesar-chavez-meeting-hall-in-east-san-jose/\" target=\"_blank\" rel=\"noopener\">successful bid for state status\u003c/a> as a historic landmark a few years ago.\u003c/p>\n\u003cp>Congresswoman Zoe Lofgren (D-San Jose) applauded the federal designation in \u003ca href=\"https://lofgren.house.gov/news/documentsingle.aspx?DocumentID=398119\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a>. “I’m so proud of the communal effort that has led to such a great recognition for this simple chapel where one of our greatest civil rights champions began a movement that changed lives throughout our nation.”\u003c/p>\n\u003cp>Historic landmark status, bestowed on more than 2,500 spots nationwide, comes with federal grants for preservation, program assistance and free publicity in National Park Service tourist and educational materials. For instance, the properties are listed in the \u003ca href=\"https://www.nps.gov/Nr/\" target=\"_blank\" rel=\"noopener\">National Register of Historic Places\u003c/a>.\u003c/p>\n\u003cp>Two other landmarks were designated in California:\u003c/p>\n\u003cp>•\u003ca href=\"http://www.chicanoparksandiego.com/\" target=\"_blank\" rel=\"noopener\"> Chicano Park\u003c/a> in San Diego, which locals occupied on Apr. 20, 1970 to prevent the construction of a California Highway Patrol substation on land the city had promised would become a neighborhood park. The park is now home to the Chicano Park Monumental Murals, an exceptional assemblage of master mural artwork painted on the freeway bridge supports.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>• The Neutra Studio and Residences (\u003ca href=\"http://neutra-vdl.org/\" target=\"_blank\" rel=\"noopener\">VDL Research House\u003c/a>) in Los Angeles is associated with Richard Neutra. During the 1940s, Neutra helped launch what we think of today as mid-century “California Modern” architecture.\u003c/p>\n\n","blocks":[],"excerpt":"Cesar Chávez organized Mexican-American farmworkers out of McDonnell Hall, a National Historic Landmark.","status":"publish","parent":0,"modified":1705031925,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":797},"headData":{"title":"San Jose Building With Chávez Ties Named National Historic Landmark | KQED","description":"Cesar Chávez organized Mexican-American farmworkers out of McDonnell Hall, a National Historic Landmark.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose Building With Chávez Ties Named National Historic Landmark","datePublished":"2017-01-12T23:03:24.000Z","dateModified":"2024-01-12T03:58:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12616712/san-jose-building-with-chavez-ties-named-national-historic-landmark","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Cesar Chávez became a national civil rights and labor leader, he worshiped at \u003ca href=\"http://www.olgparishsj.org/\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Parish\u003c/a> in east San Jose.\u003c/p>\n\u003cp>Now the hall on that church campus where Chavez learned to organize impoverished farmworkers is a national historic landmark, recognizing its status as a property of “exceptional value to the nation.”\u003c/p>\n\u003cp>The designation of 24 new National Historic Landmarks this week, “ensures future generations have the ability to learn from the past,” wrote Interior Secretary Sally Jewell in the announcement.\u003c/p>\n\u003cp>The former Our Lady of Guadalupe Mission Chapel in East San Jose, California, was originally built as a parish church in West San Jose in 1911. When the original owners sold the church building in 1953, it was moved to the current parish’s location in East San Jose, reconstructed, and reconsecrated as a mission chapel.\u003c/p>\n\u003cfigure id=\"attachment_12617321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12617321 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg\" alt=\"There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez's activism in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23577_ca_santa-clara-county_mcdonnell-hall_0001-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There have been multiple modifications to McDonnell Hall over the years, but it remains a tangible link to Cesar Chavez’s activism in San Jose. \u003ccite>(Photo: Courtesy of the California State Parks Office of Historic Preservation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At that time, the Mayfair neighborhood was filling up with Mexican-American Catholics, and they asked the Diocese of San Francisco for their own church and a Spanish-speaking priest. Rev. Donald McDonnell was an activist priest, who encouraged his parishioners to get involved in politics, especially with issues that affected them directly. One of the parishioners who \u003ca href=\"http://www.ufw.org/_board.php?mode=view&b_code=news_press&b_no=11813\" target=\"_blank\" rel=\"noopener\">took McDonnell’s teachings to heart\u003c/a> was Chávez, whose farmworker parents had moved the family there from Arizona.\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>Chávez later said his education began with the parish priest, according to Marc Grossman, who knew the civil rights icon for the last 24 years of his life and still serves as communications director for the Cesar Chavez Foundation. Chávez was in his early 20s when he met Father McDonnell, but the young man had only an eighth grade education at the time. Father McDonnell introduced to social justice literature in the Catholic Church as well as secular authors like Tolstoy and Machiavelli.\u003c/p>\n\u003cp>Grossman says the priest “did, in a very quiet way, change the world.”\u003c/p>\n\u003cp>Later renamed McDonnell Hall, the modest chapel became a center for grassroots activism on several social fronts and a training ground for community leaders like Chávez. It was at the mission that he and others got involved with the Community Service Organization in the 1950s and ’60s as it conducted voter registration drives, civil rights lawsuits and legislative campaigns, as well as citizenship and literacy classes.\u003c/p>\n\u003cp>Chávez would later apply what he learned in San Jose alongside Dolores Huerta to launch the United Farm Workers Union and organize the famous grape boycott that launched him to national prominence as a civil rights leader and advocate of nonviolent protest.\u003c/p>\n\u003cp>In the \u003ca href=\"https://www.nps.gov/nhl/news/LC/fall2016/OurLadyofGuadalupeChapel.pdf\" target=\"_blank\" rel=\"noopener\">application\u003c/a> for national historic status, El Teatro Campesino founder Luis Valdez (whose family members were parishioners at the mission in the 1950s), is quoted as saying McDonnell Hall not only still resonates as a symbol of the farmworker movement, but also serves as a broader symbol of an “ongoing struggle in the heart of humanity” for “social justice.”\u003c/p>\n\u003cp>\u003cstrong>Watch a KQED Newsroom feature on Chávez in San Jose\u003c/strong>\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/_F5X64bXde0'\n title='//www.youtube.com/embed/_F5X64bXde0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The national status for McDonnell Hall follows a \u003ca href=\"http://www.mercurynews.com/2014/09/14/landmark-status-for-cesar-chavez-meeting-hall-in-east-san-jose/\" target=\"_blank\" rel=\"noopener\">successful bid for state status\u003c/a> as a historic landmark a few years ago.\u003c/p>\n\u003cp>Congresswoman Zoe Lofgren (D-San Jose) applauded the federal designation in \u003ca href=\"https://lofgren.house.gov/news/documentsingle.aspx?DocumentID=398119\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a>. “I’m so proud of the communal effort that has led to such a great recognition for this simple chapel where one of our greatest civil rights champions began a movement that changed lives throughout our nation.”\u003c/p>\n\u003cp>Historic landmark status, bestowed on more than 2,500 spots nationwide, comes with federal grants for preservation, program assistance and free publicity in National Park Service tourist and educational materials. For instance, the properties are listed in the \u003ca href=\"https://www.nps.gov/Nr/\" target=\"_blank\" rel=\"noopener\">National Register of Historic Places\u003c/a>.\u003c/p>\n\u003cp>Two other landmarks were designated in California:\u003c/p>\n\u003cp>•\u003ca href=\"http://www.chicanoparksandiego.com/\" target=\"_blank\" rel=\"noopener\"> Chicano Park\u003c/a> in San Diego, which locals occupied on Apr. 20, 1970 to prevent the construction of a California Highway Patrol substation on land the city had promised would become a neighborhood park. The park is now home to the Chicano Park Monumental Murals, an exceptional assemblage of master mural artwork painted on the freeway bridge supports.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>• The Neutra Studio and Residences (\u003ca href=\"http://neutra-vdl.org/\" target=\"_blank\" rel=\"noopener\">VDL Research House\u003c/a>) in Los Angeles is associated with Richard Neutra. During the 1940s, Neutra helped launch what we think of today as mid-century “California Modern” architecture.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12616712/san-jose-building-with-chavez-ties-named-national-historic-landmark","authors":["251"],"programs":["arts_1272"],"series":["arts_209"],"categories":["arts_835","arts_235"],"tags":["arts_1448","arts_596"],"featImg":"arts_12617513","label":"arts_1272"},"arts_11409139":{"type":"posts","id":"arts_11409139","meta":{"index":"posts_1591205157","site":"arts","id":"11409139","score":null,"sort":[1458673211000]},"guestAuthors":[],"slug":"taraneh-hemami-creates-a-sense-of-place-for-displaced-iranians","title":"Taraneh Hemami Creates a Sense of Place for Displaced Iranians","publishDate":1458673211,"format":"standard","headTitle":"Taraneh Hemami Creates a Sense of Place for Displaced Iranians | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>Visual artist and curator \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> found herself at a crossroads after moving from Tehran, Iran to the U.S. to attend college nearly 30 years ago.\u003c/p>\n\u003cp>“After the first decade, I wanted to go home,” Hemami says. “But my dad died by the second decade, and it became clear that I was going to stay.”\u003c/p>\n\u003cfigure id=\"attachment_11424515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11424515 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-dad-800x560.jpg\" alt=\"Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-768x538.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990 \u003ccite>(Courtesy of Taraneh Hemami.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when her adoptive home has become rife with Islamophobic rhetoric and polarized views on the Muslim community, Hemami’s decision to stay in the U.S. and create work that facilitates difficult but necessary conversations around those conflicts has become all the more important.\u003c/p>\n\u003cp>“What really makes Taraneh unique is that she bridges the Iranian and American parts of our identity,” says Torange Yeghiazarian, executive director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a San Francisco-based performing arts company focused on Middle Eastern work. “Other artists are more traditional or insular, but she’s active and present and brings more visibility to our community.”\u003c/p>\n\u003cp>While Hemami’s migration to the U.S. strongly informs her body of work, she says a brief visit to Iran in 1990 altered the focus and influences behind her art.\u003c/p>\n\u003cfigure id=\"attachment_11424518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11424518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-old-800x542.jpg\" alt=\"Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right).\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right). \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was immersed in my culture and I got to visit historic sites that renewed my interest in Islamic architecture and arts,” Hemami says. “At the same time, I was immersed in the family narrative again, and I was inspired by the traditions being handed down by women from each generation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hemami’s trip inspired \u003ca href=\"http://www.taranehhemami.com/sacred-space\" target=\"_blank\" rel=\"noopener\">\u003ci>Sacred Space\u003c/i>\u003c/a>, a project focused on giving voice to women, something she saw was lacking in Iran and the Iranian community in the U.S. The work features memories and wishes collected from women by the artist. The women’s sayings are wrapped around a shrine-like structure and tiled on small cleansing pools inspired by mosques.\u003c/p>\n\u003cfigure id=\"attachment_11423650\" class=\"wp-caption alignnone\" style=\"max-width: 741px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg\" alt=\"Hemami's "Sacred Space" installation at San Francisco's The Lab featured women's stories embedded into mosque architectures.\" width=\"741\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg 741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool.jpg 800w\" sizes=\"(max-width: 741px) 100vw, 741px\">\u003cfigcaption class=\"wp-caption-text\">Hemami’s “Sacred Space” installation at San Francisco’s The Lab featured women’s stories embedded into mosque architectures. \u003ccite>(Photo: Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to deeply personal pieces like \u003cem>Sacred Space\u003c/em>, Hemami also creates works about the experiences of the broader Middle Eastern community. “Multiplicity is what I’m interested in; it’s important to reflect the complexity and diversity of the community,” Hemami says. “I wanted to deny the singular image of Arabs and Iranians in the media.”\u003c/p>\n\u003cp>For her project \u003ca href=\"https://www.taranehhemami.com/hall-of-reflections-2000-present%E2%80%9D\" target=\"_blank\" rel=\"noopener\">\u003ci>Hall of Reflections\u003c/i>\u003c/a>, Hemami collected photographs and letters from individuals to create collages representative of the group’s historical displacement after the Iranian revolution. “I created it post-9/11, when gathering spaces became especially important for people,” Hemami says. “I worked off archives from the community to give historical and personal context to the project. It allowed us to talk about who we are.”\u003c/p>\n\u003cfigure id=\"attachment_11423651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423651\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolstuff-800x594.jpg\" alt=\""Ruins", one of the pieces in Hemami's "Hall of Reflections" project, is a collection of personal photographs and stories from Iranian immigrants.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ruins”, one of the pieces in Hemami’s “Hall of Reflections” project, is a collection of personal photographs and stories from Iranian immigrants. