This multimedia series spotlights amazing artists and creators who use their personal passions to fuse art and social justice; to tell personal stories that tie us together; and to give us a new way to see the world around us.
Women to Watch: Cortney Burns
Women to Watch: Nicole Klaymoon
Women to Watch: Chinaka Hodge
Women to Watch: Melinda James
Women to Watch: Candice 'Antique' Wicks-Davis
Women to Watch: Shanthi Sekaran
Women to Watch: Janice Sapigao
Women to Watch: Erin Salazar
Women to Watch: Indira Allegra
Women to Watch: Amy M. Ho
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Passion and dedication are central to everything that chef Cortney Burns touches. For her, food and cooking engage all of the senses; they’ve laid the foundation for her creativity, most notably during her six years as co-chef at Valencia Street’s \u003ca href=\"http://www.bartartine.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bar Tartine\u003c/a>. It’s here that her curing and pickling prowess became a solid feature on the menu; the restaurant’s confluence of Californian, Japanese, Scandinavian and Central European cuisine fused to become its own eclectic culinary movement.\u003c/p>\n\u003cp>Born in Northern California and raised in Chicago, the lure of sun and produce brought Burns to the Bay Area in 2001. She wanted to cook.\u003c/p>\n\u003cp>Today she flies coast to coast, opening a restaurant in a 48-room hotel on 55 acres in Massachusetts, while her partner in life and work, Nick Balla, runs their San Francisco restaurant \u003ca href=\"https://www.duna.kitchen/\" target=\"_blank\" rel=\"noopener noreferrer\">Duna\u003c/a>. She declares food the perfect medium for working through all major life decisions. And she lives by the words of a former chef, “You’re only as good as your last plate…”\u003c/p>\n\u003cfigure id=\"attachment_13789935\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13789935 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cortney-edited-2-1020x1813.jpg\" alt=\"Cortney Burns\" width=\"640\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cortney Burns \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curious.\u003c/p>\n\u003cp>\u003cstrong>What really inspires you?\u003c/strong>\u003c/p>\n\u003cp>I would say I’m mostly inspired by Old World flavors, Old World techniques in cooking. And I’m inspired in all avenues of my creative life by nature.\u003c/p>\n\u003cp>\u003cstrong>What’s something about you that most people don’t know?\u003c/strong>\u003c/p>\n\u003cp>Most people don’t know that I practice tai chi — sword form.\u003c/p>\n\u003cp>\u003cstrong>Where are you living now?\u003c/strong>\u003c/p>\n\u003cp>Right now I’m living in between San Francisco and North Adams, Massachusetts.\u003c/p>\n\u003cp>\u003cstrong>How are you finding living in two places and traveling between them?\u003c/strong>\u003c/p>\n\u003cp>I would say that the most challenging part is that I have a fairly regimented schedule, which is important since I like routines, unless I’m traveling. Although I have routines in both places, it takes time to reset. But it’s lovely to have the mountains to come to and then the city. Not too bad.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>Access to open space.\u003c/p>\n\u003cp>\u003cstrong>How did you, and how do you continue to, find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>It’s a work in progress at all times. The main thing is to pause and check in. To completely check my motives and try to understand what story needs to be told, what needs to come out. What am I hiding from? And, allow that to be the muse to create something.\u003c/p>\n\u003cfigure id=\"attachment_13789936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cortney-edited-3.jpg\" alt=\"Cortney Burns\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cortney Burns \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was a big learning moment for you, and what did you take away from it?\u003c/strong>\u003c/p>\n\u003cp>One of my biggest learning moments was landing in Marrakesh to take over a restaurant for four days in 2016. I realized that I was there mainly because I had something to prove to myself. It was about the ability to go somewhere else and cook on my own in a place that was completely foreign. Although I know that I always need a team of people around, I sometimes questioned where my own kind of creativity and style is coming from. I wanted to prove to myself that I could actually cook from within, and not need any help to create. I just needed to know that I could do it on my own.\u003c/p>\n\u003cp>\u003cstrong>What other challenges do you see for women in the kitchen?\u003c/strong>\u003c/p>\n\u003cp>I think one of the biggest challenges is that there’s still a conversation about women in the kitchen. At some point, we can just be human beings in the kitchen. At some point, we can just be in the kitchen doing our jobs as human beings in the world, and I think that’s the idea of non-duality needs to be more embraced. I think that if we all possess “male and female” characteristics, then we’ll be more whole people in general.\u003c/p>\n\u003cfigure id=\"attachment_13789922\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cortney-edited-1.jpg\" alt=\"Cortney Burns\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cortney Burns \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp>Whoa. As far as place goes, I think I’ll be here somewhere in a mash of San Francisco and Massachusetts, but I’m not trying to take the question as literally as that. I think that in five years, I will know more about why I need to create and how to create a team of people that also feel empowered to create from within.