Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance.
The Webby Award-winning series If Cities Could Dance features dancers from Minneapolis, Memphis, Seattle, Chicago, Fresno, Miami, Oakland and many other cities across the United States.
Five Dance Films to Celebrate Latinx Heritage Month
Follow a Capoeirista’s Journey From the Bay Area to Brazil
Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira
A Queer Dance Love Story: How This Non-Binary Couple Leads—and Follows—in Salsa
Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities
Lindy Hop Dancers Bring Back the Roots of this Black American Dance
Indigenous Enterprise Brings Powwow Dancing to the World Stage
In Tucson, Latinx Dancers Honor Migrant Stories From the Borderlands
Meet Women Drummers Keeping the Japanese Art of Taiko Strong
Black Ice Skating Legends Inspire Today’s Olympic Hopefuls
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And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Follow a Capoeirista’s Journey From the Bay Area to Brazil",
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"content": "\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When capoeirista Ricky Lawson II teaches new students in the Afro-Brazilian art form of capoeira, he often speaks about the deep spiritual energy in capoeira’s birthplace—Salvador, Bahia.\u003c/p>\n\u003cp>“It’s an ancestral energy, and it’s seen and felt and heard in the music, the songs that we sing, and in the movement. People who are more connected, when they move, they move from the soul,” says the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>, who has trained thousands of students in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13918829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg\" alt=\"A group of capoeiristas are playing in the circle on a beach in Salvador, Brazil.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Capoeiristas play in the roda at the Ribeira Beach in Salvador, Brazil. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson, better known as Malandro in the Bay Area capoeira community, has traveled to Bahia nearly a dozen times since he began training more than 20 years ago in the art form that combines elements of martial arts, dance, music, philosophy and history. Each trip has deepened his practice and relationships with some of capoeira’s most important tradition bearers, including Mestre Nenel, the son of the late Mestre Bimba, who is considered the king of capoeira and helped bring it back from near extinction.\u003c/p>\n\u003cfigure id=\"attachment_13918827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg\" alt=\"A group of people are playing capoeira in a small room indoors.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malandro plays in the roda with Mestra Preguiça (right), the first and only woman to earn the white scarf — the highest level of achievement in Capoeira Regional. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enslaved Africans in Brazil developed capoeira, and the art form has evolved and survived through the generations, despite attempts over the years to outlaw and eliminate the practice after the abolition of slavery in 1888. Today one of the main lineages practiced is called Capoeira Regional, created by Mestre Bimba.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch Malandro on a recent trip to the mecca of capoeira and experience what’s considered the most African city outside of the continent, including scenes from one of Salvador’s historic districts, the Pelourinho, and a roda (circle) of capoeiristas playing at the idyllic Ribeira Beach. Learn more about the origins of the art form from the direct descendants of Mestre Bimba, culture keepers who continue to protect both his legacy and the art form he championed.\u003c/p>\n\u003cp>\u003cem>Check out part one of this special two-part installment exploring how the Bay Area became a West Coast hub for capoeira and why If Cities Could Dance Producer Chinwe Oniah thinks more Black Americans should try it.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why More Black Americans Should Try Capoeira | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XFkbU9iGwUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When capoeirista Ricky Lawson II teaches new students in the Afro-Brazilian art form of capoeira, he often speaks about the deep spiritual energy in capoeira’s birthplace—Salvador, Bahia.\u003c/p>\n\u003cp>“It’s an ancestral energy, and it’s seen and felt and heard in the music, the songs that we sing, and in the movement. People who are more connected, when they move, they move from the soul,” says the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>, who has trained thousands of students in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13918829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg\" alt=\"A group of capoeiristas are playing in the circle on a beach in Salvador, Brazil.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Capoeiristas play in the roda at the Ribeira Beach in Salvador, Brazil. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson, better known as Malandro in the Bay Area capoeira community, has traveled to Bahia nearly a dozen times since he began training more than 20 years ago in the art form that combines elements of martial arts, dance, music, philosophy and history. Each trip has deepened his practice and relationships with some of capoeira’s most important tradition bearers, including Mestre Nenel, the son of the late Mestre Bimba, who is considered the king of capoeira and helped bring it back from near extinction.\u003c/p>\n\u003cfigure id=\"attachment_13918827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg\" alt=\"A group of people are playing capoeira in a small room indoors.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malandro plays in the roda with Mestra Preguiça (right), the first and only woman to earn the white scarf — the highest level of achievement in Capoeira Regional. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enslaved Africans in Brazil developed capoeira, and the art form has evolved and survived through the generations, despite attempts over the years to outlaw and eliminate the practice after the abolition of slavery in 1888. Today one of the main lineages practiced is called Capoeira Regional, created by Mestre Bimba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch Malandro on a recent trip to the mecca of capoeira and experience what’s considered the most African city outside of the continent, including scenes from one of Salvador’s historic districts, the Pelourinho, and a roda (circle) of capoeiristas playing at the idyllic Ribeira Beach. Learn more about the origins of the art form from the direct descendants of Mestre Bimba, culture keepers who continue to protect both his legacy and the art form he championed.\u003c/p>\n\u003cp>\u003cem>Check out part one of this special two-part installment exploring how the Bay Area became a West Coast hub for capoeira and why If Cities Could Dance Producer Chinwe Oniah thinks more Black Americans should try it.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why More Black Americans Should Try Capoeira | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XFkbU9iGwUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira",
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"content": "\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/XFkbU9iGwUQ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>I first became aware of capoeira at a young age, through Eddy Gordo in the video game \u003cem>Tekken\u003c/em>, and I instantly knew it was for me. Gordo’s maneuvers were like nothing I’d ever seen before, and his movement captivated me. A Black man with locs, wasting these other martial artists with this half-dance, half-fight? Little Nigerian me was in awe.\u003c/p>\n\u003cp>Decades later, I finally took a capoeira class at a friend’s invitation and was instantly hooked. It felt less like a fitness class, and more like reconnecting with a way of living that I’d become lost from.\u003c/p>\n\u003cp>Along my capoeira journey, two major things have stuck out to me. One, I’m usually the only Black girl in a class for an explicitly African-derived art form. And two, I can’t believe capoeira has been so close to me for so long, and that I never knew.\u003c/p>\n\u003cfigure id=\"attachment_13917998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg\" alt=\"A woman is practicing a capoeira move similar to breakdancing on a golden field in front of the bay in Berkeley, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Oniah at the César Chávez Park in Berkeley, CA on May 27, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often described as a dance-like fight—or a fight-like dance—capoeira is an Afro-Brazilian art form that combines several elements: dance, martial arts, music, spirituality, history and philosophy. Some elements of breakdancing are said to come from the acrobatic moves found in capoeira.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People have described capoeira to me as a martial art, and people have described capoeira to me as a dance. I think overall, capoeira changes on the necessity of the person,” says Ricky Lawson II, the Bay Area professor with whom I’ve trained for three years. Better known as Malandro, he’s the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>. A notable figure with over 20 years as a professor in the local capoeira scene, Malandro is part of a long line of capoeiristas from across the country and Brazil who’ve come to the Bay Area for capoeira.\u003c/p>\n\u003cfigure id=\"attachment_13917986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg\" alt=\"A group of men is standing on a field and is about to play capoeira.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Lawson II (pictured on the left), better known as Malandro, is the founder of Filhos de Bimba Escola de Capoeira, Bay Area. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Capoeira is all over the world, and its story in the United States begins in two places. One is New York. The other is the Bay Area, which became a major hub for capoeira due to the work of Ubirajara Almeida, better known as Mestre Acordeon. From Bahia, Brazil, the birthplace of the art form, he’s widely known to be the first capoeira master to bring capoeira to the States.\u003c/p>\n\u003cp>“When I came here, there was a lot of people that had ideas about capoeira,” said Mestre Acordeon. “I [had] a whole bunch of friends that [were] enchanted with capoeira, because it is the one art that is not only fight—it’s a fight, it’s a dance, it’s music, all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13917989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg\" alt=\"An older man with a white beard and mustache is looking into the camera while playing the berimbau.