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works that address collective mourning and the reconstruction of histories, such as those by sculptor \u003ca href=\"http://whitecube.com/artists/doris_salcedo/\" target=\"_blank\" rel=\"noopener\">Doris Salcedo\u003c/a> and media artist \u003ca href=\"http://www.theatlasgroup.org/\" target=\"_blank\" rel=\"noopener\">Walid Raad\u003c/a>, serve as inspiration for Hemami, who holds a deep fascination for community art-making and participatory work.\u003c/p>\n\u003cp>For her most recent project \u003ca href=\"//www.taranehhemami.com/theory-of-survival%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">\u003ci>Theory of Survival\u003c/i>\u003c/a>, Hemami invited Californian artists and scholars to interpret and respond to material from the historical archives of the Iranian Students Association of Northern California, an anti-Shah student organization inspired by international anti-colonial movements in the 1960s and 70s. Together, the participants created art pieces exploring the violent history of dissent and radical movements in the Iranian community through varying mediums, like glass, textiles and digital photography.\u003c/p>\n\u003cfigure id=\"attachment_11423652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolwall-800x528.jpg\" alt=\""Theory of Survival", Hemami's recent work, explores the history of dissent in the Iranian community.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-768x507.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Theory of Survival”, Hemami’s recent work, explores the history of dissent in the Iranian community. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it taps into the community, Hemami’s work also provides the artist with a medium to come to terms with her own displacement. “The project started with me having lost stories of my family after being away for nearly 20 years,” Hemami says. “But being on the public platform invites me to do something more than personal reflections. My art practice, my teaching practice, my activism, and my community organizing are merging into one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"The Iranian-born visual artist's mixed media work reflects the complexity and diversity of the Muslim community","status":"publish","parent":0,"modified":1705044795,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":812},"headData":{"title":"Taraneh Hemami Creates a Sense of Place for Displaced Iranians | KQED","description":"The Iranian-born visual artist's mixed media work reflects the complexity and diversity of the Muslim community","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Taraneh Hemami Creates a Sense of Place for Displaced Iranians","datePublished":"2016-03-22T19:00:11.000Z","dateModified":"2024-01-12T07:33:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11409139/taraneh-hemami-creates-a-sense-of-place-for-displaced-iranians","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visual artist and curator \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> found herself at a crossroads after moving from Tehran, Iran to the U.S. to attend college nearly 30 years ago.\u003c/p>\n\u003cp>“After the first decade, I wanted to go home,” Hemami says. “But my dad died by the second decade, and it became clear that I was going to stay.”\u003c/p>\n\u003cfigure id=\"attachment_11424515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11424515 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-dad-800x560.jpg\" alt=\"Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-768x538.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990 \u003ccite>(Courtesy of Taraneh Hemami.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when her adoptive home has become rife with Islamophobic rhetoric and polarized views on the Muslim community, Hemami’s decision to stay in the U.S. and create work that facilitates difficult but necessary conversations around those conflicts has become all the more important.\u003c/p>\n\u003cp>“What really makes Taraneh unique is that she bridges the Iranian and American parts of our identity,” says Torange Yeghiazarian, executive director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a San Francisco-based performing arts company focused on Middle Eastern work. “Other artists are more traditional or insular, but she’s active and present and brings more visibility to our community.”\u003c/p>\n\u003cp>While Hemami’s migration to the U.S. strongly informs her body of work, she says a brief visit to Iran in 1990 altered the focus and influences behind her art.\u003c/p>\n\u003cfigure id=\"attachment_11424518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11424518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-old-800x542.jpg\" alt=\"Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right).\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right). \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was immersed in my culture and I got to visit historic sites that renewed my interest in Islamic architecture and arts,” Hemami says. “At the same time, I was immersed in the family narrative again, and I was inspired by the traditions being handed down by women from each generation.”\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>Hemami’s trip inspired \u003ca href=\"http://www.taranehhemami.com/sacred-space\" target=\"_blank\" rel=\"noopener\">\u003ci>Sacred Space\u003c/i>\u003c/a>, a project focused on giving voice to women, something she saw was lacking in Iran and the Iranian community in the U.S. The work features memories and wishes collected from women by the artist. The women’s sayings are wrapped around a shrine-like structure and tiled on small cleansing pools inspired by mosques.\u003c/p>\n\u003cfigure id=\"attachment_11423650\" class=\"wp-caption alignnone\" style=\"max-width: 741px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg\" alt=\"Hemami's "Sacred Space" installation at San Francisco's The Lab featured women's stories embedded into mosque architectures.\" width=\"741\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg 741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool.jpg 800w\" sizes=\"(max-width: 741px) 100vw, 741px\">\u003cfigcaption class=\"wp-caption-text\">Hemami’s “Sacred Space” installation at San Francisco’s The Lab featured women’s stories embedded into mosque architectures. \u003ccite>(Photo: Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to deeply personal pieces like \u003cem>Sacred Space\u003c/em>, Hemami also creates works about the experiences of the broader Middle Eastern community. “Multiplicity is what I’m interested in; it’s important to reflect the complexity and diversity of the community,” Hemami says. “I wanted to deny the singular image of Arabs and Iranians in the media.”\u003c/p>\n\u003cp>For her project \u003ca href=\"https://www.taranehhemami.com/hall-of-reflections-2000-present%E2%80%9D\" target=\"_blank\" rel=\"noopener\">\u003ci>Hall of Reflections\u003c/i>\u003c/a>, Hemami collected photographs and letters from individuals to create collages representative of the group’s historical displacement after the Iranian revolution. “I created it post-9/11, when gathering spaces became especially important for people,” Hemami says. “I worked off archives from the community to give historical and personal context to the project. It allowed us to talk about who we are.”\u003c/p>\n\u003cfigure id=\"attachment_11423651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423651\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolstuff-800x594.jpg\" alt=\""Ruins", one of the pieces in Hemami's "Hall of Reflections" project, is a collection of personal photographs and stories from Iranian immigrants.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ruins”, one of the pieces in Hemami’s “Hall of Reflections” project, is a collection of personal photographs and stories from Iranian immigrants. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works that address collective mourning and the reconstruction of histories, such as those by sculptor \u003ca href=\"http://whitecube.com/artists/doris_salcedo/\" target=\"_blank\" rel=\"noopener\">Doris Salcedo\u003c/a> and media artist \u003ca href=\"http://www.theatlasgroup.org/\" target=\"_blank\" rel=\"noopener\">Walid Raad\u003c/a>, serve as inspiration for Hemami, who holds a deep fascination for community art-making and participatory work.\u003c/p>\n\u003cp>For her most recent project \u003ca href=\"//www.taranehhemami.com/theory-of-survival%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">\u003ci>Theory of Survival\u003c/i>\u003c/a>, Hemami invited Californian artists and scholars to interpret and respond to material from the historical archives of the Iranian Students Association of Northern California, an anti-Shah student organization inspired by international anti-colonial movements in the 1960s and 70s. Together, the participants created art pieces exploring the violent history of dissent and radical movements in the Iranian community through varying mediums, like glass, textiles and digital photography.\u003c/p>\n\u003cfigure id=\"attachment_11423652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolwall-800x528.jpg\" alt=\""Theory of Survival", Hemami's recent work, explores the history of dissent in the Iranian community.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-768x507.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Theory of Survival”, Hemami’s recent work, explores the history of dissent in the Iranian community. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it taps into the community, Hemami’s work also provides the artist with a medium to come to terms with her own displacement. “The project started with me having lost stories of my family after being away for nearly 20 years,” Hemami says. “But being on the public platform invites me to do something more than personal reflections. My art practice, my teaching practice, my activism, and my community organizing are merging into one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11409139/taraneh-hemami-creates-a-sense-of-place-for-displaced-iranians","authors":["11208"],"programs":["arts_1364"],"series":["arts_209"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11424519","label":"arts_1364"},"arts_11300926":{"type":"posts","id":"arts_11300926","meta":{"index":"posts_1591205157","site":"arts","id":"11300926","score":null,"sort":[1454702459000]},"guestAuthors":[],"slug":"the-other-big-party-how-the-south-bay-celebrates-lunar-new-year","title":"The Other Big Party: How Silicon Valley Celebrates Lunar New Year","publishDate":1454702459,"format":"standard","headTitle":"The Other Big Party: How Silicon Valley Celebrates Lunar New Year | KQED","labelTerm":{"term":209,"site":"arts"},"content":"\u003cp>Lunar New Year hits on Monday and with \u003ca href=\"http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml\" target=\"_blank\" rel=\"noopener noreferrer\">more than half a million ethnic Chinese\u003c/a> living in the Bay Area, it’s a big deal here. It’s a big deal for many Asian cultures, but the huge influx immigrants from China to work in Silicon Valley in recent years has stimulated the region’s excitement around this holiday season.\u003c/p>\n\u003cp>Traditionally, festivities begin the day before the New Year, a date decided by the Chinese lunar calendar — which is why it feels like the start varies year to year — and continues on for two weeks.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/245606170″ 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>But for Bay Area families, there’s an extra kickoff festivity this year: the Super Bowl. The timing is such it’s possible to tune in to the big game Sunday afternoon, and then switch over afterwards to the \u003ca href=\"https://www.youtube.com/channel/UCo3T0jF2PAD_KxqWiruqcDg\" target=\"_blank\" rel=\"noopener noreferrer\">gala broadcast\u003c/a> from mainland China, joining well over a billion viewers around the world. (Just a few more than \u003ca href=\"http://money.cnn.com/2015/02/02/media/super-bowl-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">watch the Super Bowl\u003c/a>.)\u003c/p>\n\u003cp>After the gala comes a plethora of festivals, which are happening all over the South Bay. New to the celebrations is the \u003ca href=\"http://pa-cpc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Chinese Parents’ Club,\u003c/a> which is co-hosting its first ever Chinese New Year Fair. Like most other fairs, it will include lion dances, martial arts demonstrations, arts and crafts seminars for the kids, and traditional foods like dumplings.\u003c/p>\n\u003cfigure id=\"attachment_11301763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg\" alt=\"The start of a new tradition?\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The start of a new tradition? \u003ccite>(Courtesy Palo Alto Chinese Parents’ Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This event was designed as a community building event. It’s a platform for the Chinese community and greater community to connect,” says Palo Alto Chinese Parents’ Club co-founder Debra Cen, who helped start the club to help new immigrants integrate with Palo Alto’s community, as well as extend a welcoming hand to those unfamiliar with Chinese culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The money raised from the fair will be donated to the local school district. That, combined with the goal of the fair, is why Cen and her fellow club members are hoping the city of Palo Alto co-sponsors their New Year festivals in years to come.\u003c/p>\n\u003cp>Other Bay Area cities like \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/cultural/lunar-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood City\u003c/a> already do. As a matter of fact, Redwood City Councilman Jeff Gee not only organizes that local festival — this year it’s on Feb. 27 — he’s also the official photographer.\u003c/p>\n\u003cfigure id=\"attachment_11301762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11301762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg\" alt=\"A toddler can't help but reach out to check out this lion at a recent Redwood City's Lunar New Year Celebration.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A toddler can’t help but reach out to check out this lion at a recent Redwood City’s Lunar New Year Celebration. \u003ccite>(Courtesy Jeff Gee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ll probably have 3-5,000 people from all over the Bay Area. It’s just grown every single year. It’s been pretty amazing,” Gee says.\u003c/p>\n\u003cp>Lunar New Year is also a big deal for the Vietnamese, and Ha Vy, who helps organize the \u003ca href=\"http://www.tetvietnamsj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Tet Festival 2016\u003c/a> in San Jose, says she expects 20,000 people to turn up at the Santa Clara County Fairgrounds Feb. 13 & 14. As with Chinese New Year, you can expect to see lion dances, and martial arts demonstrations, but the food will be decidedly Vietnamese: bbq, egg rolls, spring rolls, bánh mì, and the like.