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists and chefs in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I’d love to see and be a part of more collaborations across artistic mediums. I believe our muses come in many forms and I’d love to have more of them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Passion and dedication are central to everything that chef Cortney Burns touches. For her, food and cooking engage all of the senses; they’ve laid the foundation for her creativity, most notably during her six years as co-chef at Valencia Street’s \u003ca href=\"http://www.bartartine.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bar Tartine\u003c/a>. It’s here that her curing and pickling prowess became a solid feature on the menu; the restaurant’s confluence of Californian, Japanese, Scandinavian and Central European cuisine fused to become its own eclectic culinary movement.\u003c/p>\n\u003cp>Born in Northern California and raised in Chicago, the lure of sun and produce brought Burns to the Bay Area in 2001. She wanted to cook.\u003c/p>\n\u003cp>Today she flies coast to coast, opening a restaurant in a 48-room hotel on 55 acres in Massachusetts, while her partner in life and work, Nick Balla, runs their San Francisco restaurant \u003ca href=\"https://www.duna.kitchen/\" target=\"_blank\" rel=\"noopener noreferrer\">Duna\u003c/a>. She declares food the perfect medium for working through all major life decisions. And she lives by the words of a former chef, “You’re only as good as your last plate…”\u003c/p>\n\u003cfigure id=\"attachment_13789935\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13789935 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cortney-edited-2-1020x1813.jpg\" alt=\"Cortney Burns\" width=\"640\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cortney Burns \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curious.\u003c/p>\n\u003cp>\u003cstrong>What really inspires you?\u003c/strong>\u003c/p>\n\u003cp>I would say I’m mostly inspired by Old World flavors, Old World techniques in cooking. And I’m inspired in all avenues of my creative life by nature.\u003c/p>\n\u003cp>\u003cstrong>What’s something about you that most people don’t know?\u003c/strong>\u003c/p>\n\u003cp>Most people don’t know that I practice tai chi — sword form.\u003c/p>\n\u003cp>\u003cstrong>Where are you living now?\u003c/strong>\u003c/p>\n\u003cp>Right now I’m living in between San Francisco and North Adams, Massachusetts.\u003c/p>\n\u003cp>\u003cstrong>How are you finding living in two places and traveling between them?\u003c/strong>\u003c/p>\n\u003cp>I would say that the most challenging part is that I have a fairly regimented schedule, which is important since I like routines, unless I’m traveling. Although I have routines in both places, it takes time to reset. But it’s lovely to have the mountains to come to and then the city. Not too bad.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>Access to open space.\u003c/p>\n\u003cp>\u003cstrong>How did you, and how do you continue to, find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>It’s a work in progress at all times. The main thing is to pause and check in. To completely check my motives and try to understand what story needs to be told, what needs to come out. What am I hiding from? And, allow that to be the muse to create something.\u003c/p>\n\u003cfigure id=\"attachment_13789936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cortney-edited-3.jpg\" alt=\"Cortney Burns\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-3-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cortney Burns \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was a big learning moment for you, and what did you take away from it?\u003c/strong>\u003c/p>\n\u003cp>One of my biggest learning moments was landing in Marrakesh to take over a restaurant for four days in 2016. I realized that I was there mainly because I had something to prove to myself. It was about the ability to go somewhere else and cook on my own in a place that was completely foreign. Although I know that I always need a team of people around, I sometimes questioned where my own kind of creativity and style is coming from. I wanted to prove to myself that I could actually cook from within, and not need any help to create. I just needed to know that I could do it on my own.\u003c/p>\n\u003cp>\u003cstrong>What other challenges do you see for women in the kitchen?\u003c/strong>\u003c/p>\n\u003cp>I think one of the biggest challenges is that there’s still a conversation about women in the kitchen. At some point, we can just be human beings in the kitchen. At some point, we can just be in the kitchen doing our jobs as human beings in the world, and I think that’s the idea of non-duality needs to be more embraced. I think that if we all possess “male and female” characteristics, then we’ll be more whole people in general.\u003c/p>\n\u003cfigure id=\"attachment_13789922\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cortney-edited-1.jpg\" alt=\"Cortney Burns\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cortney-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cortney Burns \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp>Whoa. As far as place goes, I think I’ll be here somewhere in a mash of San Francisco and Massachusetts, but I’m not trying to take the question as literally as that. I think that in five years, I will know more about why I need to create and how to create a team of people that also feel empowered to create from within.