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ubirajara Almeida, better known as Mestre Acordeon, is widely known to be the first capoeira master to bring capoeira to the United States. \u003ccite>(Shaandiin Tome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was initially drawn to capoeira’s martial arts and self-defense elements, but it quickly developed into something greater. It was a return to form, a return to self. It surprises me that more Black people haven’t found interest in capoeira. To be clear, it’s a beautiful art form for everyone, no matter one’s age or walk of life. But capoeira is firmly part of Black people’s cultural legacy, and one that continues to thrive centuries after its beginnings.\u003c/p>\n\u003cp>As a producer for \u003cem>If Cities Could Dance\u003c/em>, I help others tell their stories. But for this episode, I’ve stepped in front of the camera to share my journey in capoeira. Along with Malandro, and featuring music from Mestre Acordeon, we hit some popular places around the East Bay to play capoeira, like Lake Merritt and Linden Park. You’ll even see some of the next generation of young Bay Area capoeira practitioners.\u003c/p>\n\u003cp>Be sure to \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">tune back in for a follow-up episode\u003c/a> on Wednesday, Sept. 7, when Malandro and I travel to Bahia to meet one of the original tradition-bearing Bahian families of capoeira.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/XFkbU9iGwUQ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>I first became aware of capoeira at a young age, through Eddy Gordo in the video game \u003cem>Tekken\u003c/em>, and I instantly knew it was for me. Gordo’s maneuvers were like nothing I’d ever seen before, and his movement captivated me. A Black man with locs, wasting these other martial artists with this half-dance, half-fight? Little Nigerian me was in awe.\u003c/p>\n\u003cp>Decades later, I finally took a capoeira class at a friend’s invitation and was instantly hooked. It felt less like a fitness class, and more like reconnecting with a way of living that I’d become lost from.\u003c/p>\n\u003cp>Along my capoeira journey, two major things have stuck out to me. One, I’m usually the only Black girl in a class for an explicitly African-derived art form. And two, I can’t believe capoeira has been so close to me for so long, and that I never knew.\u003c/p>\n\u003cfigure id=\"attachment_13917998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg\" alt=\"A woman is practicing a capoeira move similar to breakdancing on a golden field in front of the bay in Berkeley, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Oniah at the César Chávez Park in Berkeley, CA on May 27, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often described as a dance-like fight—or a fight-like dance—capoeira is an Afro-Brazilian art form that combines several elements: dance, martial arts, music, spirituality, history and philosophy. Some elements of breakdancing are said to come from the acrobatic moves found in capoeira.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People have described capoeira to me as a martial art, and people have described capoeira to me as a dance. I think overall, capoeira changes on the necessity of the person,” says Ricky Lawson II, the Bay Area professor with whom I’ve trained for three years. Better known as Malandro, he’s the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>. A notable figure with over 20 years as a professor in the local capoeira scene, Malandro is part of a long line of capoeiristas from across the country and Brazil who’ve come to the Bay Area for capoeira.\u003c/p>\n\u003cfigure id=\"attachment_13917986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg\" alt=\"A group of men is standing on a field and is about to play capoeira.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Lawson II (pictured on the left), better known as Malandro, is the founder of Filhos de Bimba Escola de Capoeira, Bay Area. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Capoeira is all over the world, and its story in the United States begins in two places. One is New York. The other is the Bay Area, which became a major hub for capoeira due to the work of Ubirajara Almeida, better known as Mestre Acordeon. From Bahia, Brazil, the birthplace of the art form, he’s widely known to be the first capoeira master to bring capoeira to the States.\u003c/p>\n\u003cp>“When I came here, there was a lot of people that had ideas about capoeira,” said Mestre Acordeon. “I [had] a whole bunch of friends that [were] enchanted with capoeira, because it is the one art that is not only fight—it’s a fight, it’s a dance, it’s music, all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13917989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg\" alt=\"An older man with a white beard and mustache is looking into the camera while playing the berimbau.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ubirajara Almeida, better known as Mestre Acordeon, is widely known to be the first capoeira master to bring capoeira to the United States. \u003ccite>(Shaandiin Tome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was initially drawn to capoeira’s martial arts and self-defense elements, but it quickly developed into something greater. It was a return to form, a return to self. It surprises me that more Black people haven’t found interest in capoeira. To be clear, it’s a beautiful art form for everyone, no matter one’s age or walk of life. But capoeira is firmly part of Black people’s cultural legacy, and one that continues to thrive centuries after its beginnings.\u003c/p>\n\u003cp>As a producer for \u003cem>If Cities Could Dance\u003c/em>, I help others tell their stories. But for this episode, I’ve stepped in front of the camera to share my journey in capoeira. Along with Malandro, and featuring music from Mestre Acordeon, we hit some popular places around the East Bay to play capoeira, like Lake Merritt and Linden Park. You’ll even see some of the next generation of young Bay Area capoeira practitioners.\u003c/p>\n\u003cp>Be sure to \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">tune back in for a follow-up episode\u003c/a> on Wednesday, Sept. 7, when Malandro and I travel to Bahia to meet one of the original tradition-bearing Bahian families of capoeira.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n",
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"excerpt": "As anti-trans attacks escalate, an audacious dance work encourages LGBTQ+ people to claim their right to a life they love.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The jazz band is swinging hard as two Black dancers Charleston in the middle of a jam. The crowd roars as one kicks wildly in every direction and then drops into a jazz split. This isn’t 1922—it’s May 2022 in Harlem, New York.\u003c/p>\n\u003cp>“I feel called to learn more about these traditions,” says Tyedric Hill. “I do a lot to make it visible—making Black people aware that there is a history of theirs that is worth learning about and being proud of.” Hill is a Columbus, Ohio-based practitioner of Lindy Hop, an energetic, joyful dance that was born in Harlem in the 1920s.\u003c/p>\n\u003cp>Today, Lindy Hop is a global phenomenon with dance communities in places like Stockholm, Seoul and San Francisco. Much of that popularity can be traced back to a swing craze in the 1990s, fueled by movies like \u003ci>\u003cspan style=\"font-weight: 400\">Swingers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swing Kids\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XJ735krOiPo\">\u003cspan style=\"font-weight: 400\">a Gap clothing ad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring mostly white dancers jitterbugging in khakis. In popular media, the dance has been largely represented by white and non-Black dancers, obscuring its beginnings as a Black art form.\u003c/span>\u003c/p>\n\u003cp>But in recent years, an intergenerational group of Black dancers, through efforts like the \u003ca href=\"https://blacklindyhoppersfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black Lindy Hoppers Fund\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, have been fighting to ensure that their history and continued participation in this dance is \u003c/span>\u003ca href=\"https://www.npr.org/2021/12/22/1066965712/may-we-have-this-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">recognized and honored\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Whiteys-800x606.jpg\" alt=\"\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1536x1163.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-2048x1551.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1920x1454.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitey’s Lindy Hoppers was a professional group of exceptional dancers who formed in the 1920s at the Savoy Ballroom in Harlem, New York. \u003ccite>(Courtesy the Frankie Manning Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lindy Hop emerged as part of the 1918–1930s explosion of Black artistic creativity dubbed the “Harlem Renaissance.” \u003c/span>\u003cspan style=\"font-weight: 400\">Musical legends Duke Ellington, Count Basie, and Ella Fitzgerald helped create the era’s soundtrack.\u003c/span> \u003cspan style=\"font-weight: 400\">New York may have been the center of activity, but Black musicians, dancers, authors, poets and artists were producing incredible work from urban centers all over the United States. Columbus, particularly the King-Lincoln Bronzeville neighborhood, was one of those hubs, where theaters, jazz clubs and other Black-owned businesses flourished.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Lindy Hop was born out of the popular music of the time – swing jazz – and created by Black dancers who fused older dance traditions like the Black Bottom, the Breakaway, the Charleston and European partnered dances. These innovators also added their own unique styling and steps, such as the now iconic “airsteps” where one dancer propels their partner high into the air.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Tyedric Hill and his dance partner Shannon Varner swing out in Columbus, Ohio. Then we travel with them to New York City for the \u003c/span>\u003ca href=\"http://ilhc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">International Lindy Hop Championships\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where the best of the best from all over the world compete and celebrate this quintessentially American dance. –\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Text by Rik Panganiban, editor-in-chief of \u003ca href=\"http://www.yehoodi.com\">Yehoodi.com,\u003c/a>\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\"> dedicated to all things Lindy Hop, swing dancing and swing jazz.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "After decades of white appropriation, dancers are reimagining the Lindy Hop scene to center Blackness.