\u003c/p>\n\u003cp>“Every family has a different way of doing it, but essentially, they all try to come together and spend the holiday together. Like Thanksgiving. It’s the same concept,” Vy says.\u003c/p>\n\u003cfigure id=\"attachment_11301767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg\" alt=\"Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Thy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Vy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose. \u003ccite>(Courtesy Vietnamese Tet Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music will be different, too. More than 40 years after the fall of Saigon sent a surge of refugees to San Jose, a new generation of Vietnamese-Americans is taking over organizing community events, and they are changing things up \u003cem>just a bit\u003c/em>.\u003c/p>\n\u003cp>As 21-year-old Vy explains, “Sometimes when you have performance that are more geared to the older generation, they’ll drag the children along, but that doesn’t mean the children will enjoy it.”\u003c/p>\n\u003cp>While there will be plenty of the classic ballad singers her parents and grandparents love, Vy is much more excited about younger performers they’ve managed to line up, like Mai Tiến Dũng.\u003c/p>\n\u003cp>https://youtu.be/xpHBKn0-lGU?t=2m10s\u003c/p>\n\u003cp>“He sings very upbeat music. He’s very good looking,” Vy says. “He’s a fantastic performer that will bring in the younger generations.”\u003c/p>\n\u003cp>On a more classical note, the El Camino Youth Symphony is celebrating the Lunar New Year by hosting Juilliard alum Gwhyneth Chen, who will perform the \u003cem>\u003ca href=\"http://ecys.site-ym.com/events/EventDetails.aspx?id=667235\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow River Piano Concerto\u003c/a> \u003c/em>on Feb. 6\u003cem>. \u003c/em>And Stanford is holding a \u003cem>\u003ca href=\"http://panasianmusicfestival.stanford.edu/2016/\" target=\"_blank\" rel=\"noopener noreferrer\">Celebration of Asia\u003c/a>\u003c/em>, which will consist of three concerts featuring local musicians from Iran, Azerbaijan, Uzbekistan, Vietnam, and Japan, as well as the Forbidden City Chamber Orchestra from China.\u003c/p>\n\u003cp>[contextly_sidebar id=”qlDUMgqihGfxyQHb8WspCixmDvLnPmVu”]\u003c/p>\n\u003cp>On Feb. 28, \u003ca href=\"http://www.hakone.com/lunar-new-year-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hakone Estate and Gardens\u003c/a> hosts a celebration that features, among other traditional activities, a children’s parade. Last but not least, the San Jose Center for the Performing Arts will host \u003ca href=\"http://sf.cpaasv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Festival Silicon Valley\u003c/a> on Mar. 5. Like the concerts at Stanford, this festival will have a Pan-Asian flavor, featuring Chinese, Indian, Tajikistan, Dai, Tibetan, and Korean music and dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, no article about Lunar New Year celebrations in the Bay Area would be complete without paying proper respect to the granddaddy of celebrations in San Francisco, which dates back to the 1860s. Many of the people I talked to intend to make a pilgrimage north on Feb. 20. If you can’t be there physically, you can tune in to watch it on \u003ca href=\"http://www.ktvu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTVU Fox 2\u003c/a> or \u003ca href=\"http://www.ktsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTSF Channel 26\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Lunar New Year hits on Monday and with more than half a million ethnic Chinese living in the Bay Area, it’s a big deal here.","status":"publish","parent":0,"modified":1705045211,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1049},"headData":{"title":"The Other Big Party: How Silicon Valley Celebrates Lunar New Year | KQED","description":"Lunar New Year hits on Monday and with more than half a million ethnic Chinese living in the Bay Area, it’s a big deal here.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Other Big Party: How Silicon Valley Celebrates Lunar New Year","datePublished":"2016-02-05T20:00:59.000Z","dateModified":"2024-01-12T07:40:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"465738431","excludeFromSiteSearch":"Include","path":"/arts/11300926/the-other-big-party-how-the-south-bay-celebrates-lunar-new-year","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lunar New Year hits on Monday and with \u003ca href=\"http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml\" target=\"_blank\" rel=\"noopener noreferrer\">more than half a million ethnic Chinese\u003c/a> living in the Bay Area, it’s a big deal here. It’s a big deal for many Asian cultures, but the huge influx immigrants from China to work in Silicon Valley in recent years has stimulated the region’s excitement around this holiday season.\u003c/p>\n\u003cp>Traditionally, festivities begin the day before the New Year, a date decided by the Chinese lunar calendar — which is why it feels like the start varies year to year — and continues on for two weeks.\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/245606170″&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/245606170″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But for Bay Area families, there’s an extra kickoff festivity this year: the Super Bowl. The timing is such it’s possible to tune in to the big game Sunday afternoon, and then switch over afterwards to the \u003ca href=\"https://www.youtube.com/channel/UCo3T0jF2PAD_KxqWiruqcDg\" target=\"_blank\" rel=\"noopener noreferrer\">gala broadcast\u003c/a> from mainland China, joining well over a billion viewers around the world. (Just a few more than \u003ca href=\"http://money.cnn.com/2015/02/02/media/super-bowl-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">watch the Super Bowl\u003c/a>.)\u003c/p>\n\u003cp>After the gala comes a plethora of festivals, which are happening all over the South Bay. New to the celebrations is the \u003ca href=\"http://pa-cpc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Chinese Parents’ Club,\u003c/a> which is co-hosting its first ever Chinese New Year Fair. Like most other fairs, it will include lion dances, martial arts demonstrations, arts and crafts seminars for the kids, and traditional foods like dumplings.\u003c/p>\n\u003cfigure id=\"attachment_11301763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg\" alt=\"The start of a new tradition?\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The start of a new tradition? \u003ccite>(Courtesy Palo Alto Chinese Parents’ Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This event was designed as a community building event. It’s a platform for the Chinese community and greater community to connect,” says Palo Alto Chinese Parents’ Club co-founder Debra Cen, who helped start the club to help new immigrants integrate with Palo Alto’s community, as well as extend a welcoming hand to those unfamiliar with Chinese culture.\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>The money raised from the fair will be donated to the local school district. That, combined with the goal of the fair, is why Cen and her fellow club members are hoping the city of Palo Alto co-sponsors their New Year festivals in years to come.\u003c/p>\n\u003cp>Other Bay Area cities like \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/cultural/lunar-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood City\u003c/a> already do. As a matter of fact, Redwood City Councilman Jeff Gee not only organizes that local festival — this year it’s on Feb. 27 — he’s also the official photographer.\u003c/p>\n\u003cfigure id=\"attachment_11301762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11301762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg\" alt=\"A toddler can't help but reach out to check out this lion at a recent Redwood City's Lunar New Year Celebration.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A toddler can’t help but reach out to check out this lion at a recent Redwood City’s Lunar New Year Celebration. \u003ccite>(Courtesy Jeff Gee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ll probably have 3-5,000 people from all over the Bay Area. It’s just grown every single year. It’s been pretty amazing,” Gee says.\u003c/p>\n\u003cp>Lunar New Year is also a big deal for the Vietnamese, and Ha Vy, who helps organize the \u003ca href=\"http://www.tetvietnamsj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Tet Festival 2016\u003c/a> in San Jose, says she expects 20,000 people to turn up at the Santa Clara County Fairgrounds Feb. 13 & 14. As with Chinese New Year, you can expect to see lion dances, and martial arts demonstrations, but the food will be decidedly Vietnamese: bbq, egg rolls, spring rolls, bánh mì, and the like.\u003c/p>\n\u003cp>“Every family has a different way of doing it, but essentially, they all try to come together and spend the holiday together. Like Thanksgiving. It’s the same concept,” Vy says.\u003c/p>\n\u003cfigure id=\"attachment_11301767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg\" alt=\"Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Thy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Vy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose. \u003ccite>(Courtesy Vietnamese Tet Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music will be different, too. More than 40 years after the fall of Saigon sent a surge of refugees to San Jose, a new generation of Vietnamese-Americans is taking over organizing community events, and they are changing things up \u003cem>just a bit\u003c/em>.\u003c/p>\n\u003cp>As 21-year-old Vy explains, “Sometimes when you have performance that are more geared to the older generation, they’ll drag the children along, but that doesn’t mean the children will enjoy it.”\u003c/p>\n\u003cp>While there will be plenty of the classic ballad singers her parents and grandparents love, Vy is much more excited about younger performers they’ve managed to line up, like Mai Tiến Dũng.\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/xpHBKn0-lGU'\n title='//www.youtube.com/embed/xpHBKn0-lGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He sings very upbeat music. He’s very good looking,” Vy says. “He’s a fantastic performer that will bring in the younger generations.”\u003c/p>\n\u003cp>On a more classical note, the El Camino Youth Symphony is celebrating the Lunar New Year by hosting Juilliard alum Gwhyneth Chen, who will perform the \u003cem>\u003ca href=\"http://ecys.site-ym.com/events/EventDetails.aspx?id=667235\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow River Piano Concerto\u003c/a> \u003c/em>on Feb. 6\u003cem>. \u003c/em>And Stanford is holding a \u003cem>\u003ca href=\"http://panasianmusicfestival.stanford.edu/2016/\" target=\"_blank\" rel=\"noopener noreferrer\">Celebration of Asia\u003c/a>\u003c/em>, which will consist of three concerts featuring local musicians from Iran, Azerbaijan, Uzbekistan, Vietnam, and Japan, as well as the Forbidden City Chamber Orchestra from China.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Feb. 28, \u003ca href=\"http://www.hakone.com/lunar-new-year-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hakone Estate and Gardens\u003c/a> hosts a celebration that features, among other traditional activities, a children’s parade. Last but not least, the San Jose Center for the Performing Arts will host \u003ca href=\"http://sf.cpaasv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Festival Silicon Valley\u003c/a> on Mar. 5. Like the concerts at Stanford, this festival will have a Pan-Asian flavor, featuring Chinese, Indian, Tajikistan, Dai, Tibetan, and Korean music and dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, no article about Lunar New Year celebrations in the Bay Area would be complete without paying proper respect to the granddaddy of celebrations in San Francisco, which dates back to the 1860s. Many of the people I talked to intend to make a pilgrimage north on Feb. 20. If you can’t be there physically, you can tune in to watch it on \u003ca href=\"http://www.ktvu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTVU Fox 2\u003c/a> or \u003ca href=\"http://www.ktsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTSF Channel 26\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11300926/the-other-big-party-how-the-south-bay-celebrates-lunar-new-year","authors":["251"],"series":["arts_209"],"categories":["arts_835","arts_966","arts_235"],"tags":["arts_1310","arts_1037","arts_13165","arts_1118","arts_1006","arts_13164","arts_596","arts_4642"],"featImg":"arts_11301760","label":"arts_209"},"arts_10135150":{"type":"posts","id":"arts_10135150","meta":{"index":"posts_1591205157","site":"arts","id":"10135150","score":null,"sort":[1398344443000]},"guestAuthors":[],"slug":"bassist-marcus-shelby-finding-freedoms-message-in-the-music","title":"Bassist Marcus Shelby Finds Freedom’s Message in the Music","publishDate":1398344443,"format":"video","headTitle":"Bassist Marcus Shelby Finds Freedom’s Message in the Music | KQED","labelTerm":{"term":209,"site":"arts"},"content":"\u003cp>When he was 13 Marcus Shelby’s mom gave him a choice: either play bass with the church choir or be an usher. Determined never to wear an usher’s uniform, he chose the choir and thus began his public life in music. He played bass casually in high school, but it wasn’t until he was 20 and saw Wynton Marsalis perform that he knew he wanted to be a professional musician. “I saw in Wynton Marsalis everything I wanted to be,” Shelby says. “So from that moment till today, it’s been walking towards this sort of light, if you will, towards the music.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\">\u003c/a>That walk has been a swift one since Shelby won both the Charles Mingus Scholarship to the California Institute of the Arts and the John Coltrane Young Musicians & Artists Competition in the same year, 1991. Over the last two decades Shelby – who leads the \u003ca href=\"http://www.marcusshelby.com/index.htm\" target=\"_blank\" rel=\"noopener\">Marcus Shelby Jazz Orchestra\u003c/a>, the Marcus Shelby Hot 7, the Marcus Shelby Quintet and the Marcus Shelby Trio — has become a fixture of the San Francisco blues and jazz scene. Voted best jazz musician by numerous Bay Area publications, Shelby is a San Francisco Arts Commissioner and an artist in residence at the Yerba Buena Gardens Festival. The organization funds many of Shelby’s projects that bring music to underserved communities and has commissioned a number of Shelby’s extended compositions.\u003c/p>\n\u003cfigure id=\"attachment_10135152\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby-theater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10135152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby-theater-1440x810.jpg\" alt=\"Marcus Shelby in SF Jazz\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater.jpg 1664w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The bass is like the heartbeat,” says bandleader and composer Marcus Shelby. “It’s that sound — that resonant wood, the tree of life — that has always attracted me.”\u003c/figcaption>\u003c/figure>\n\u003cp>As a composer, Shelby is perhaps best known for telling the story of the African American experience through compositions like “Soul of the Movement,” “Harriet Tubman” and “\u003ca href=\"http://en.wikipedia.org/wiki/Port_Chicago_disaster\" target=\"_blank\" rel=\"noopener\">Port Chicago\u003c/a>.” Shelby says diving into the research necessary to create these pieces allows him to grow artistically and personally. For a piece about Emmett Till, for example, he traveled to where Till’s body was thrown into the Tallahatchie River and read multiple books on Till’s life and times. Because of the music, he came to a new understanding of how Till’s death lent urgency to the civil rights movement: “When Rosa Parks refused to give up her seat on the bus,” Shelby recalls, “they asked her why. She said, ‘I was thinking about Emmett Till and I couldn’t turn back.’\u003c/p>\n\u003cfigure id=\"attachment_10135153\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_group.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10135153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_group-1440x810.jpg\" alt=\"The Marcus Shelby Quintet\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group.jpg 1454w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby performs at the \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a>, where he has played for many years with the Family Matinee Program and on the main stage, Miner Auditorium — which SFJAZZ donated for the filming of the accompanying video. Here the Marcus Shelby Quintet performs, with Tiffany Austin on vocals, Joe Warner at piano, Ila Cantor on guitar, Geechi Taylor on drums and Marcus Shelby on bass.\u003c/figcaption>\u003c/figure>\n\u003cp>“So because you want to write some music about this history, you learn about it and you are able to share it in a different way,” Shelby says. “And, hopefully, it changes you.”\u003c/p>\n\u003cp>Shelby says sharing these stories with young people adds a heightened meaning to his music. “When I’m talking to young people, I’m not just regurgitating the history, but I’m talking about a time in our history where people had to do great things,” Shelby says. “I try to connect their feelings with this musical power. I tell them they have that power.” Over the years Shelby has worked with youths of all ages, from preschoolers to university students, at such places as the Rooftop Alternative School in San Francisco, the Community Music Center in the Mission, and the Stanford Jazz Workshop, at Stanford University. Shelby also performs and gives workshops in juvenile halls like the Juvenile Justice Center in San Francisco (shown in the accompanying video), where he says he strives to inspire and build relationships with young people while encouraging their natural creative talents.\u003c/p>\n\u003cfigure id=\"attachment_10135154\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135154 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-1440x809.jpg\" alt=\"Marcus Shelby and band in Juvenile Justice Center\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall.jpg 1668w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shelby and his fellow musicians encourage young people in San Francisco’s Juvenile Justice Center to express their creativity. In his talks with kids he reminds them that Louis Armstrong got his musical start in reform school.\u003c/figcaption>\u003c/figure>\n\u003cp>Shelby believes he’s following the example of musicians like Charles Mingus, Duke Ellington and Nina Simone — artists who used their music to highlight the issues of the day. “In every freedom and social movement, music has been at the center as a tool for communication,” Shelby says. “So I think that it has a power that extends outside of just performance or entertainment.” Shelby’s next project is to compose the music for \u003ca href=\"http://en.wikipedia.org/wiki/Anna_Deavere_Smith\" target=\"_blank\" rel=\"noopener\">Anna Deavere Smith\u003c/a>’s one-woman show about the school-to-prison pipeline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Bassist and bandleader Marcus Shelby is a perennial Bay Area jazz favorite whose compositions explore the African American experience. Shelby finds deeper meaning for his work sharing the music he loves and its history with young people in schools and juvenile halls.","status":"publish","parent":0,"modified":1705049082,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":818},"headData":{"title":"Bassist Marcus Shelby Finds Freedom’s Message in the Music | KQED","description":"Bassist and bandleader Marcus Shelby is a perennial Bay Area jazz favorite whose compositions explore the African American experience. Shelby finds deeper meaning for his work sharing the music he loves and its history with young people in schools and juvenile halls.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bassist Marcus Shelby Finds Freedom’s Message in the Music","datePublished":"2014-04-24T13:00:43.000Z","dateModified":"2024-01-12T08:44:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/CwOZkMm3uGc","sticky":false,"path":"/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he was 13 Marcus Shelby’s mom gave him a choice: either play bass with the church choir or be an usher. Determined never to wear an usher’s uniform, he chose the choir and thus began his public life in music. He played bass casually in high school, but it wasn’t until he was 20 and saw Wynton Marsalis perform that he knew he wanted to be a professional musician. “I saw in Wynton Marsalis everything I wanted to be,” Shelby says. “So from that moment till today, it’s been walking towards this sort of light, if you will, towards the music.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\">\u003c/a>That walk has been a swift one since Shelby won both the Charles Mingus Scholarship to the California Institute of the Arts and the John Coltrane Young Musicians & Artists Competition in the same year, 1991. Over the last two decades Shelby – who leads the \u003ca href=\"http://www.marcusshelby.com/index.htm\" target=\"_blank\" rel=\"noopener\">Marcus Shelby Jazz Orchestra\u003c/a>, the Marcus Shelby Hot 7, the Marcus Shelby Quintet and the Marcus Shelby Trio — has become a fixture of the San Francisco blues and jazz scene. Voted best jazz musician by numerous Bay Area publications, Shelby is a San Francisco Arts Commissioner and an artist in residence at the Yerba Buena Gardens Festival. The organization funds many of Shelby’s projects that bring music to underserved communities and has commissioned a number of Shelby’s extended compositions.\u003c/p>\n\u003cfigure id=\"attachment_10135152\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby-theater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10135152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby-theater-1440x810.jpg\" alt=\"Marcus Shelby in SF Jazz\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby-theater.jpg 1664w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The bass is like the heartbeat,” says bandleader and composer Marcus Shelby. “It’s that sound — that resonant wood, the tree of life — that has always attracted me.”\u003c/figcaption>\u003c/figure>\n\u003cp>As a composer, Shelby is perhaps best known for telling the story of the African American experience through compositions like “Soul of the Movement,” “Harriet Tubman” and “\u003ca href=\"http://en.wikipedia.org/wiki/Port_Chicago_disaster\" target=\"_blank\" rel=\"noopener\">Port Chicago\u003c/a>.” Shelby says diving into the research necessary to create these pieces allows him to grow artistically and personally. For a piece about Emmett Till, for example, he traveled to where Till’s body was thrown into the Tallahatchie River and read multiple books on Till’s life and times. Because of the music, he came to a new understanding of how Till’s death lent urgency to the civil rights movement: “When Rosa Parks refused to give up her seat on the bus,” Shelby recalls, “they asked her why. She said, ‘I was thinking about Emmett Till and I couldn’t turn back.’\u003c/p>\n\u003cfigure id=\"attachment_10135153\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_group.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10135153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_group-1440x810.jpg\" alt=\"The Marcus Shelby Quintet\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_group.jpg 1454w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby performs at the \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a>, where he has played for many years with the Family Matinee Program and on the main stage, Miner Auditorium — which SFJAZZ donated for the filming of the accompanying video. Here the Marcus Shelby Quintet performs, with Tiffany Austin on vocals, Joe Warner at piano, Ila Cantor on guitar, Geechi Taylor on drums and Marcus Shelby on bass.\u003c/figcaption>\u003c/figure>\n\u003cp>“So because you want to write some music about this history, you learn about it and you are able to share it in a different way,” Shelby says. “And, hopefully, it changes you.”\u003c/p>\n\u003cp>Shelby says sharing these stories with young people adds a heightened meaning to his music. “When I’m talking to young people, I’m not just regurgitating the history, but I’m talking about a time in our history where people had to do great things,” Shelby says. “I try to connect their feelings with this musical power. I tell them they have that power.” Over the years Shelby has worked with youths of all ages, from preschoolers to university students, at such places as the Rooftop Alternative School in San Francisco, the Community Music Center in the Mission, and the Stanford Jazz Workshop, at Stanford University. Shelby also performs and gives workshops in juvenile halls like the Juvenile Justice Center in San Francisco (shown in the accompanying video), where he says he strives to inspire and build relationships with young people while encouraging their natural creative talents.\u003c/p>\n\u003cfigure id=\"attachment_10135154\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135154 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-1440x809.jpg\" alt=\"Marcus Shelby and band in Juvenile Justice Center\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/shelby_juvenile-hall.jpg 1668w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shelby and his fellow musicians encourage young people in San Francisco’s Juvenile Justice Center to express their creativity. In his talks with kids he reminds them that Louis Armstrong got his musical start in reform school.\u003c/figcaption>\u003c/figure>\n\u003cp>Shelby believes he’s following the example of musicians like Charles Mingus, Duke Ellington and Nina Simone — artists who used their music to highlight the issues of the day. “In every freedom and social movement, music has been at the center as a tool for communication,” Shelby says. “So I think that it has a power that extends outside of just performance or entertainment.” Shelby’s next project is to compose the music for \u003ca href=\"http://en.wikipedia.org/wiki/Anna_Deavere_Smith\" target=\"_blank\" rel=\"noopener\">Anna Deavere Smith\u003c/a>’s one-woman show about the school-to-prison pipeline.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music","authors":["90"],"series":["arts_209"],"categories":["arts_69"],"featImg":"arts_10135156","label":"arts_209"},"arts_10134941":{"type":"posts","id":"arts_10134941","meta":{"index":"posts_1591205157","site":"arts","id":"10134941","score":null,"sort":[1397739614000]},"guestAuthors":[],"slug":"andres-amadors-earthscapes-art-that-goes-out-with-the-tide","title":"Andres Amador's Earthscapes: Art that Goes Out with the Tide","publishDate":1397739614,"format":"video","headTitle":"Andres Amador’s Earthscapes: Art that Goes Out with the Tide | KQED","labelTerm":{"term":209,"site":"arts"},"content":"\u003cp>“I felt like my head was on fire.”\u003c/p>\n\u003cp>That’s how “earthscape artist” Andres Amador describes the moment it struck him that he could turn his studies of sacred geometry and fractals into large-scale artworks using the beach as his canvas. “I’d backpacked into this amazingly beautiful remote beach, Kalalau Valley, in Hawaii, and was drawing circles with a stick in the sand. And it was as though a bolt came down and struck me,” says Amador. His body began shaking as he visualized the possibilities; he couldn’t wait to get back to San Francisco to get started.\u003c/p>\n\u003cfigure id=\"attachment_10134945\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorportrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10134945\" alt=\"Andres Amador\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorportrait.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorportrait.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorportrait-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorportrait-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">When people find out that Amador creates works destined to wash away, they’re enthralled, he says, because it speaks to an essential truth: “Our lives are impermanent, and the tide is unstoppable.” Photo: Norman Bonney\u003c/figcaption>\u003c/figure>\n\u003cp>Walking along Bay Area beaches, you may be lucky enough to come across one of Amador’s “playa paintings,” large-scale patterns he creates in the sand using rakes and ropes as his tools. His pieces originally embodied precise geometric forms, but over time they’ve become more free-flowing and abstract, seeming to emerge from and interact with the landscape.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>For Amador, picking the right time and place is part of the art. “My favorite area is from Santa Cruz up to Fort Brag,” the artist says. “When I go further south, the beaches get too narrow.” Once he has the perfect location, Amador must wait for the right tide and then work fast. He starts an hour before low tide and works until an hour after — two hours in all. “I love the focus and drive that that requires,” Amador says.\u003c/p>\n\u003cfigure id=\"attachment_10134946\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorcopter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10134946\" alt=\"Andres Amador and drone\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorcopter.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorcopter.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorcopter-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorcopter-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amador says his remote-control helicopter “explodes the possibilities” of his art. “I can get a sense of the entire landscape and can photograph from new perspectives.” Photo: Norman Bonney\u003c/figcaption>\u003c/figure>\n\u003cp>The last regular job Amador had was 15 years ago, as a computer technician. “That didn’t last long,” he says. “I felt a yearning I could not understand.” He studied ancient geometry, created large-scale geometric sculptures and explored improvisational dance. But when Amador created his first earthscape piece on Ocean Beach in San Francisco, he seemed to find what he was looking for. Since then he’s been creating commissioned work and installations for businesses and individuals across the US and Europe. And Amador includes the public in the fun through his \u003ca href=\"http://www.andresamadorarts.com/p/workshops.html\">Playa Painting Workshops\u003c/a>, in which participants collaborate to design and create their own large-scale sand artworks.\u003c/p>\n\u003cfigure id=\"attachment_10134947\" class=\"wp-caption alignnone\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/clouds-1440.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10134947 \" alt=\"Photo: Andres Amador\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/clouds-1440.jpg\" width=\"1440\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/clouds-1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/clouds-1440-400x124.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/clouds-1440-300x93.jpg 300w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Andres Amador\u003c/figcaption>\u003c/figure>\n\u003cp>Seen at work from above, Amador is a spec in the midst of a massive pattern. Down on the beach, however, the overall design is hard to see. Amador uses flashcards to sketch and index quick inspirations, then refers to them while realizing the piece. But still, he says, after the piece is complete there’s always that moment of suspense when he scales a cliff or sends up his drone helicopter to film from above.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the work and the photographs he makes of it are good, he enjoys the feeling of accomplishment. But impermanence is the essence of his art, and Amador doesn’t dwell on his productions: “Once I’ve created a piece, I feel like it’s moved through me and I can let it go.” As the tide erases his work, “I don’t feel an attachment,” Amador says. “I feel complete.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Our thanks to paraglider David Sondergeld, who shot in-flight footage of Amador’s work for the accompanying video.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With the beach as his canvas and rakes his brushes, Andres Amador creates large-scale artworks that explore nature's geometry -- and life's impermanence.","status":"publish","parent":0,"modified":1705049112,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":637},"headData":{"title":"Andres Amador's Earthscapes: Art that Goes Out with the Tide | KQED","description":"With the beach as his canvas and rakes his brushes, Andres Amador creates large-scale artworks that explore nature's geometry -- and life's impermanence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Andres Amador's Earthscapes: Art that Goes Out with the Tide","datePublished":"2014-04-17T13:00:14.000Z","dateModified":"2024-01-12T08:45:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/T_tIG5mo1DM","sticky":false,"path":"/arts/10134941/andres-amadors-earthscapes-art-that-goes-out-with-the-tide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I felt like my head was on fire.”\u003c/p>\n\u003cp>That’s how “earthscape artist” Andres Amador describes the moment it struck him that he could turn his studies of sacred geometry and fractals into large-scale artworks using the beach as his canvas. “I’d backpacked into this amazingly beautiful remote beach, Kalalau Valley, in Hawaii, and was drawing circles with a stick in the sand. And it was as though a bolt came down and struck me,” says Amador. His body began shaking as he visualized the possibilities; he couldn’t wait to get back to San Francisco to get started.\u003c/p>\n\u003cfigure id=\"attachment_10134945\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorportrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10134945\" alt=\"Andres Amador\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorportrait.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorportrait.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorportrait-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorportrait-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">When people find out that Amador creates works destined to wash away, they’re enthralled, he says, because it speaks to an essential truth: “Our lives are impermanent, and the tide is unstoppable.” Photo: Norman Bonney\u003c/figcaption>\u003c/figure>\n\u003cp>Walking along Bay Area beaches, you may be lucky enough to come across one of Amador’s “playa paintings,” large-scale patterns he creates in the sand using rakes and ropes as his tools. His pieces originally embodied precise geometric forms, but over time they’ve become more free-flowing and abstract, seeming to emerge from and interact with the landscape.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>For Amador, picking the right time and place is part of the art. “My favorite area is from Santa Cruz up to Fort Brag,” the artist says. “When I go further south, the beaches get too narrow.” Once he has the perfect location, Amador must wait for the right tide and then work fast. He starts an hour before low tide and works until an hour after — two hours in all. “I love the focus and drive that that requires,” Amador says.\u003c/p>\n\u003cfigure id=\"attachment_10134946\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorcopter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10134946\" alt=\"Andres Amador and drone\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/amadorcopter.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorcopter.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorcopter-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/amadorcopter-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amador says his remote-control helicopter “explodes the possibilities” of his art. “I can get a sense of the entire landscape and can photograph from new perspectives.” Photo: Norman Bonney\u003c/figcaption>\u003c/figure>\n\u003cp>The last regular job Amador had was 15 years ago, as a computer technician. “That didn’t last long,” he says. “I felt a yearning I could not understand.” He studied ancient geometry, created large-scale geometric sculptures and explored improvisational dance. But when Amador created his first earthscape piece on Ocean Beach in San Francisco, he seemed to find what he was looking for. Since then he’s been creating commissioned work and installations for businesses and individuals across the US and Europe. And Amador includes the public in the fun through his \u003ca href=\"http://www.andresamadorarts.com/p/workshops.html\">Playa Painting Workshops\u003c/a>, in which participants collaborate to design and create their own large-scale sand artworks.\u003c/p>\n\u003cfigure id=\"attachment_10134947\" class=\"wp-caption alignnone\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/clouds-1440.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10134947 \" alt=\"Photo: Andres Amador\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/clouds-1440.jpg\" width=\"1440\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/clouds-1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/clouds-1440-400x124.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/clouds-1440-300x93.jpg 300w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Andres Amador\u003c/figcaption>\u003c/figure>\n\u003cp>Seen at work from above, Amador is a spec in the midst of a massive pattern. Down on the beach, however, the overall design is hard to see. Amador uses flashcards to sketch and index quick inspirations, then refers to them while realizing the piece. But still, he says, after the piece is complete there’s always that moment of suspense when he scales a cliff or sends up his drone helicopter to film from above.\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>When the work and the photographs he makes of it are good, he enjoys the feeling of accomplishment. But impermanence is the essence of his art, and Amador doesn’t dwell on his productions: “Once I’ve created a piece, I feel like it’s moved through me and I can let it go.” As the tide erases his work, “I don’t feel an attachment,” Amador says. “I feel complete.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Our thanks to paraglider David Sondergeld, who shot in-flight footage of Amador’s work for the accompanying video.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10134941/andres-amadors-earthscapes-art-that-goes-out-with-the-tide","authors":["90"],"series":["arts_209"],"categories":["arts_70"],"featImg":"arts_10134970","label":"arts_209"},"arts_10134638":{"type":"posts","id":"arts_10134638","meta":{"index":"posts_1591205157","site":"arts","id":"10134638","score":null,"sort":[1397134852000]},"guestAuthors":[],"slug":"santa-cruz-quilter-helps-piece-together-the-lost-art-of-hawaiian-kapa","title":"Santa Cruz Quilter Helps Piece Together the Lost Art of Hawaiian Kapa","publishDate":1397134852,"format":"video","headTitle":"Santa Cruz Quilter Helps Piece Together the Lost Art of Hawaiian Kapa | KQED","labelTerm":{"term":209,"site":"arts"},"content":"\u003cp>Wendeanne Ke`aka Stitt is an unusual name for a nice Hungarian-Irish girl. In Hawaiian, it means “the mischievous laugh,” a name given to Stitt by her Hawaiian language teacher, Kau`i Peralto, at Stanford University. Anyone who spends time with Stitt soon knows how well the name suits her.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Though not Hawaiian by blood, Stitt is Hawaiian at heart she says. She well remembers the time in 2001 when Peralto asked her to join a group called Kuku I Ka Pono for a two-year apprenticeship to learn how to make traditional Hawaiian kapa cloth. Stitt considered the opportunity to learn kapa alongside native Hawaiians an honor: “When you have a group of Hawaiians ask you to do something, you jump,” she enthuses.\u003c/p>\n\u003cp>That leap of faith has taken Stitt on an artistic and cultural journey into the world of kapa, a cultural tradition that was once lost and is still little understood. Today Stitt’s work in kapa is on exhibit in museums and galleries around and world. And her pieces are worn in important protocol ceremonies and performances in Hawaii, like the Merrie Monarch Festival, considered the Olympics of hula.\u003c/p>\n\u003cfigure id=\"attachment_10134641\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10134641 \" alt=\"Wendeanne Ke'aka Stitt moves the Kapa tradition forward by applying her experience as a master quilter to the art of Kapa making, piecing the cloth into designs such as this one.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa360.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendeanne Ke’aka Stitt moves the kapa tradition forward by applying her experience as a master quilter to the art of kapa making, piecing the cloth into designs such as this one.\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the two-year apprenticeship, Stitt accompanied Kuku I Ka Pono to Hawaii to carry out their mission, reburying ancient bones that had been disturbed by construction or repatriated by museums. Before reburying the remains, the group wrapped the bones in the kapa they made, as tradition required. Even today, Stitt says, when a Hawaiian dies, a piece of kapa cloth is draped in the coffin over the body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kapa is the traditional Hawaiian cloth made from the bark of a \u003ci>wauke\u003c/i>, or paper mulberry tree. In ancient Hawaiian times, kapa was used for everything from clothing and blankets to paying taxes and decorating temples. Kapa-making completely disappeared from Hawaiian culture around 1850, shortly after the arrival of the missionaries, who brought cheap, manufactured cloth to the islands. “The Hawaiian women were absolutely fascinated,” Stitt says. “Soon it was determined that the women no longer needed to make the kapa.”\u003c/p>\n\u003cfigure id=\"attachment_10134639\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10134639 \" alt=\"A detail view of one of Stitt's quilted kapas. Ku Hanohano ("To Stand with Integrity") is an adaptation of a traditional Hawaiian garment called a kihei. The dyes were made from California black walnut hulls and from turmeric root.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa1.jpg\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail view of one of Stitt’s quilted kapas. \u003ci>Ku Hanohano (“To Stand with Integrity”)\u003c/i> is an adaptation of a traditional Hawaiian garment called a kihei. The dyes were made from California black walnut hulls and from turmeric root.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t until the 1970s that a renaissance in kapa and other Hawaiian cultural traditions began. But puzzling out how exactly kapa was made wasn’t easy for the cloth-makers, anthropologists and historians interested in traditional Hawaiian culture, since few records were left. “The kapa makers had basically died out by the 1850s and the tools [were] ravaged and thrown out,” says Stitt. Anthropological records were sketchy at best. So a dedicated group of women like \u003ca href=\"http://www.mauimagazine.net/core/pagetools.php?pageid=11520&url=/Maui-Magazine/January-February-2008/Kapa-Fabric-of-a-Culture/&mode=print\">Pua Van Dorpe\u003c/a> (“my hero,” says Stitt) and \u003ca href=\"http://www.kapahawaii.net/storing-hawaiian-kapa/141-malia-solomon-and-the-modern-hawaiian-kapa-revival.html?tmpl=component&print=1&page=\">Malia Solomon\u003c/a> brought kapa back to life through a process of trial and error. They went to other Pacific Islands, like Tonga and Samoa, where they learned about materials and techniques. Then they came back home and adapted them to Hawaiian kapa. They also studied chants and songs which spoke of making kapa.\u003c/p>\n\u003cfigure id=\"attachment_10134640\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10134640\" alt=\"This traditional pounding tool, a replica of one from the California Academy of Sciences, was made for Stitt by a woodworker in Santa Cruz. Each side is carved with lines of varying widths. Thicker grooves are used when the kapa is heavy and dough-like, and the thin lines when the kapa is nearing its finished state.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa2.jpg\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This traditional pounding tool, a replica of one from the California Academy of Sciences, was made for Stitt by a woodworker in Santa Cruz. Each side is carved with lines of varying widths. Thicker grooves are used when the kapa is heavy and dough-like, and the thin lines when the kapa is nearing its finished state.