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The jazz band is swinging hard as two Black dancers Charleston in the middle of a jam. The crowd roars as one kicks wildly in every direction and then drops into a jazz split. This isn’t 1922—it’s May 2022 in Harlem, New York.\u003c/p>\n\u003cp>“I feel called to learn more about these traditions,” says Tyedric Hill. “I do a lot to make it visible—making Black people aware that there is a history of theirs that is worth learning about and being proud of.” Hill is a Columbus, Ohio-based practitioner of Lindy Hop, an energetic, joyful dance that was born in Harlem in the 1920s.\u003c/p>\n\u003cp>Today, Lindy Hop is a global phenomenon with dance communities in places like Stockholm, Seoul and San Francisco. Much of that popularity can be traced back to a swing craze in the 1990s, fueled by movies like \u003ci>\u003cspan style=\"font-weight: 400\">Swingers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swing Kids\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XJ735krOiPo\">\u003cspan style=\"font-weight: 400\">a Gap clothing ad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring mostly white dancers jitterbugging in khakis. In popular media, the dance has been largely represented by white and non-Black dancers, obscuring its beginnings as a Black art form.\u003c/span>\u003c/p>\n\u003cp>But in recent years, an intergenerational group of Black dancers, through efforts like the \u003ca href=\"https://blacklindyhoppersfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black Lindy Hoppers Fund\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, have been fighting to ensure that their history and continued participation in this dance is \u003c/span>\u003ca href=\"https://www.npr.org/2021/12/22/1066965712/may-we-have-this-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">recognized and honored\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Whiteys-800x606.jpg\" alt=\"\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1536x1163.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-2048x1551.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1920x1454.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitey’s Lindy Hoppers was a professional group of exceptional dancers who formed in the 1920s at the Savoy Ballroom in Harlem, New York. \u003ccite>(Courtesy the Frankie Manning Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lindy Hop emerged as part of the 1918–1930s explosion of Black artistic creativity dubbed the “Harlem Renaissance.” \u003c/span>\u003cspan style=\"font-weight: 400\">Musical legends Duke Ellington, Count Basie, and Ella Fitzgerald helped create the era’s soundtrack.\u003c/span> \u003cspan style=\"font-weight: 400\">New York may have been the center of activity, but Black musicians, dancers, authors, poets and artists were producing incredible work from urban centers all over the United States. Columbus, particularly the King-Lincoln Bronzeville neighborhood, was one of those hubs, where theaters, jazz clubs and other Black-owned businesses flourished.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Lindy Hop was born out of the popular music of the time – swing jazz – and created by Black dancers who fused older dance traditions like the Black Bottom, the Breakaway, the Charleston and European partnered dances. These innovators also added their own unique styling and steps, such as the now iconic “airsteps” where one dancer propels their partner high into the air.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Tyedric Hill and his dance partner Shannon Varner swing out in Columbus, Ohio. Then we travel with them to New York City for the \u003c/span>\u003ca href=\"http://ilhc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">International Lindy Hop Championships\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where the best of the best from all over the world compete and celebrate this quintessentially American dance. –\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Text by Rik Panganiban, editor-in-chief of \u003ca href=\"http://www.yehoodi.com\">Yehoodi.com,\u003c/a>\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\"> dedicated to all things Lindy Hop, swing dancing and swing jazz.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "indigenousenterprise",
"title": "Indigenous Enterprise Brings Powwow Dancing to the World Stage",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Kenneth Shirley, a \u003c/span>\u003cspan style=\"font-weight: 400\">Diné champion Fancy War dancer from Phoenix, Arizon\u003c/span>\u003cspan style=\"font-weight: 400\">a, grew up immersed in Native culture. He took pride in being from a region that recognized 22 Native tribes. So when he founded the intertribal dance troupe Indigenous Enterprise, and was later given the opportunity to perform at the \u003ca href=\"https://www.youtube.com/shorts/xk6p7SGB8aU\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Opera House\u003c/a> in Australia in 2018, he was surprised by an audience member’s comment: “I thought you [Native Americans] were extinct.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://indigenousenterprise.wordpress.com\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Enterprise,\u003c/a> founded in 2016 and made up of Native dancers from across the U.S. and Canada, is on a missio\u003c/span>\u003cspan style=\"font-weight: 400\">n to increase the visibility of Native culture. By bringing Native dances experienced at powwows to new audiences, Shirley is making sure his community’s very existence will never be called into question again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re trying to bring Indigenous representation to new heights,” Shirley explains. He wants to show audiences that Native Americans are “still thriving and the culture is very much still alive.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of Indigenous Enterprise \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just seven years, the troupe has built an international following, competing in the fourth season of NBC’s prime-time show \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">World of Dance\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, performing in a music video with Taboo of the Black Eyed Peas, and dancing for thousands of basketball fans at the NBA finals in 2021. The dancers have been featured in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Vogue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and recently attended the Met Gala, where Shirley and fellow dancer Dominic Pablo showed up in full regalia.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We heard the theme of the Met Gala was America. So we thought we’d pull up and show them what the real America is,” \u003c/span>\u003ca href=\"https://www.instagram.com/p/CdEulCxrXTj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Shirley wrote on social media.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The spirit of a powwow drum made a profound impression on Shirley when he was just two years old. “He heard the beat of the drum and he wanted to dance … and he wouldn’t stop,” says Mary White Shirley (Diné), Kenneth’s mother, who also grew up dancing at intertribal gatherings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m so amazed, and I’m so proud of my son,” his mother says. “Nizhóní—beautiful! Kenneth is living his prayer. Our people, once upon a time, prayed for [him].”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blythe Norris (Diné, Tsalagi, Catawba) has practiced the Jingle Dress Dance for 10 years. \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Founded on what Shirley calls the “Three Ps”—preservation, performance and progression—Indigenous Enterprise focuses on representation and uplifting sacred dances and rituals. The material they perform has survived various attempts at cultural erasure imposed by both political and religious groups over centuries. “A hundred years ago, Natives were being thrown in prison for what we are doing today,” says Shirley.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1883, the U.S. government passed the Religious Crimes Code, banning Native communities from practicing dances and ceremonies central to their culture. This legislation would pave the way for other forced assimilation programs, including removing Native children from their families to attend residential schools. Shirley’s own grandfather, his namesake, was forced to attend a residential school, where he was beaten for speaking his Native language.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like many survivors of the policy, Shirley’s grandfather combatted the impact of forced assimilation by going to powwows and learning the songs, dances and traditions practiced by members of various tribes who would gather across the country. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Jorge Gonzales (Salt River Pima-Maricopa), a champion hoop dancer, learned the art form from Kevin Dakota Duncan (Arikara, Hidatsa, Mandan San Carlos Apache). \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Powwows have become an integral space for Native communities to teach youth and preserve their culture. Powwow dancer Blythe Norris (Diné, Tsalagi, Iswa) is from Maricopa, Arizona, and has been performing the Jingle Dress Dance for 10 years. “It’s a safe haven … for youth to watch their elders [and] listen to their teachings,” Norris says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indigenous Enterprise dancer Jorge Gonzales (Salt River Pima\u003c/span>\u003cspan style=\"font-weight: 400\">–\u003c/span>\u003cspan style=\"font-weight: 400\">Maricopa), a champion hoop dancer, was introduced to the art at the Boys & Girls Club on his reservation by his mentor, \u003ca href=\"https://www.instagram.com/kevindakotaduncan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Dakota Duncan\u003c/a> (Arikara, Hidatsa, Mandan San Carlos Apache). Gonzales, who has been dancing since 2016, has mastered performing with 11 hoops s\u003c/span>\u003cspan style=\"font-weight: 400\">imultaneously\u003c/span>\u003cspan style=\"font-weight: 400\">. Gonzales joined Indigenous Enterprise to not only educate non-Native audiences, but to show Native youth “you can strive to be whatever you want to be.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913220\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2.jpg 1622w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Lodgepole (Diné) practices the Prairie Chicken dance \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">M\u003c/span>\u003cspan style=\"font-weight: 400\">en’s Prairie Chicken dancer and Shirley’s cousin Ty Lodgepole (Diné), who has been with the group since its creation, says he loves being a part of what he sees as a cultural and generational shift. “This is such a renaissance time for Native American culture, and we’ve gotten the okay from elders and mentors to present what we’re presenting,” he says, “to show true, authentic Native American culture.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Indigenous Enterprise takes us on a journey through Phoenix, dancing in front of the Smithsonian-affiliated \u003ca href=\"https://heard.org\" target=\"_blank\" rel=\"noopener noreferrer\">Heard Museum\u003c/a> dedicated to Native art; at Arizona State University Mountain; and in front of vibrant murals inspired by Native culture. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Krista Allen also contributed to this article.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Kenneth Shirley, a \u003c/span>\u003cspan style=\"font-weight: 400\">Diné champion Fancy War dancer from Phoenix, Arizon\u003c/span>\u003cspan style=\"font-weight: 400\">a, grew up immersed in Native culture. He took pride in being from a region that recognized 22 Native tribes. So when he founded the intertribal dance troupe Indigenous Enterprise, and was later given the opportunity to perform at the \u003ca href=\"https://www.youtube.com/shorts/xk6p7SGB8aU\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Opera House\u003c/a> in Australia in 2018, he was surprised by an audience member’s comment: “I thought you [Native Americans] were extinct.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://indigenousenterprise.wordpress.com\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Enterprise,\u003c/a> founded in 2016 and made up of Native dancers from across the U.S. and Canada, is on a missio\u003c/span>\u003cspan style=\"font-weight: 400\">n to increase the visibility of Native culture. By bringing Native dances experienced at powwows to new audiences, Shirley is making sure his community’s very existence will never be called into question again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re trying to bring Indigenous representation to new heights,” Shirley explains. He wants to show audiences that Native Americans are “still thriving and the culture is very much still alive.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of Indigenous Enterprise \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just seven years, the troupe has built an international following, competing in the fourth season of NBC’s prime-time show \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">World of Dance\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, performing in a music video with Taboo of the Black Eyed Peas, and dancing for thousands of basketball fans at the NBA finals in 2021. The dancers have been featured in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Vogue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and recently attended the Met Gala, where Shirley and fellow dancer Dominic Pablo showed up in full regalia.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We heard the theme of the Met Gala was America. So we thought we’d pull up and show them what the real America is,” \u003c/span>\u003ca href=\"https://www.instagram.com/p/CdEulCxrXTj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Shirley wrote on social media.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The spirit of a powwow drum made a profound impression on Shirley when he was just two years old. “He heard the beat of the drum and he wanted to dance … and he wouldn’t stop,” says Mary White Shirley (Diné), Kenneth’s mother, who also grew up dancing at intertribal gatherings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m so amazed, and I’m so proud of my son,” his mother says. “Nizhóní—beautiful! Kenneth is living his prayer. Our people, once upon a time, prayed for [him].”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blythe Norris (Diné, Tsalagi, Catawba) has practiced the Jingle Dress Dance for 10 years. \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Founded on what Shirley calls the “Three Ps”—preservation, performance and progression—Indigenous Enterprise focuses on representation and uplifting sacred dances and rituals. The material they perform has survived various attempts at cultural erasure imposed by both political and religious groups over centuries. “A hundred years ago, Natives were being thrown in prison for what we are doing today,” says Shirley.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1883, the U.S. government passed the Religious Crimes Code, banning Native communities from practicing dances and ceremonies central to their culture. This legislation would pave the way for other forced assimilation programs, including removing Native children from their families to attend residential schools. Shirley’s own grandfather, his namesake, was forced to attend a residential school, where he was beaten for speaking his Native language.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like many survivors of the policy, Shirley’s grandfather combatted the impact of forced assimilation by going to powwows and learning the songs, dances and traditions practiced by members of various tribes who would gather across the country. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Jorge Gonzales (Salt River Pima-Maricopa), a champion hoop dancer, learned the art form from Kevin Dakota Duncan (Arikara, Hidatsa, Mandan San Carlos Apache). \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Powwows have become an integral space for Native communities to teach youth and preserve their culture. Powwow dancer Blythe Norris (Diné, Tsalagi, Iswa) is from Maricopa, Arizona, and has been performing the Jingle Dress Dance for 10 years. “It’s a safe haven … for youth to watch their elders [and] listen to their teachings,” Norris says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indigenous Enterprise dancer Jorge Gonzales (Salt River Pima\u003c/span>\u003cspan style=\"font-weight: 400\">–\u003c/span>\u003cspan style=\"font-weight: 400\">Maricopa), a champion hoop dancer, was introduced to the art at the Boys & Girls Club on his reservation by his mentor, \u003ca href=\"https://www.instagram.com/kevindakotaduncan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Dakota Duncan\u003c/a> (Arikara, Hidatsa, Mandan San Carlos Apache). Gonzales, who has been dancing since 2016, has mastered performing with 11 hoops s\u003c/span>\u003cspan style=\"font-weight: 400\">imultaneously\u003c/span>\u003cspan style=\"font-weight: 400\">. Gonzales joined Indigenous Enterprise to not only educate non-Native audiences, but to show Native youth “you can strive to be whatever you want to be.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913220\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2.jpg 1622w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Lodgepole (Diné) practices the Prairie Chicken dance \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">M\u003c/span>\u003cspan style=\"font-weight: 400\">en’s Prairie Chicken dancer and Shirley’s cousin Ty Lodgepole (Diné), who has been with the group since its creation, says he loves being a part of what he sees as a cultural and generational shift. “This is such a renaissance time for Native American culture, and we’ve gotten the okay from elders and mentors to present what we’re presenting,” he says, “to show true, authentic Native American culture.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Indigenous Enterprise takes us on a journey through Phoenix, dancing in front of the Smithsonian-affiliated \u003ca href=\"https://heard.org\" target=\"_blank\" rel=\"noopener noreferrer\">Heard Museum\u003c/a> dedicated to Native art; at Arizona State University Mountain; and in front of vibrant murals inspired by Native culture. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Krista Allen also contributed to this article.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>For Yvonne Montoya, the U.S.-Mexico borderlands are an infinite source of inspiration. “The expanse of landscapes, the colors, the sky,” says Montoya, the founder of \u003ca href=\"http://safosdance.org\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> in Tucson, Arizona. “This is indigenous land. It was also Spain and Mexico and a part of Latin America for longer than it has been part of the United States.”\u003c/p>\n\u003cp>Montoya, a native New Mexican, is the descendant of Mexicans “who the border crossed in 1848,” she says, referring to the Mexican-American war and the ceding of Mexican territory to the U.S. government. “My roots in the Southwest run really deep,” she says. “I am a non-immigrant Chicana Latina. And like in New Mexico, there are Tucsonsenses that have been here since before Tucson was part of the United States.”\u003c/p>\n\u003cp>As a dancer and choreographer, Montoya was shaped by her hometown of Albuquerque, New Mexico, and her adopted home of Tucson, where she has lived for the last several years. Tucson—Arizona’s second largest city—sits just an hour’s drive north of the U.S.-Mexico border and has strong cultural ties with Mexico, where Montoya often participates in cross-border dance collaborations.\u003c/p>\n\u003cfigure id=\"attachment_13912551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912551 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/YvonneforWP-800x450.jpg\" alt=\"A female dancer in vibrant blue top looks straight into the camera while lifting her arms up.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Montoya, founder of Safos Dance Theatre in Tucson, Arizona \u003ccite>(Brandon Yadegari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Montoya mixes contemporary dance with oral histories from the Southwest borderlands, often placing her choreography in site-specific and non-traditional spaces—such as alongside the U.S.-Mexico border wall or in the Sonoran Desert. “The entire reason Safos was founded was to nurture a local community of dance artists who are Latinx, Mexican American, Chicanx, Mexican immigrants, and other immigrants, so that we could support ourselves in finding that multiplicity of voices, experiences and how our bodies move.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “Stories from Home,” a deeply personal series performed by a cast of all Latinx dancers, Montoya draws from her family’s experiences and stories handed down through generations. The dance “Braceros” was inspired by her late father, Juan “Johnny” Montoya Sena, who as a child worked alongside Mexican migrant farmworkers in the fields picking cantaloupe and watermelon near Yuma, Arizona.\u003c/p>\n\u003cfigure id=\"attachment_13912517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/PICT0211-800x622.jpg\" alt=\"Yvonne and her father embrace\" width=\"800\" height=\"622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211.jpg 957w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Montoya (left) with her father (right) Juan “Johnny” Montoya Sena, who worked alongside migrants in the Braceros Program \u003ccite>(Yvonne Montoya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bracero Program, a labor agreement struck in 1942 between the United States and Mexico to provide Mexican workers to pick U.S. crops during World War II, continued until 1964. The program provided Mexican laborers or “braceros” with short-term labor contracts and U.S. visas. The labor they provided was vital to the U.S. economy, but the work was often poorly paid, and they worked under harsh conditions.