\u003c/figcaption>\u003c/figure>\n\u003cp>Stitt’s next project is to make traditional \u003ci>pa`u hula\u003c/i> (hula skirts) and \u003ci>malo\u003c/i> (loincloths) out of kapa for the performance of an original hula being created by the \u003ca href=\"http://www.academyofhawaiianarts.org/\">Academy of Hawaiian Arts\u003c/a>, in Oakland, with the support of the \u003ca href=\"http://creativeworkfund.org/?portfolio=wendeanne-keaka-stitt-and-academy-of-hawaiian-arts/\">Creative Work Fund\u003c/a>. Stitt will make the kapa but the women of the \u003ci>halau\u003c/i> (school) will piece together, dye and sew the costumes, in an effort to bring back the more social and communal aspects of how kapa was traditionally made.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stitt is honored to be part of a culture she so admires. “The Hawaiians were artists,” she says. “Their tools were beautiful, you know their cloth was beautiful, their tattoos, their music is beautiful.” And their way of thinking and being is as well. “You have to stay within a Hawaiian mindset when you pound kapa,” she maintains. “Which is one of humility — of being humble and of being grateful for what you’re doing. Only then,” she says, “can you pound beautiful kapa.”\u003c/p>\n\n","blocks":[],"excerpt":"Kapa is the traditional Hawaiian cloth made from the bark of a tree. Wendeanne Ke`aka Stitt has studied the art and makes kapa today using natural dyes and ancient techniques. As a master quilter, she's also pushing the tradition to new places. ","status":"publish","parent":0,"modified":1705049137,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":816},"headData":{"title":"Santa Cruz Quilter Helps Piece Together the Lost Art of Hawaiian Kapa | KQED","description":"Kapa is the traditional Hawaiian cloth made from the bark of a tree. Wendeanne Ke`aka Stitt has studied the art and makes kapa today using natural dyes and ancient techniques. As a master quilter, she's also pushing the tradition to new places. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Santa Cruz Quilter Helps Piece Together the Lost Art of Hawaiian Kapa","datePublished":"2014-04-10T13:00:52.000Z","dateModified":"2024-01-12T08:45:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/Ndx0sJyUOzc","sticky":false,"path":"/arts/10134638/santa-cruz-quilter-helps-piece-together-the-lost-art-of-hawaiian-kapa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wendeanne Ke`aka Stitt is an unusual name for a nice Hungarian-Irish girl. In Hawaiian, it means “the mischievous laugh,” a name given to Stitt by her Hawaiian language teacher, Kau`i Peralto, at Stanford University. Anyone who spends time with Stitt soon knows how well the name suits her.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Though not Hawaiian by blood, Stitt is Hawaiian at heart she says. She well remembers the time in 2001 when Peralto asked her to join a group called Kuku I Ka Pono for a two-year apprenticeship to learn how to make traditional Hawaiian kapa cloth. Stitt considered the opportunity to learn kapa alongside native Hawaiians an honor: “When you have a group of Hawaiians ask you to do something, you jump,” she enthuses.\u003c/p>\n\u003cp>That leap of faith has taken Stitt on an artistic and cultural journey into the world of kapa, a cultural tradition that was once lost and is still little understood. Today Stitt’s work in kapa is on exhibit in museums and galleries around and world. And her pieces are worn in important protocol ceremonies and performances in Hawaii, like the Merrie Monarch Festival, considered the Olympics of hula.\u003c/p>\n\u003cfigure id=\"attachment_10134641\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10134641 \" alt=\"Wendeanne Ke'aka Stitt moves the Kapa tradition forward by applying her experience as a master quilter to the art of Kapa making, piecing the cloth into designs such as this one.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa360.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendeanne Ke’aka Stitt moves the kapa tradition forward by applying her experience as a master quilter to the art of kapa making, piecing the cloth into designs such as this one.\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the two-year apprenticeship, Stitt accompanied Kuku I Ka Pono to Hawaii to carry out their mission, reburying ancient bones that had been disturbed by construction or repatriated by museums. Before reburying the remains, the group wrapped the bones in the kapa they made, as tradition required. Even today, Stitt says, when a Hawaiian dies, a piece of kapa cloth is draped in the coffin over the body.\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>Kapa is the traditional Hawaiian cloth made from the bark of a \u003ci>wauke\u003c/i>, or paper mulberry tree. In ancient Hawaiian times, kapa was used for everything from clothing and blankets to paying taxes and decorating temples. Kapa-making completely disappeared from Hawaiian culture around 1850, shortly after the arrival of the missionaries, who brought cheap, manufactured cloth to the islands. “The Hawaiian women were absolutely fascinated,” Stitt says. “Soon it was determined that the women no longer needed to make the kapa.”\u003c/p>\n\u003cfigure id=\"attachment_10134639\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10134639 \" alt=\"A detail view of one of Stitt's quilted kapas. Ku Hanohano ("To Stand with Integrity") is an adaptation of a traditional Hawaiian garment called a kihei. The dyes were made from California black walnut hulls and from turmeric root.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa1.jpg\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail view of one of Stitt’s quilted kapas. \u003ci>Ku Hanohano (“To Stand with Integrity”)\u003c/i> is an adaptation of a traditional Hawaiian garment called a kihei. The dyes were made from California black walnut hulls and from turmeric root.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t until the 1970s that a renaissance in kapa and other Hawaiian cultural traditions began. But puzzling out how exactly kapa was made wasn’t easy for the cloth-makers, anthropologists and historians interested in traditional Hawaiian culture, since few records were left. “The kapa makers had basically died out by the 1850s and the tools [were] ravaged and thrown out,” says Stitt. Anthropological records were sketchy at best. So a dedicated group of women like \u003ca href=\"http://www.mauimagazine.net/core/pagetools.php?pageid=11520&url=/Maui-Magazine/January-February-2008/Kapa-Fabric-of-a-Culture/&mode=print\">Pua Van Dorpe\u003c/a> (“my hero,” says Stitt) and \u003ca href=\"http://www.kapahawaii.net/storing-hawaiian-kapa/141-malia-solomon-and-the-modern-hawaiian-kapa-revival.html?tmpl=component&print=1&page=\">Malia Solomon\u003c/a> brought kapa back to life through a process of trial and error. They went to other Pacific Islands, like Tonga and Samoa, where they learned about materials and techniques. Then they came back home and adapted them to Hawaiian kapa. They also studied chants and songs which spoke of making kapa.\u003c/p>\n\u003cfigure id=\"attachment_10134640\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10134640\" alt=\"This traditional pounding tool, a replica of one from the California Academy of Sciences, was made for Stitt by a woodworker in Santa Cruz. Each side is carved with lines of varying widths. Thicker grooves are used when the kapa is heavy and dough-like, and the thin lines when the kapa is nearing its finished state.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/kapa2.jpg\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/kapa2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This traditional pounding tool, a replica of one from the California Academy of Sciences, was made for Stitt by a woodworker in Santa Cruz. Each side is carved with lines of varying widths. Thicker grooves are used when the kapa is heavy and dough-like, and the thin lines when the kapa is nearing its finished state.\u003c/figcaption>\u003c/figure>\n\u003cp>Stitt’s next project is to make traditional \u003ci>pa`u hula\u003c/i> (hula skirts) and \u003ci>malo\u003c/i> (loincloths) out of kapa for the performance of an original hula being created by the \u003ca href=\"http://www.academyofhawaiianarts.org/\">Academy of Hawaiian Arts\u003c/a>, in Oakland, with the support of the \u003ca href=\"http://creativeworkfund.org/?portfolio=wendeanne-keaka-stitt-and-academy-of-hawaiian-arts/\">Creative Work Fund\u003c/a>. Stitt will make the kapa but the women of the \u003ci>halau\u003c/i> (school) will piece together, dye and sew the costumes, in an effort to bring back the more social and communal aspects of how kapa was traditionally made.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stitt is honored to be part of a culture she so admires. “The Hawaiians were artists,” she says. “Their tools were beautiful, you know their cloth was beautiful, their tattoos, their music is beautiful.” And their way of thinking and being is as well. “You have to stay within a Hawaiian mindset when you pound kapa,” she maintains. “Which is one of humility — of being humble and of being grateful for what you’re doing. Only then,” she says, “can you pound beautiful kapa.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10134638/santa-cruz-quilter-helps-piece-together-the-lost-art-of-hawaiian-kapa","authors":["90"],"series":["arts_209"],"categories":["arts_70"],"featImg":"arts_10134641","label":"arts_209"},"arts_10134768":{"type":"posts","id":"arts_10134768","meta":{"index":"posts_1591205157","site":"arts","id":"10134768","score":null,"sort":[1395687644000]},"guestAuthors":[{"ID":"128593","displayName":"Lori Halloran","firstName":"Lori","lastName":"Halloran","userLogin":"lhalloran","userEmail":"lhalloran@KQED.org","linkedAccount":"lhalloran","website":"","description":"","userNicename":"lhalloran","type":"guest-author","nickname":""}],"slug":"comedys-worst-kept-secret-mark-pitta-friends-at-mill-valleys-throckmorton-theatre","title":"Comedy's Worst-Kept Secret: Mark Pitta & Friends at Mill Valley's Throckmorton Theatre","publishDate":1395687644,"format":"video","headTitle":"Comedy’s Worst-Kept Secret: Mark Pitta & Friends at Mill Valley’s Throckmorton Theatre | KQED","labelTerm":{"term":209,"site":"arts"},"content":"\u003cp>The Bay Area in the ’80s was a hotbed for live stand-up, with a dozen all-comedy nightclubs, including five in San Francisco alone, the city helped launch the careers of legends like Robin Williams, Ellen DeGeneres, Whoopi Goldberg, Bobcat Goldthwait, and Dana Carvey.\u003c/p>\n\u003cp>Comedian Mark Pitta also got his start in San Francisco in the ’80s, and for the past decade he’s been carrying on the Bay Area comedy tradition as the host and producer of \u003ci>Mark Pitta & Friends Tuesday Night Comedy\u003c/i> at Mill Valley’s Throckmorton Theatre. Pitta says the idea sprung out of necessity; he was fired from his gig as morning host for KTVU and needed something to do. He chose Tuesday nights because it’s a day when most comedians are in between gigs. Each week Pitta books a mix of young up-and-comers and established headliners, then serves as the “Dean Martin” of the show, warming up the audience and riffing in between acts on whatever’s on his mind.\u003c/p>\n\u003cfigure id=\"attachment_10134955\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck3.jpg\" alt=\"Comedian Cody Woods at a recent show. "The younger comics kind of get to hang out with people like Bobby Slayton and Robin Williams, as if you came up together," says Woods, who appreciates "the Throck's" support of rising talents. "So you get to talk shop with legends, and you feel a little more connected."\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Comedian Cody Woods at a recent show. “The younger comics kind of get to hang out with people like Bobby Slayton and Robin Williams, as if you came up together,” says Woods, who appreciates “the Throck’s” support of rising talents. “So you get to talk shop with legends, and you feel a little more connected.”\u003c/figcaption>\u003c/figure>\n\u003cp>Pitta’s co-producer is Lucy Mercer, the executive director and founder of the Throckmorton Theatre. She says she and Pitta make a point of never divulging the show’s lineup in advance. “I felt that if you did get a name, everybody’s going to sign up and the show’s going to sell out,” says Mercer. She wanted people to be open to the idea of the show as a whole, rather than to the idea of seeing a particular star. “We felt that if we delivered a really good show, then you would come back.”\u003c/p>\n\u003caside class=\"alignright noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-129114\">\u003c/a>\u003cbr>\n\u003c/aside>\n\u003cp>While they do offer wine and beer in the lobby, at the Throckmorton there’s no drink minimum, no wait staff, no drunken hecklers and nothing to distract from the art. Whether it’s a sketch, observational comedy, a magic act or improvised riffing between Pitta and the other comedians, each two-hour show creates intimacy between the audience and the performers.\u003c/p>\n\u003cp>Backstage, the comedians relish the opportunity to catch up with each other in a low-key setting far from the cutthroat vibe of Hollywood. Pitta says a lot of comics stop by the green room on Tuesdays even when they’re not performing, just to hang out — something that’s especially appreciated by the young comedians, who get the chance to talk shop with the stars. “When I was starting out,” says Pitta, “there were a lot of clubs in San Francisco that supported new comics.” Now, he observes, “it’s more of a business — get the butts in the seats, get somebody who’s on TV.” He’s happy that the Throckmorton has become a place that can nurture young talent.\u003c/p>\n\u003cfigure id=\"attachment_10134957\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck2.jpg\" alt=\"The Throckmorton’s intimate scale and Beaux-Arts decor help create the warm ambience that makes it a community favorite. The interior is shown here during a youth-theater production of Annie; Photo courtesy of William Binzin\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Throckmorton’s intimate scale and Beaux-Arts decor help create the warm ambience that makes it a community favorite. The interior is shown here during a youth-theater production of \u003ci>Annie\u003c/i>; Photo courtesy of William Binzin\u003c/figcaption>\u003c/figure>\n\u003cp>Because Pitta has long-standing relationships with the same comedy legends he came up with in the ’80s and ’90s, many of them perform at the “Throck” whenever they can. Robin Williams and Dana Carvey, both Marin locals, often take the stage to try out new material before they appear on late-night talk shows or head out on tour. “The Feng Shui of this theater is very positive,” says Carvey. “The room is shallow, so nobody is too far away.” Carvey relies on the Throckmorton and its supportive crowds as part of his creative process, noting that he “can really write a lot of material quickly with this theater.” Just six days after we taped his performance at the Throckmorton, national audiences of \u003ci>The Tonight Show\u003c/i> were \u003ca href=\"http://www.hulu.com/watch/589001\">treated to some of the material\u003c/a> Dana previewed in his Mill Valley appearance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now entering its tenth year, \u003ci>Mark Pitta & Friends Tuesday Night Comedy\u003c/i> has an extremely devoted fan base. One couple, Angelo and Kimberly Salarpi, haven’t missed a single Tuesday since they first tried it out nine years ago. They even credit the show with saving their marriage. “We gave up couples counseling and took up comedy instead,” says Kimberly Kenley-Salarpi. When the theater mounted a recent fundraising campaign the Salarpis paid for a chair: “We put the plaque on the back that said ‘laughter saved us.'”\u003c/p>\n\u003cfigure id=\"attachment_10134958\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck1.jpg\" alt=\"The Throckmorton, originally called the Hub Theatre, is 100 years old this year. On March 29, the historic building celebrates its centenary with a star-studded bash, which will also mark the tenth anniversary of it's reopening as a community theater. Photo courtesy of Lucretia Little History Room, Mill Valley Public Library.\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Throckmorton, originally called the Hub Theatre, is 100 years old this year. On March 29, the historic building celebrates its centenary with a \u003ca href=\"http://www.throckmortontheatre.org/event.php?eventid=2017&dateid=35649#.Uyy8rlzENg1\">star-studded bash\u003c/a>, which will also mark the tenth anniversary of it’s reopening as a community theater. Photo courtesy of Lucretia Little History Room, Mill Valley Public Library.\u003c/figcaption>\u003c/figure>\n\u003cp>The Throckmorton’s historic building dates back a full century, when it got its start in 1914 as a vaudeville and silent movie house. According to Pitta, Charlie Chaplin and Stan Laurel both performed there as part of the traveling British vaudeville troupe Fred Karno’s Company.\u003c/p>\n\u003cp>Over the decades the hall fell into neglect, deteriorating considerably until Lucy Mercer bought it in 1999 with a plan to restore it as a community theater. Since reopening in 2004, Mercer has slowly but steadily built a diverse, year-round calendar of live performance, attracting big stars like Bonnie Raitt and Woody Allen, and showcasing homegrown talent with a community chorus group, a youth theater program and free noon-time concerts. \u003c/p>\n\u003cp>Mercer likes to tell a story she read in an old newspaper article about the Mill Valley townsfolk coming down from their homes on unpaved roads with candles to see a show at the Throckmorton, then called the Hub Theatre. “And then they would trudge back to their homes with their candles,” she marvels. “You know, everybody wants that gathering together. Everybody wants that experience in a dark theater and then you go back and live your lives.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In Mill Valley today, Lucy Mercer is providing the space for those community gatherings, and every Tuesday night Mark Pitta and his friends are filling it with laughter.\u003c/p>\n\u003cfigure id=\"attachment_10134959\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throckmorton3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throckmorton3.jpg\" alt=\"Mark Pitta and Dana Carvey back when they were both coming up in the Bay Area comedy scene together; photo courtesy: Mark Pitta\" width=\"500\" height=\"267\" class=\"size-full wp-image-10134959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throckmorton3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throckmorton3-400x213.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throckmorton3-300x160.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Pitta and Dana Carvey back when they were both coming up in the Bay Area comedy scene together; photo courtesy: Mark Pitta\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Once a silent-film and vaudeville house where Charlie Chaplin performed, Mill Valley's 100-year-old Throckmorton Theatre is a local hub for live entertainment. The Throck's regular \u003ci>Mark Pitta & Friends Tuesday Night Comedy\u003c/i> is a Bay Area comedy institution with a devoted following.","status":"publish","parent":0,"modified":1705049216,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1141},"headData":{"title":"Comedy's Worst-Kept Secret: Mark Pitta & Friends at Mill Valley's Throckmorton Theatre | KQED","description":"Once a silent-film and vaudeville house where Charlie Chaplin performed, Mill Valley's 100-year-old Throckmorton Theatre is a local hub for live entertainment. The Throck's regular Mark Pitta & Friends Tuesday Night Comedy is a Bay Area comedy institution with a devoted following.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Comedy's Worst-Kept Secret: Mark Pitta & Friends at Mill Valley's Throckmorton Theatre","datePublished":"2014-03-24T19:00:44.000Z","dateModified":"2024-01-12T08:46:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/2e-7lm28lbs","sticky":false,"path":"/arts/10134768/comedys-worst-kept-secret-mark-pitta-friends-at-mill-valleys-throckmorton-theatre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area in the ’80s was a hotbed for live stand-up, with a dozen all-comedy nightclubs, including five in San Francisco alone, the city helped launch the careers of legends like Robin Williams, Ellen DeGeneres, Whoopi Goldberg, Bobcat Goldthwait, and Dana Carvey.\u003c/p>\n\u003cp>Comedian Mark Pitta also got his start in San Francisco in the ’80s, and for the past decade he’s been carrying on the Bay Area comedy tradition as the host and producer of \u003ci>Mark Pitta & Friends Tuesday Night Comedy\u003c/i> at Mill Valley’s Throckmorton Theatre. Pitta says the idea sprung out of necessity; he was fired from his gig as morning host for KTVU and needed something to do. He chose Tuesday nights because it’s a day when most comedians are in between gigs. Each week Pitta books a mix of young up-and-comers and established headliners, then serves as the “Dean Martin” of the show, warming up the audience and riffing in between acts on whatever’s on his mind.\u003c/p>\n\u003cfigure id=\"attachment_10134955\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck3.jpg\" alt=\"Comedian Cody Woods at a recent show. "The younger comics kind of get to hang out with people like Bobby Slayton and Robin Williams, as if you came up together," says Woods, who appreciates "the Throck's" support of rising talents. "So you get to talk shop with legends, and you feel a little more connected."\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Comedian Cody Woods at a recent show. “The younger comics kind of get to hang out with people like Bobby Slayton and Robin Williams, as if you came up together,” says Woods, who appreciates “the Throck’s” support of rising talents. “So you get to talk shop with legends, and you feel a little more connected.”\u003c/figcaption>\u003c/figure>\n\u003cp>Pitta’s co-producer is Lucy Mercer, the executive director and founder of the Throckmorton Theatre. She says she and Pitta make a point of never divulging the show’s lineup in advance. “I felt that if you did get a name, everybody’s going to sign up and the show’s going to sell out,” says Mercer. She wanted people to be open to the idea of the show as a whole, rather than to the idea of seeing a particular star. “We felt that if we delivered a really good show, then you would come back.”\u003c/p>\n\u003caside class=\"alignright noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-129114\">\u003c/a>\u003cbr>\n\u003c/aside>\n\u003cp>While they do offer wine and beer in the lobby, at the Throckmorton there’s no drink minimum, no wait staff, no drunken hecklers and nothing to distract from the art. Whether it’s a sketch, observational comedy, a magic act or improvised riffing between Pitta and the other comedians, each two-hour show creates intimacy between the audience and the performers.\u003c/p>\n\u003cp>Backstage, the comedians relish the opportunity to catch up with each other in a low-key setting far from the cutthroat vibe of Hollywood. Pitta says a lot of comics stop by the green room on Tuesdays even when they’re not performing, just to hang out — something that’s especially appreciated by the young comedians, who get the chance to talk shop with the stars. “When I was starting out,” says Pitta, “there were a lot of clubs in San Francisco that supported new comics.” Now, he observes, “it’s more of a business — get the butts in the seats, get somebody who’s on TV.” He’s happy that the Throckmorton has become a place that can nurture young talent.\u003c/p>\n\u003cfigure id=\"attachment_10134957\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck2.jpg\" alt=\"The Throckmorton’s intimate scale and Beaux-Arts decor help create the warm ambience that makes it a community favorite. The interior is shown here during a youth-theater production of Annie; Photo courtesy of William Binzin\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Throckmorton’s intimate scale and Beaux-Arts decor help create the warm ambience that makes it a community favorite. The interior is shown here during a youth-theater production of \u003ci>Annie\u003c/i>; Photo courtesy of William Binzin\u003c/figcaption>\u003c/figure>\n\u003cp>Because Pitta has long-standing relationships with the same comedy legends he came up with in the ’80s and ’90s, many of them perform at the “Throck” whenever they can. Robin Williams and Dana Carvey, both Marin locals, often take the stage to try out new material before they appear on late-night talk shows or head out on tour. “The Feng Shui of this theater is very positive,” says Carvey. “The room is shallow, so nobody is too far away.” Carvey relies on the Throckmorton and its supportive crowds as part of his creative process, noting that he “can really write a lot of material quickly with this theater.” Just six days after we taped his performance at the Throckmorton, national audiences of \u003ci>The Tonight Show\u003c/i> were \u003ca href=\"http://www.hulu.com/watch/589001\">treated to some of the material\u003c/a> Dana previewed in his Mill Valley appearance.\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>Now entering its tenth year, \u003ci>Mark Pitta & Friends Tuesday Night Comedy\u003c/i> has an extremely devoted fan base. One couple, Angelo and Kimberly Salarpi, haven’t missed a single Tuesday since they first tried it out nine years ago. They even credit the show with saving their marriage. “We gave up couples counseling and took up comedy instead,” says Kimberly Kenley-Salarpi. When the theater mounted a recent fundraising campaign the Salarpis paid for a chair: “We put the plaque on the back that said ‘laughter saved us.'”\u003c/p>\n\u003cfigure id=\"attachment_10134958\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throck1.jpg\" alt=\"The Throckmorton, originally called the Hub Theatre, is 100 years old this year. On March 29, the historic building celebrates its centenary with a star-studded bash, which will also mark the tenth anniversary of it's reopening as a community theater. Photo courtesy of Lucretia Little History Room, Mill Valley Public Library.\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throck1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Throckmorton, originally called the Hub Theatre, is 100 years old this year. On March 29, the historic building celebrates its centenary with a \u003ca href=\"http://www.throckmortontheatre.org/event.php?eventid=2017&dateid=35649#.Uyy8rlzENg1\">star-studded bash\u003c/a>, which will also mark the tenth anniversary of it’s reopening as a community theater. Photo courtesy of Lucretia Little History Room, Mill Valley Public Library.\u003c/figcaption>\u003c/figure>\n\u003cp>The Throckmorton’s historic building dates back a full century, when it got its start in 1914 as a vaudeville and silent movie house. According to Pitta, Charlie Chaplin and Stan Laurel both performed there as part of the traveling British vaudeville troupe Fred Karno’s Company.\u003c/p>\n\u003cp>Over the decades the hall fell into neglect, deteriorating considerably until Lucy Mercer bought it in 1999 with a plan to restore it as a community theater. Since reopening in 2004, Mercer has slowly but steadily built a diverse, year-round calendar of live performance, attracting big stars like Bonnie Raitt and Woody Allen, and showcasing homegrown talent with a community chorus group, a youth theater program and free noon-time concerts. \u003c/p>\n\u003cp>Mercer likes to tell a story she read in an old newspaper article about the Mill Valley townsfolk coming down from their homes on unpaved roads with candles to see a show at the Throckmorton, then called the Hub Theatre. “And then they would trudge back to their homes with their candles,” she marvels. “You know, everybody wants that gathering together. Everybody wants that experience in a dark theater and then you go back and live your lives.”\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>In Mill Valley today, Lucy Mercer is providing the space for those community gatherings, and every Tuesday night Mark Pitta and his friends are filling it with laughter.\u003c/p>\n\u003cfigure id=\"attachment_10134959\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throckmorton3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/throckmorton3.jpg\" alt=\"Mark Pitta and Dana Carvey back when they were both coming up in the Bay Area comedy scene together; photo courtesy: Mark Pitta\" width=\"500\" height=\"267\" class=\"size-full wp-image-10134959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throckmorton3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throckmorton3-400x213.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/throckmorton3-300x160.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Pitta and Dana Carvey back when they were both coming up in the Bay Area comedy scene together; photo courtesy: Mark Pitta\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10134768/comedys-worst-kept-secret-mark-pitta-friends-at-mill-valleys-throckmorton-theatre","authors":["128593"],"series":["arts_209"],"categories":["arts_1003"],"featImg":"arts_10134953","label":"arts_209"},"arts_128439":{"type":"posts","id":"arts_128439","meta":{"index":"posts_1591205157","site":"arts","id":"128439","score":null,"sort":[1395320451000]},"guestAuthors":[],"slug":"silicon-valley-businesswoman-builds-a-future-for-ancient-arts","title":"Silicon Valley Businesswoman Builds a Future for Ancient Arts","publishDate":1395320451,"format":"video","headTitle":"Silicon Valley Businesswoman Builds a Future for Ancient Arts | KQED","labelTerm":{"term":209,"site":"arts"},"content":"\u003cp>Late one evening recently, I drove to a shopping center in San Jose’s West Valley district to scout a story for KQED’s multimedia arts series \u003ca href=\"http://www.kqed.org/arts/cultureandcommunity/\">Culture Creates Community\u003c/a>. I was there to meet Ann Woo, the executive director of \u003ca href=\"http://www.chineseperformingarts.org/\">Chinese Performing Arts of America\u003c/a>.