\u003c/p>\n\u003cp>As a boy, Montoya’s father, a U.S. citizen from Santa Fe, New Mexico, worked as a bracero, along with his father and brothers, to support their family. Montoya had always wanted to choreograph a dance based on her father’s experience. “In dance we talk about how the dancer’s body is an instrument, but working-class bodies are also instruments,” she says. “I wanted to find that parallel. Working-class bodies are mechanized in ways that are almost dehumanizing, and I try to capture that in the choreography—making the bodies look like pistons and cogs in a machine exerting this labor and this force.”\u003c/p>\n\u003cfigure id=\"attachment_13912516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912516 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/SafosDanceCompany-800x450.jpg\" alt=\"Three dancers dressed in work shirts and jeans express exhaustion from physical labor\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Safos Dance Theatre perform an excerpt from “Braceros” (From Left to Right, Yvonne Montoya, Steve Rosales, Ruby Morales) Photo Credit: Brandon Yadegari \u003ccite>(Brandon Yadegari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dancer Ruby Morales knew little about the hardships of the braceros until she started learning Montoya’s choreography. As a first-generation American with Mexican immigrant parents, Morales said it sparked a conversation with her family about working as immigrants in a new country. “My father is a mechanic, my grandmother cleaned houses,” she says. “They didn’t have a direct connection to the Bracero program, but they understood what it meant to work with their hands, to use their bodies and put forth that labor.”\u003c/p>\n\u003cp>Before meeting Montoya, Morales says she often felt like an outsider when it came to the larger contemporary dance community, which was predominantly white. “I realized that there was a really big gap in representation,” she says. “And very few who could relate to me in the way that I was growing up as a Latina, as a Mexicana, and as a first-generation [American] with two immigrant parents.”\u003c/p>\n\u003cp>Working with Montoya and being a part of the Safos Dance Theater has made her feel seen for the first time. “When I dance and someone witnesses me, I don’t feel like they’re just watching,” says Morales. “I feel like they’re affirming my life in that very moment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch as the Safos Dance Theater company brings their unique history and experiences to life at Gate’s Pass in Tucson Mountain Park, Barrio Viejo and other iconic locations in Tucson. – \u003cem>Text by Melissa del Bosque\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>For Yvonne Montoya, the U.S.-Mexico borderlands are an infinite source of inspiration. “The expanse of landscapes, the colors, the sky,” says Montoya, the founder of \u003ca href=\"http://safosdance.org\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> in Tucson, Arizona. “This is indigenous land. It was also Spain and Mexico and a part of Latin America for longer than it has been part of the United States.”\u003c/p>\n\u003cp>Montoya, a native New Mexican, is the descendant of Mexicans “who the border crossed in 1848,” she says, referring to the Mexican-American war and the ceding of Mexican territory to the U.S. government. “My roots in the Southwest run really deep,” she says. “I am a non-immigrant Chicana Latina. And like in New Mexico, there are Tucsonsenses that have been here since before Tucson was part of the United States.”\u003c/p>\n\u003cp>As a dancer and choreographer, Montoya was shaped by her hometown of Albuquerque, New Mexico, and her adopted home of Tucson, where she has lived for the last several years. Tucson—Arizona’s second largest city—sits just an hour’s drive north of the U.S.-Mexico border and has strong cultural ties with Mexico, where Montoya often participates in cross-border dance collaborations.\u003c/p>\n\u003cfigure id=\"attachment_13912551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912551 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/YvonneforWP-800x450.jpg\" alt=\"A female dancer in vibrant blue top looks straight into the camera while lifting her arms up.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/YvonneforWP.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Montoya, founder of Safos Dance Theatre in Tucson, Arizona \u003ccite>(Brandon Yadegari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Montoya mixes contemporary dance with oral histories from the Southwest borderlands, often placing her choreography in site-specific and non-traditional spaces—such as alongside the U.S.-Mexico border wall or in the Sonoran Desert. “The entire reason Safos was founded was to nurture a local community of dance artists who are Latinx, Mexican American, Chicanx, Mexican immigrants, and other immigrants, so that we could support ourselves in finding that multiplicity of voices, experiences and how our bodies move.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “Stories from Home,” a deeply personal series performed by a cast of all Latinx dancers, Montoya draws from her family’s experiences and stories handed down through generations. The dance “Braceros” was inspired by her late father, Juan “Johnny” Montoya Sena, who as a child worked alongside Mexican migrant farmworkers in the fields picking cantaloupe and watermelon near Yuma, Arizona.\u003c/p>\n\u003cfigure id=\"attachment_13912517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/PICT0211-800x622.jpg\" alt=\"Yvonne and her father embrace\" width=\"800\" height=\"622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/PICT0211.jpg 957w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Montoya (left) with her father (right) Juan “Johnny” Montoya Sena, who worked alongside migrants in the Braceros Program \u003ccite>(Yvonne Montoya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bracero Program, a labor agreement struck in 1942 between the United States and Mexico to provide Mexican workers to pick U.S. crops during World War II, continued until 1964. The program provided Mexican laborers or “braceros” with short-term labor contracts and U.S. visas. The labor they provided was vital to the U.S. economy, but the work was often poorly paid, and they worked under harsh conditions.\u003c/p>\n\u003cp>As a boy, Montoya’s father, a U.S. citizen from Santa Fe, New Mexico, worked as a bracero, along with his father and brothers, to support their family. Montoya had always wanted to choreograph a dance based on her father’s experience. “In dance we talk about how the dancer’s body is an instrument, but working-class bodies are also instruments,” she says. “I wanted to find that parallel. Working-class bodies are mechanized in ways that are almost dehumanizing, and I try to capture that in the choreography—making the bodies look like pistons and cogs in a machine exerting this labor and this force.”\u003c/p>\n\u003cfigure id=\"attachment_13912516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912516 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/SafosDanceCompany-800x450.jpg\" alt=\"Three dancers dressed in work shirts and jeans express exhaustion from physical labor\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/SafosDanceCompany.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Safos Dance Theatre perform an excerpt from “Braceros” (From Left to Right, Yvonne Montoya, Steve Rosales, Ruby Morales) Photo Credit: Brandon Yadegari \u003ccite>(Brandon Yadegari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dancer Ruby Morales knew little about the hardships of the braceros until she started learning Montoya’s choreography. As a first-generation American with Mexican immigrant parents, Morales said it sparked a conversation with her family about working as immigrants in a new country. “My father is a mechanic, my grandmother cleaned houses,” she says. “They didn’t have a direct connection to the Bracero program, but they understood what it meant to work with their hands, to use their bodies and put forth that labor.”\u003c/p>\n\u003cp>Before meeting Montoya, Morales says she often felt like an outsider when it came to the larger contemporary dance community, which was predominantly white. “I realized that there was a really big gap in representation,” she says. “And very few who could relate to me in the way that I was growing up as a Latina, as a Mexicana, and as a first-generation [American] with two immigrant parents.”\u003c/p>\n\u003cp>Working with Montoya and being a part of the Safos Dance Theater has made her feel seen for the first time. “When I dance and someone witnesses me, I don’t feel like they’re just watching,” says Morales. “I feel like they’re affirming my life in that very moment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch as the Safos Dance Theater company brings their unique history and experiences to life at Gate’s Pass in Tucson Mountain Park, Barrio Viejo and other iconic locations in Tucson. – \u003cem>Text by Melissa del Bosque\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>Throughout her career as a professional taiko player and instructor, Tiffany Tamaribuchi has always managed to elevate women in taiko. In the ’90s, she traveled the world touring with the first international taiko performance group from Japan, \u003ca href=\"http://ondekoza.com/aboutus.html\" target=\"_blank\" rel=\"noopener noreferrer\">Ondekoza\u003c/a>, honing her skills on the odaiko—the largest drum in an ensemble usually played by men. In 2002, she was the only woman out of 23 contestants in a national odaiko competition in Fukui, Japan—and she took home the trophy.\u003c/p>\n\u003cp>As a child, the Sacramento native was captivated by the Japanese folk music and the big drum that kept a steady beat as people danced at the Placer Buddhist Church during Obon, the Japanese festival honoring one’s ancestors. She clearly remembers being told she could not play the drum because of her gender, but she didn’t let that stop her.\u003c/p>\n\u003cp>“After decades of only men doing Obon dance drumming, I’m the first woman in Sacramento to be the Obon dance drummer,” Tamaribuchi says, recalling the many years she dedicated to observing, learning and patiently waiting to be given the honor. “The traditions are changing. Here I am.”\u003c/p>\n\u003cp>In 1988, Tamaribuchi established \u003ca href=\"https://www.taikoandcommunity.org/jodaiko\" target=\"_blank\" rel=\"noopener noreferrer\">Jodaiko\u003c/a>, the first all-women taiko ensemble which showcased the talent of the many female taiko players she had met through her classes and workshops. “It was basically to practice the power styles that we weren’t encouraged to necessarily perform,” Tamaribuchi says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A year later, she founded \u003ca href=\"http://sactaiko.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sacramento Taiko Dan\u003c/a> to keep the heartbeat of Japanese culture and community alive in her hometown. “ I realized that it was really accessible and really popular and people could find a sense of joy, accomplishment and empowerment through it,” Tamaribuchi says. “One of the best things about it is that it doesn’t matter who you are, or where you’re from…You can play taiko.”\u003c/p>\n\u003cp>Just off the I-80 in the industrial Arden Arcade area of Sacramento, sandwiched between a shipping container facility and some auto body shops, Sacramento Taiko Dan has occupied a nondescript warehouse space for nearly 20 years. On one end of the dojo, about 50 drums of various sizes sit at the ready for those interested in learning to play. This space is also currently home to the largest traditionally crafted odaiko in North America, on loan to Tamaribuchi from 413-year-old Japanese manufacturer Asano Taiko.\u003c/p>\n\u003cfigure id=\"attachment_13911304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-800x450.jpg\" alt=\"A woman dressed in traditional taiko player attire is about to hit a huge drum with a pair of wooden sticks.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Tamaribuchi plays the largest traditionally crafted odaiko in North America. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamaribuchi pays her respects to the 780-pound drum with a light bow before she begins to play, planting her feet firmly and drawing in a grounding breath. She hits her bachi, or drumsticks, powerfully against the hide of the drum, pausing with her arms in the air to leave space for reverberation before she strikes again—a mesmerizing duet of decisive movement and booming sound.\u003c/p>\n\u003cp>“It’s more feeling than thinking,” Tamaribuchi says. “I’m reaching for that state of no mind. In Buddhism, it’s called mushin, a state of empty-mindedness, so that I’m not just reacting to what’s happening, but I’m open and connected in a way.”\u003c/p>\n\u003cp>Today, Assistant Director Sascha Molina leads the educational component of Sacramento Taiko Dan, teaching four classes a week for students ages “five to 89,” Molina says. After coming across a YouTube video of Kodo, another professional taiko group from Japan, “I saw it and instantly was just drawn to it and thought, ‘Oh man, I want to do this,’” Molina says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Learn 3 Taiko Drumming Beats for Beginners | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/-Qsa5JWs8f4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Training under Tamaribuchi since 2006, Molina enjoyed performing with the group her first couple of years, but says she had to “get over not being Japanese” when Tamaribuchi asked her if she wanted to teach.\u003c/p>\n\u003cp>“I was a little apprehensive, because I am African American and it’s a Japanese cultural art,” Molina says. “But as I started teaching, I realized that I really had a voice. Because I wasn’t a Japanese American teaching taiko, I could be a model—that you could learn an art of a culture that’s not yours and show it respect.”\u003c/p>\n\u003cp>Fellow player Nicole Stansbury was introduced to taiko during a special collaborative performance between dancers and taiko players in 2005 at ORTS Theatre for Dance in Tucson, Arizona. “I was a tap dancer all through elementary and high school—taiko mixed in my love of rhythm and dance.” In 2014, Stansbury began officially learning taiko from Tamaribuchi as her deshi, or apprentice, traveling to Sacramento from Tucson for lessons.\u003c/p>\n\u003cfigure id=\"attachment_13911306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-800x450.jpg\" alt=\"Three women taiko drummers raise their right hand holding a drumstick.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Nicole Stansbury, Tiffany Tamaribuchi, and Sascha Molina play taiko drums at William Land Regional Park in Sacramento, CA. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Stansbury is mastering Tamaribuchi’s other passion, ondeko, or “demon taiko.” It is a festival tradition that originated in Sado Island, Japan. Dancers wear oni, or demon, masks and visit homes and businesses to pull out all the bad energy, banish it through taiko beats and invite in good luck and prosperity.\u003c/p>\n\u003cp>“We really work to cultivate these relationships with Japanese artists and practice things like ondeko as true to the origins and traditions as we can get,” says Tamaribuchi, who, pre-pandemic, traveled to Sado Island every spring to participate in the Ondeko festival.\u003c/p>\n\u003cp>The lunging, crouching, jumping and drumming of this grounded dance form is done all while wearing a hand-carved mask with a 45-pound horsehair wig. “I was always told I danced too much like a boy, jumped too much, too hard-edged,” Stansbury says. “[With ondeko,] I can be the things I naturally am as a dancer.” Tamaribuchi, Molina and Stansbury are all members of the Kasuga Onigumi on Sado Island, which is one of the first ondeko groups to allow women to dance.\u003c/p>\n\u003cfigure id=\"attachment_13911308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-800x450.jpg\" alt=\"Two people on the left hold Japanese lanterns, while the woman on the right plays a taiko drum, with another woman in the center striking a pose while wearing a hand-carved mask.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Ezrah Molina, Claire Yee, Nicole Stansbury, and Sascha Molina perform ondeko or “demon taiko” in front of one of the last remaining Japantown businesses in Sacramento, CA. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the pandemic, women in taiko celebrated an exciting milestone. In February 2020, Tamaribuchi and Jennifer Weir of TaikoArts MidWest organized a program called “\u003ca href=\"https://www.taikoartsmidwest.org/herbeat\" target=\"_blank\" rel=\"noopener noreferrer\">HERBeat\u003c/a>,” bringing women from North American and Japanese taiko groups together for the first time for a two-week cultural exchange culminating in an inspiring performance. A documentary profiling their efforts, \u003ca href=\"https://www.herbeatfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Finding Her Beat\u003c/em>\u003c/a>, is currently in production.\u003c/p>\n\u003cp>“I feel so fortunate to be part of this legacy of awesome women taiko players that Tiffany has somehow corralled and brought together in order to make magic happen,” Molina says. “Taiko is my joy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch the taiko players perform at William Land Park and in what remains of Sacramento’s Japantown.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>Throughout her career as a professional taiko player and instructor, Tiffany Tamaribuchi has always managed to elevate women in taiko. In the ’90s, she traveled the world touring with the first international taiko performance group from Japan, \u003ca href=\"http://ondekoza.com/aboutus.html\" target=\"_blank\" rel=\"noopener noreferrer\">Ondekoza\u003c/a>, honing her skills on the odaiko—the largest drum in an ensemble usually played by men. In 2002, she was the only woman out of 23 contestants in a national odaiko competition in Fukui, Japan—and she took home the trophy.\u003c/p>\n\u003cp>As a child, the Sacramento native was captivated by the Japanese folk music and the big drum that kept a steady beat as people danced at the Placer Buddhist Church during Obon, the Japanese festival honoring one’s ancestors. She clearly remembers being told she could not play the drum because of her gender, but she didn’t let that stop her.\u003c/p>\n\u003cp>“After decades of only men doing Obon dance drumming, I’m the first woman in Sacramento to be the Obon dance drummer,” Tamaribuchi says, recalling the many years she dedicated to observing, learning and patiently waiting to be given the honor. “The traditions are changing. Here I am.”\u003c/p>\n\u003cp>In 1988, Tamaribuchi established \u003ca href=\"https://www.taikoandcommunity.org/jodaiko\" target=\"_blank\" rel=\"noopener noreferrer\">Jodaiko\u003c/a>, the first all-women taiko ensemble which showcased the talent of the many female taiko players she had met through her classes and workshops. “It was basically to practice the power styles that we weren’t encouraged to necessarily perform,” Tamaribuchi says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A year later, she founded \u003ca href=\"http://sactaiko.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sacramento Taiko Dan\u003c/a> to keep the heartbeat of Japanese culture and community alive in her hometown. “ I realized that it was really accessible and really popular and people could find a sense of joy, accomplishment and empowerment through it,” Tamaribuchi says. “One of the best things about it is that it doesn’t matter who you are, or where you’re from…You can play taiko.”\u003c/p>\n\u003cp>Just off the I-80 in the industrial Arden Arcade area of Sacramento, sandwiched between a shipping container facility and some auto body shops, Sacramento Taiko Dan has occupied a nondescript warehouse space for nearly 20 years. On one end of the dojo, about 50 drums of various sizes sit at the ready for those interested in learning to play. This space is also currently home to the largest traditionally crafted odaiko in North America, on loan to Tamaribuchi from 413-year-old Japanese manufacturer Asano Taiko.\u003c/p>\n\u003cfigure id=\"attachment_13911304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-800x450.jpg\" alt=\"A woman dressed in traditional taiko player attire is about to hit a huge drum with a pair of wooden sticks.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/TaikoDan_Tiffany_6.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Tamaribuchi plays the largest traditionally crafted odaiko in North America. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamaribuchi pays her respects to the 780-pound drum with a light bow before she begins to play, planting her feet firmly and drawing in a grounding breath. She hits her bachi, or drumsticks, powerfully against the hide of the drum, pausing with her arms in the air to leave space for reverberation before she strikes again—a mesmerizing duet of decisive movement and booming sound.\u003c/p>\n\u003cp>“It’s more feeling than thinking,” Tamaribuchi says. “I’m reaching for that state of no mind. In Buddhism, it’s called mushin, a state of empty-mindedness, so that I’m not just reacting to what’s happening, but I’m open and connected in a way.”