\u003c/p>\n\u003cp>It was 7:30 on a Sunday night. So when I opened the door to an innocuous strip-mall building, the jangle of activity that greeted me was quite a surprise.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>Just inside the door to the left, a group of women in a small studio were stretching at a ballet barre. Straight ahead was a stage where a wild-eyed magician with a handlebar mustache practiced his act with two assistants. On the main floor a small group of Chinese women danced in a circle, some of them doing tricks with large silk fans. Through an upstairs studio window I noticed a group of young women dancing to Indian music. A few children ran by. And somewhere off in the distance, I could hear what sounded a lot like the \u003ci>Phantom of the Opera\u003c/i>.\u003c/p>\n\u003cp>It seemed that every corner of this 14,000 square-foot studio was bursting with the sights and sounds of a different culture and art form. As I would soon learn, this suburban multicultural maelstrom is the creation of one passionate woman.\u003c/p>\n\u003cp>Originally from China, Ann Woo immigrated to San Francisco with her family when she was 14. It was only after she arrived here that she and a group of friends began learning traditional Chinese folk and classical dances. “At that time, there were no professional teachers,” she remembers. “We learned from books. The dances we learned were from so-called Red China.” Despite a brief run-in with the FBI, which deemed the dances too “pro-Chinese,” she continued to perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through her dancing, Ann found a connection both to her homeland and to other Chinese immigrants. But life here wasn’t easy. “When we went to school,” Woo remembers, “we couldn’t read any books. The only book I could read is math. So I fell in love with math.”\u003c/p>\n\u003cp>With her aptitude for numbers, Woo went on to major in electronic engineering at UC Berkeley, where she was the only woman in her class of 120 students. At the time it was extremely rare for a woman to be in that field at all; there wasn’t even a women’s restroom in the engineering building.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Ann Woo demonstrates a dance move for students. Woo founded Chinese Performing Arts of America 23 years ago. Today its ten studios and four youth programs serve some 1,500 musicians, martial artists and dancers. Photo credit: Mike Elwell\" src=\"http://u.s.kqed.net/2014/03/18/ccanndemo.jpg\" width=\"500\" height=\"281\">\u003cfigcaption class=\"wp-caption-text\">Ann Woo demonstrates a dance move for students. Woo founded Chinese Performing Arts of America 23 years ago. Today its ten studios and four youth programs serve some 1,500 musicians, martial artists and dancers. Photo credit: Mike Elwell\u003c/figcaption>\u003c/figure>\n\u003cp>After graduating and landing a job in her field, Woo continued to dance. “I have never stopped,” she says. “Even when I went to college, when I got married, when I was doing the electronic engineering, I never stop. When I got a job in Silicon Valley, before every weekend, I went back to San Francisco to dance.”\u003c/p>\n\u003cp>By 1991, Woo had been working for nearly 30 years as an electronic design engineer. She’d earned nine patents and had more than $2 million dollars in the bank. But something was missing.\u003c/p>\n\u003cp>She asked herself, “If I die now, who’s going to use my $2 million? I don’t want anybody else to use my $2 million. I want to use my money!” Woo wanted to try something new — and to work with younger generations. “The only thing else I know is Chinese dance. So that’s how I start Chinese Performing Arts of America.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Ballet dancer Yalu Sun prepares for her performance as the Nightingale in CPAA's big annual fund raiser. Chinese Performing Arts of America has a professional dance company in addition to a dance accademy. Photo credit: Mike Elwell\" src=\"http://u.s.kqed.net/2014/03/18/ccmakeup.jpg\" width=\"500\" height=\"281\">\u003cfigcaption class=\"wp-caption-text\">Ballet dancer Yalu Sun prepares for her performance as the Nightingale in CPAA’s big annual fund raiser. Chinese Performing Arts of America has a professional dance company in addition to a dance accademy. Photo credit: Mike Elwell\u003c/figcaption>\u003c/figure>\n\u003cp>Today, 23 years later, Chinese Performing Arts of America is a professional Chinese dance company, an art education center with four youth programs — dance, orchestra, choir and a Chinese after school program — and a thriving multicultural arts incubator (the International Performing Arts Center) that provides a platform for traditional and contemporary performing artists to create and perform new works every year.\u003c/p>\n\u003cp>And after investing much of her fortune into CPAA, these days Woo is doing whatever she can to make it profitable and to provide income opportunities for the professional dancers in her company. To do this, she draws on both her experience as a dancer as well as her years in the high-tech industry. “I learned so much from the Silicon Valley,” she remembers. “Teamwork, imagination, creativity, and how to service my customer. I learned that the way to compete with others is that you have not just to serve what the customer wants; you have to serve beyond their expectation.”\u003c/p>\n\u003cp>Ann Woo is a tireless and fervent champion of the arts and she’s on a mission to convince Silicon Valley entrepreneurs that even the wealthiest communities are underprivileged if they don’t also develop and support their artists.\u003c/p>\n\u003cp>“I think technology in Silicon Valley is the hardware — I mean in their terms,” she philosophizes. “And art is the software. Hardware without software is dumb. If you don’t have culture and art, then you are just like any other animal.”\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" width=\"125\">\u003cbr>\n\u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n","blocks":[],"excerpt":"Two decades ago former electronics engineer Ann Woo founded Chinese Performing Arts of America in San Jose to hand down the Chinese culture she loves. Today the organization Is a professional performing troupe, an arts-education center and a thriving multicultural arts incubator that provides a platform for traditional and contemporary artists to create new works every year.","status":"publish","parent":0,"modified":1705049228,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":956},"headData":{"title":"Silicon Valley Businesswoman Builds a Future for Ancient Arts | KQED","description":"Two decades ago former electronics engineer Ann Woo founded Chinese Performing Arts of America in San Jose to hand down the Chinese culture she loves. Today the organization Is a professional performing troupe, an arts-education center and a thriving multicultural arts incubator that provides a platform for traditional and contemporary artists to create new works every year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Silicon Valley Businesswoman Builds a Future for Ancient Arts","datePublished":"2014-03-20T13:00:51.000Z","dateModified":"2024-01-12T08:47:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/S219hCL9-QU","sticky":false,"nprByline":"Amy Miller","path":"/arts/128439/silicon-valley-businesswoman-builds-a-future-for-ancient-arts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late one evening recently, I drove to a shopping center in San Jose’s West Valley district to scout a story for KQED’s multimedia arts series \u003ca href=\"http://www.kqed.org/arts/cultureandcommunity/\">Culture Creates Community\u003c/a>. I was there to meet Ann Woo, the executive director of \u003ca href=\"http://www.chineseperformingarts.org/\">Chinese Performing Arts of America\u003c/a>.\u003c/p>\n\u003cp>It was 7:30 on a Sunday night. So when I opened the door to an innocuous strip-mall building, the jangle of activity that greeted me was quite a surprise.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>Just inside the door to the left, a group of women in a small studio were stretching at a ballet barre. Straight ahead was a stage where a wild-eyed magician with a handlebar mustache practiced his act with two assistants. On the main floor a small group of Chinese women danced in a circle, some of them doing tricks with large silk fans. Through an upstairs studio window I noticed a group of young women dancing to Indian music. A few children ran by. And somewhere off in the distance, I could hear what sounded a lot like the \u003ci>Phantom of the Opera\u003c/i>.\u003c/p>\n\u003cp>It seemed that every corner of this 14,000 square-foot studio was bursting with the sights and sounds of a different culture and art form. As I would soon learn, this suburban multicultural maelstrom is the creation of one passionate woman.\u003c/p>\n\u003cp>Originally from China, Ann Woo immigrated to San Francisco with her family when she was 14. It was only after she arrived here that she and a group of friends began learning traditional Chinese folk and classical dances. “At that time, there were no professional teachers,” she remembers. “We learned from books. The dances we learned were from so-called Red China.” Despite a brief run-in with the FBI, which deemed the dances too “pro-Chinese,” she continued to perform.\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>Through her dancing, Ann found a connection both to her homeland and to other Chinese immigrants. But life here wasn’t easy. “When we went to school,” Woo remembers, “we couldn’t read any books. The only book I could read is math. So I fell in love with math.”\u003c/p>\n\u003cp>With her aptitude for numbers, Woo went on to major in electronic engineering at UC Berkeley, where she was the only woman in her class of 120 students. At the time it was extremely rare for a woman to be in that field at all; there wasn’t even a women’s restroom in the engineering building.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Ann Woo demonstrates a dance move for students. Woo founded Chinese Performing Arts of America 23 years ago. Today its ten studios and four youth programs serve some 1,500 musicians, martial artists and dancers. Photo credit: Mike Elwell\" src=\"http://u.s.kqed.net/2014/03/18/ccanndemo.jpg\" width=\"500\" height=\"281\">\u003cfigcaption class=\"wp-caption-text\">Ann Woo demonstrates a dance move for students. Woo founded Chinese Performing Arts of America 23 years ago. Today its ten studios and four youth programs serve some 1,500 musicians, martial artists and dancers. Photo credit: Mike Elwell\u003c/figcaption>\u003c/figure>\n\u003cp>After graduating and landing a job in her field, Woo continued to dance. “I have never stopped,” she says. “Even when I went to college, when I got married, when I was doing the electronic engineering, I never stop. When I got a job in Silicon Valley, before every weekend, I went back to San Francisco to dance.”\u003c/p>\n\u003cp>By 1991, Woo had been working for nearly 30 years as an electronic design engineer. She’d earned nine patents and had more than $2 million dollars in the bank. But something was missing.\u003c/p>\n\u003cp>She asked herself, “If I die now, who’s going to use my $2 million? I don’t want anybody else to use my $2 million. I want to use my money!” Woo wanted to try something new — and to work with younger generations. “The only thing else I know is Chinese dance. So that’s how I start Chinese Performing Arts of America.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Ballet dancer Yalu Sun prepares for her performance as the Nightingale in CPAA's big annual fund raiser. Chinese Performing Arts of America has a professional dance company in addition to a dance accademy. Photo credit: Mike Elwell\" src=\"http://u.s.kqed.net/2014/03/18/ccmakeup.jpg\" width=\"500\" height=\"281\">\u003cfigcaption class=\"wp-caption-text\">Ballet dancer Yalu Sun prepares for her performance as the Nightingale in CPAA’s big annual fund raiser. Chinese Performing Arts of America has a professional dance company in addition to a dance accademy. Photo credit: Mike Elwell\u003c/figcaption>\u003c/figure>\n\u003cp>Today, 23 years later, Chinese Performing Arts of America is a professional Chinese dance company, an art education center with four youth programs — dance, orchestra, choir and a Chinese after school program — and a thriving multicultural arts incubator (the International Performing Arts Center) that provides a platform for traditional and contemporary performing artists to create and perform new works every year.\u003c/p>\n\u003cp>And after investing much of her fortune into CPAA, these days Woo is doing whatever she can to make it profitable and to provide income opportunities for the professional dancers in her company. To do this, she draws on both her experience as a dancer as well as her years in the high-tech industry. “I learned so much from the Silicon Valley,” she remembers. “Teamwork, imagination, creativity, and how to service my customer. I learned that the way to compete with others is that you have not just to serve what the customer wants; you have to serve beyond their expectation.”\u003c/p>\n\u003cp>Ann Woo is a tireless and fervent champion of the arts and she’s on a mission to convince Silicon Valley entrepreneurs that even the wealthiest communities are underprivileged if they don’t also develop and support their artists.\u003c/p>\n\u003cp>“I think technology in Silicon Valley is the hardware — I mean in their terms,” she philosophizes. “And art is the software. Hardware without software is dumb. If you don’t have culture and art, then you are just like any other animal.”\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" width=\"125\">\u003cbr>\n\u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/128439/silicon-valley-businesswoman-builds-a-future-for-ancient-arts","authors":["byline_arts_128439"],"series":["arts_209"],"categories":["arts_1003"],"featImg":"arts_10134647","label":"arts_209"}},"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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","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. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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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One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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