\u003c/p>\n\u003cp>Today, Assistant Director Sascha Molina leads the educational component of Sacramento Taiko Dan, teaching four classes a week for students ages “five to 89,” Molina says. After coming across a YouTube video of Kodo, another professional taiko group from Japan, “I saw it and instantly was just drawn to it and thought, ‘Oh man, I want to do this,’” Molina says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Learn 3 Taiko Drumming Beats for Beginners | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/-Qsa5JWs8f4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Training under Tamaribuchi since 2006, Molina enjoyed performing with the group her first couple of years, but says she had to “get over not being Japanese” when Tamaribuchi asked her if she wanted to teach.\u003c/p>\n\u003cp>“I was a little apprehensive, because I am African American and it’s a Japanese cultural art,” Molina says. “But as I started teaching, I realized that I really had a voice. Because I wasn’t a Japanese American teaching taiko, I could be a model—that you could learn an art of a culture that’s not yours and show it respect.”\u003c/p>\n\u003cp>Fellow player Nicole Stansbury was introduced to taiko during a special collaborative performance between dancers and taiko players in 2005 at ORTS Theatre for Dance in Tucson, Arizona. “I was a tap dancer all through elementary and high school—taiko mixed in my love of rhythm and dance.” In 2014, Stansbury began officially learning taiko from Tamaribuchi as her deshi, or apprentice, traveling to Sacramento from Tucson for lessons.\u003c/p>\n\u003cfigure id=\"attachment_13911306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-800x450.jpg\" alt=\"Three women taiko drummers raise their right hand holding a drumstick.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ICCD503_SAC_20220108_FS7_10141.MXF_.04_01_29_21.Still002-2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Nicole Stansbury, Tiffany Tamaribuchi, and Sascha Molina play taiko drums at William Land Regional Park in Sacramento, CA. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Stansbury is mastering Tamaribuchi’s other passion, ondeko, or “demon taiko.” It is a festival tradition that originated in Sado Island, Japan. Dancers wear oni, or demon, masks and visit homes and businesses to pull out all the bad energy, banish it through taiko beats and invite in good luck and prosperity.\u003c/p>\n\u003cp>“We really work to cultivate these relationships with Japanese artists and practice things like ondeko as true to the origins and traditions as we can get,” says Tamaribuchi, who, pre-pandemic, traveled to Sado Island every spring to participate in the Ondeko festival.\u003c/p>\n\u003cp>The lunging, crouching, jumping and drumming of this grounded dance form is done all while wearing a hand-carved mask with a 45-pound horsehair wig. “I was always told I danced too much like a boy, jumped too much, too hard-edged,” Stansbury says. “[With ondeko,] I can be the things I naturally am as a dancer.” Tamaribuchi, Molina and Stansbury are all members of the Kasuga Onigumi on Sado Island, which is one of the first ondeko groups to allow women to dance.\u003c/p>\n\u003cfigure id=\"attachment_13911308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-800x450.jpg\" alt=\"Two people on the left hold Japanese lanterns, while the woman on the right plays a taiko drum, with another woman in the center striking a pose while wearing a hand-carved mask.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OsakaYa_Group_Shot_3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Ezrah Molina, Claire Yee, Nicole Stansbury, and Sascha Molina perform ondeko or “demon taiko” in front of one of the last remaining Japantown businesses in Sacramento, CA. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the pandemic, women in taiko celebrated an exciting milestone. In February 2020, Tamaribuchi and Jennifer Weir of TaikoArts MidWest organized a program called “\u003ca href=\"https://www.taikoartsmidwest.org/herbeat\" target=\"_blank\" rel=\"noopener noreferrer\">HERBeat\u003c/a>,” bringing women from North American and Japanese taiko groups together for the first time for a two-week cultural exchange culminating in an inspiring performance. A documentary profiling their efforts, \u003ca href=\"https://www.herbeatfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Finding Her Beat\u003c/em>\u003c/a>, is currently in production.\u003c/p>\n\u003cp>“I feel so fortunate to be part of this legacy of awesome women taiko players that Tiffany has somehow corralled and brought together in order to make magic happen,” Molina says. “Taiko is my joy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch the taiko players perform at William Land Park and in what remains of Sacramento’s Japantown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "if-cities-could-dance-black-ice-skating",
"title": "Black Ice Skating Legends Inspire Today’s Olympic Hopefuls",
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"content": "\u003cp>\u003ca style=\"font-weight: 400;font-style: italic\" href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a>\u003ci style=\"font-weight: 400\"> is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\">Subscribe to our Youtube Channel\u003c/a> to never miss a new episode. \u003c/i>\u003c/p>\n\u003cp>Growing up in sunny Florida, Joel Savary’s love for figure skating was typically met with raised eyebrows, and the belief that Black people don’t ice skate.\u003c/p>\n\u003cp>Still, Savary found himself glued to the television every Winter Olympics. He recalls watching \u003cspan style=\"font-weight: 400\">American competitive figure skater \u003ca href=\"https://youtu.be/fOIqIXNbOoM\" target=\"_blank\" rel=\"noopener noreferrer\">Tara Lipinski land a triple loop at the 1998 Winter Games,\u003c/a> and having the thought: “Oh I can do that,” though he had never set foot on the ice.\u003c/span>\u003c/p>\n\u003cp>Savary, eventually, could land a triple loop, and now coaches competitive figure skaters. After founding \u003ca href=\"https://diversifyice.org\" target=\"_blank\" rel=\"noopener noreferrer\">Diversify Ice Foundation\u003c/a> in Washington, D.C., where Savary now lives, he’s on a mission to change perceptions of who belongs on the ice.\u003c/p>\n\u003cfigure id=\"attachment_13909995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909995 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-800x520.jpg\" alt=\"A teenage ice skater Zuri Jones is skating with her coach at an outdoor rink.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-1536x999.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-2048x1332.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-1920x1249.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Zuri Davis, an ambassador for Diversify Ice, and Joel Savary, the founder and coach at Diversify Ice, skating at the National Gallery of Art Sculpture Garden Ice Rink in Washington, D.C. \u003ccite>(Timothy Wolfer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Figure skating in the U.S. has historically been a sport associated with white, upper-class families. Its high cost of entry has made it harder for would-be skaters of color to get on the ice. And those who do join the sport are rarely seen at the national level. In 2020, Starr Andrews and Emmanuel Savary (Joel’s younger brother, who he coached) were the only Black solo skaters to compete in the U.S. Figure Skating Championships. \u003cspan style=\"font-weight: 400\">No Black figure skaters competed for the Americans at the Winter Olympics this year.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We think that representation is so critically important for these skaters to be successful,” Savary says. Savary didn’t see many Black skaters until he started training at University of Delaware, once a hub for figure skating. “Throughout the whole system I found that there are a lot of Black and Brown skaters. But you may not necessarily see these skaters on TV,” he says. In Delaware, Savary finally saw skaters of color skating the way they wanted to skate.\u003c/p>\n\u003cp>The stories of Black skaters like \u003ca href=\"https://youtu.be/pAhyMl_ZS04\" target=\"_blank\" rel=\"noopener noreferrer\">Surya Bonaly,\u003c/a> a champion French skater, show just how much individuals can challenge the status quo of the sport. The three-time World Championship silver medalist is best remembered for her free skate in 1998, when she was unable to complete her routine due to an injury, and decided to perform a backflip with a split, landing on one blade. (Backflips had been banned from competitions since 1976, and many saw her move as a middle-finger to antiquated rules and judging.)\u003c/p>\n\u003cp>Before Bonaly was breaking barriers, there was another Black skater laying the groundwork for her success: \u003ca href=\"https://dancespirit.com/mabel-fairbanks-black-skater/\" target=\"_blank\" rel=\"noopener noreferrer\">Mabel Fairbanks.\u003c/a>\u003c/p>\n\u003cp>“All of us owe a great deal to Mabel,” says Atoy Wilson, the first African American to title in a national competition in 1965, who was also coached by Fairbanks. “We [stand] on the shoulders of someone who broke that ice.”\u003c/p>\n\u003cfigure id=\"attachment_13909975\" class=\"wp-caption aligncenter\" style=\"max-width: 462px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/AtoyWilson-800x1089.jpg\" alt=\"Atoy Wilson leaps several feet off the ice, reaching his arms up, with one leg fully extended and the other bent.\" width=\"462\" height=\"629\">\u003cfigcaption class=\"wp-caption-text\">In 1966, Atoy Wilson was the first African American skater to win a national title in figure skating, with the Novice men’s title. \u003ccite>(Courtesy Atoy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1940s New York, Fairbanks wasn’t allowed to compete because of her skin color. She skated with the Ice Follies and Ice Capades before becoming a coach in LA in the 1950s. She went on to coach and mentor pairs skaters Tai Babilonia and Randy Gardner, Kristi Yamaguchi, Rudy Galindo, and Debi Thomas, among others. She was inducted into the U.S. Figure Skating Hall of Fame in 1997.\u003c/p>\n\u003cp>Why don’t more people know about Mabel? Two-time Olympian and five-time U.S. pairs champion Tai Babilonia says she gets this question a lot. “If it weren’t for her, we wouldn’t be having this conversation, and it’s my duty to keep [her] legacy going,” Babilonia says.\u003c/p>\n\u003cp>Figure skating is different from other sports. It’s not just about a player’s physical prowess, but how they integrate dance and artistry into their performance. It’s like storytelling and historically, the sport has centered white, heteronormative standards with performances almost always set to classical music; formal or cookie-cutter costuming; petite feminine women, broad masculine men in service of a fantastical image of unbothered perfection. Markers of Black culture, queerness or anything nontraditional have been largely absent from the sport.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Learn Two Foot Spins and Ice Skating Moves for Beginners | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/bOM3JUu01Rc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“It’s still really radical for someone to come out there and skate to jazz,” says Dorothy Jones-Davis, mother to 13-year-old up-and-coming figure skater Zuri Davis.\u003c/p>\n\u003cp>For trans non-binary former champion skater Eliot Halverson, figure skating is a release, but growing up, it also was confusing. “Skating offered a lot of confusion for me as a young queer kid and muddied the waters that were already muddy,” says Halverson. They credit seeing queer skaters like Rudy Galindo, the first openly gay figure skating champion, with helping to break gender molds in figure skating. (This year, pairs skater Timothy LeDuc became the first openly non-binary Winter Olympics athlete.)\u003c/p>\n\u003cp>There are also economic barriers to enter the sport. “You have to pay to get on to the ice,” Savary explains. The ice skates, sessions, music, choreography, coaches, travel to competitions, costumes: it adds up fast. When Zuri started skating, Jones-Davis said families would help each other with hand-me-downs and old skates.\u003c/p>\n\u003cp>So when Savary founded Diversify Ice in 2017 to introduce figure skating to youth of color, and started recruiting skaters in Anacostia, a Black neighborhood in southeast D.C., he’d ask residents about skating at the local Dupont Ice Arena. The answer was: “‘We know that ice rink is there, but it’s only open for figure skaters that compete,’” he says. “Some other families right across the street didn’t even know that that was an ice rink.”\u003c/p>\n\u003cp>Through his foundation, Savary wants to help redefine who and what a skater can be. He provides aspiring skaters of color with mentorship, scholarships and a sense of community. “I’m able to see people that look like me, and be with people that look like me,” says Zuri, who is now a Diversify Ice ambassador with dreams of competing in figure skating at the highest level, like her idol Starr Andrews.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watching Davis practice her skate program on the ice rink at the National Gallery Sculpture Garden with Savary, her dream feels in reach. “I think things could have been a lot different for many skaters of color had this foundation been around 20 years ago,” says Savary. “I want to continue to foster that growth, that confidence within all of these skaters.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca style=\"font-weight: 400;font-style: italic\" href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a>\u003ci style=\"font-weight: 400\"> is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\">Subscribe to our Youtube Channel\u003c/a> to never miss a new episode. \u003c/i>\u003c/p>\n\u003cp>Growing up in sunny Florida, Joel Savary’s love for figure skating was typically met with raised eyebrows, and the belief that Black people don’t ice skate.\u003c/p>\n\u003cp>Still, Savary found himself glued to the television every Winter Olympics. He recalls watching \u003cspan style=\"font-weight: 400\">American competitive figure skater \u003ca href=\"https://youtu.be/fOIqIXNbOoM\" target=\"_blank\" rel=\"noopener noreferrer\">Tara Lipinski land a triple loop at the 1998 Winter Games,\u003c/a> and having the thought: “Oh I can do that,” though he had never set foot on the ice.\u003c/span>\u003c/p>\n\u003cp>Savary, eventually, could land a triple loop, and now coaches competitive figure skaters. After founding \u003ca href=\"https://diversifyice.org\" target=\"_blank\" rel=\"noopener noreferrer\">Diversify Ice Foundation\u003c/a> in Washington, D.C., where Savary now lives, he’s on a mission to change perceptions of who belongs on the ice.\u003c/p>\n\u003cfigure id=\"attachment_13909995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909995 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-800x520.jpg\" alt=\"A teenage ice skater Zuri Jones is skating with her coach at an outdoor rink.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-1536x999.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-2048x1332.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Joel-and-Zuri_6_love-3-1920x1249.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Zuri Davis, an ambassador for Diversify Ice, and Joel Savary, the founder and coach at Diversify Ice, skating at the National Gallery of Art Sculpture Garden Ice Rink in Washington, D.C. \u003ccite>(Timothy Wolfer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Figure skating in the U.S. has historically been a sport associated with white, upper-class families. Its high cost of entry has made it harder for would-be skaters of color to get on the ice. And those who do join the sport are rarely seen at the national level. In 2020, Starr Andrews and Emmanuel Savary (Joel’s younger brother, who he coached) were the only Black solo skaters to compete in the U.S. Figure Skating Championships. \u003cspan style=\"font-weight: 400\">No Black figure skaters competed for the Americans at the Winter Olympics this year.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We think that representation is so critically important for these skaters to be successful,” Savary says. Savary didn’t see many Black skaters until he started training at University of Delaware, once a hub for figure skating. “Throughout the whole system I found that there are a lot of Black and Brown skaters. But you may not necessarily see these skaters on TV,” he says. In Delaware, Savary finally saw skaters of color skating the way they wanted to skate.\u003c/p>\n\u003cp>The stories of Black skaters like \u003ca href=\"https://youtu.be/pAhyMl_ZS04\" target=\"_blank\" rel=\"noopener noreferrer\">Surya Bonaly,\u003c/a> a champion French skater, show just how much individuals can challenge the status quo of the sport. The three-time World Championship silver medalist is best remembered for her free skate in 1998, when she was unable to complete her routine due to an injury, and decided to perform a backflip with a split, landing on one blade. (Backflips had been banned from competitions since 1976, and many saw her move as a middle-finger to antiquated rules and judging.)\u003c/p>\n\u003cp>Before Bonaly was breaking barriers, there was another Black skater laying the groundwork for her success: \u003ca href=\"https://dancespirit.com/mabel-fairbanks-black-skater/\" target=\"_blank\" rel=\"noopener noreferrer\">Mabel Fairbanks.\u003c/a>\u003c/p>\n\u003cp>“All of us owe a great deal to Mabel,” says Atoy Wilson, the first African American to title in a national competition in 1965, who was also coached by Fairbanks. “We [stand] on the shoulders of someone who broke that ice.”\u003c/p>\n\u003cfigure id=\"attachment_13909975\" class=\"wp-caption aligncenter\" style=\"max-width: 462px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/AtoyWilson-800x1089.jpg\" alt=\"Atoy Wilson leaps several feet off the ice, reaching his arms up, with one leg fully extended and the other bent.\" width=\"462\" height=\"629\">\u003cfigcaption class=\"wp-caption-text\">In 1966, Atoy Wilson was the first African American skater to win a national title in figure skating, with the Novice men’s title. \u003ccite>(Courtesy Atoy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1940s New York, Fairbanks wasn’t allowed to compete because of her skin color. She skated with the Ice Follies and Ice Capades before becoming a coach in LA in the 1950s. She went on to coach and mentor pairs skaters Tai Babilonia and Randy Gardner, Kristi Yamaguchi, Rudy Galindo, and Debi Thomas, among others. She was inducted into the U.S. Figure Skating Hall of Fame in 1997.\u003c/p>\n\u003cp>Why don’t more people know about Mabel? Two-time Olympian and five-time U.S. pairs champion Tai Babilonia says she gets this question a lot. “If it weren’t for her, we wouldn’t be having this conversation, and it’s my duty to keep [her] legacy going,” Babilonia says.\u003c/p>\n\u003cp>Figure skating is different from other sports. It’s not just about a player’s physical prowess, but how they integrate dance and artistry into their performance. It’s like storytelling and historically, the sport has centered white, heteronormative standards with performances almost always set to classical music; formal or cookie-cutter costuming; petite feminine women, broad masculine men in service of a fantastical image of unbothered perfection. Markers of Black culture, queerness or anything nontraditional have been largely absent from the sport.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Learn Two Foot Spins and Ice Skating Moves for Beginners | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/bOM3JUu01Rc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“It’s still really radical for someone to come out there and skate to jazz,” says Dorothy Jones-Davis, mother to 13-year-old up-and-coming figure skater Zuri Davis.\u003c/p>\n\u003cp>For trans non-binary former champion skater Eliot Halverson, figure skating is a release, but growing up, it also was confusing. “Skating offered a lot of confusion for me as a young queer kid and muddied the waters that were already muddy,” says Halverson. They credit seeing queer skaters like Rudy Galindo, the first openly gay figure skating champion, with helping to break gender molds in figure skating. (This year, pairs skater Timothy LeDuc became the first openly non-binary Winter Olympics athlete.)\u003c/p>\n\u003cp>There are also economic barriers to enter the sport. “You have to pay to get on to the ice,” Savary explains. The ice skates, sessions, music, choreography, coaches, travel to competitions, costumes: it adds up fast. When Zuri started skating, Jones-Davis said families would help each other with hand-me-downs and old skates.\u003c/p>\n\u003cp>So when Savary founded Diversify Ice in 2017 to introduce figure skating to youth of color, and started recruiting skaters in Anacostia, a Black neighborhood in southeast D.C., he’d ask residents about skating at the local Dupont Ice Arena. The answer was: “‘We know that ice rink is there, but it’s only open for figure skaters that compete,’” he says. “Some other families right across the street didn’t even know that that was an ice rink.”\u003c/p>\n\u003cp>Through his foundation, Savary wants to help redefine who and what a skater can be. He provides aspiring skaters of color with mentorship, scholarships and a sense of community. “I’m able to see people that look like me, and be with people that look like me,” says Zuri, who is now a Diversify Ice ambassador with dreams of competing in figure skating at the highest level, like her idol Starr Andrews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watching Davis practice her skate program on the ice rink at the National Gallery Sculpture Garden with Savary, her dream feels in reach. “I think things could have been a lot different for many skaters of color had this foundation been around 20 years ago,” says Savary. “I want to continue to foster that growth, that confidence within all of these skaters.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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