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists and chefs in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I’d love to see and be a part of more collaborations across artistic mediums. I believe our muses come in many forms and I’d love to have more of them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Women to Watch: Nicole Klaymoon",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Art and life collide in \u003ca href=\"http://www.embodimentproject.org/nicole-klaymoon/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Klaymoon\u003c/a>’s works of dance and documentary theater. She welds street dance, music and spoken word to illuminate issues of social justice. Her work pairs startling imagery with gripping, sensual soundscapes concocted by collaborators like d. Sabela Grimes, and vocalist \u003ca href=\"https://www.valerietrouttprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a> and her band Mooncandy. With a wit that is sometimes poignant, sometimes lacerating, Klaymoon avoids polemic in pursuit of ambiguous, messy truths.\u003c/p>\n\u003cfigure id=\"attachment_13767291\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13767291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/AndrewWeeksPhotography_Embodiment_010-copy-e1501793110855.jpg\" alt=\"Embodiment Project\" width=\"2000\" height=\"1336\">\u003cfigcaption class=\"wp-caption-text\">Embodiment Project \u003ccite>(Photo: Andrew Weeks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her racially diverse company, known as \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Embodiment Project\u003c/a>, spins stories — the dancers’ own stories, as well as those of tragic figures in recent history (Michael Brown) and of formidable change-makers. Among the voices etched into the soundtrack of Klaymoon’s most recent production, titled \u003cem>Seed Language\u003c/em>, are those of former Black Panther leader Ericka Huggins and Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>She is also crafting a new play based on \u003cem>\u003ca href=\"https://world-trust.org/product/healing-justice/\" target=\"_blank\" rel=\"noopener noreferrer\">Healing Justice\u003c/a>\u003c/em>, a soon-to-be-released documentary by Shakti Butler. Both the film and the play, which Klaymoon has christened \u003cem>Ancient Children\u003c/em>, examine ways in which restorative justice can disrupt the school-to-prison pipeline.\u003c/p>\n\u003cp>Straddling the concert dance world and the street, Klaymoon pays tender homage to a mix of dance forms — even as she defies their traditional underpinnings of race, class and gender.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Embodiment Project reel 2015\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/k90WZezlVTU?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>\u003cstrong>Who has been an influential mentor?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris\u003c/a> has been my mentor for over a decade. I remember he told me something like, “If you want to create your own company someday, you should create work as a solo artist first.” I took his advice and I learned that performing and touring alone was a way to prove to myself that I am not entirely dependent on others to fully realize my vision.\u003c/p>\n\u003cp>\u003cstrong>How do you choose your dancers?\u003c/strong>\u003c/p>\n\u003cp>It’s not just about the movement aesthetics — though that’s an important piece that I look for, that they’re versed in multiple street dance styles — but there also has to be a shared intentionality. This intention is to harness these dance forms as social change, and also to deepen our own healing. We traverse our personal memory material, and often times things that we are taught not to talk about.\u003c/p>\n\u003cp>From a neuroscience perspective, all behavior (and movement) is based in memory and experience. So our movement expresses what has been repressed, hidden or silenced within us. As a dance-maker I source my inspiration from the unseen narratives that each dancer walks with. It is specific kind of artist who is called to this work.\u003c/p>\n\u003cfigure id=\"attachment_13767292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13767292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/photo-18.png\" alt=\"Embodiment Project\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-520x293.png 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Embodiment Project \u003ccite>(Photo: Angelina Labate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Seed Language\u003c/em> continues to evolve. How do you shape a piece of documentary theater like this?\u003c/strong>\u003c/p>\n\u003cp>A dancer-actor interviews an individual and studies their idiosyncratic gestures to try to embody their story and spirit on the stage. We create monologues from the transcribed interviews and then I use movement to represent the subtext or the complex emotional world of the character.\u003c/p>\n\u003cp>\u003cstrong>What drives your latest project, \u003cem>Ancient Children\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>What’s funded in the dominant paradigm, in the concert dance world, tends to privilege dancers in their virtuosity — not necessarily in their tenderness, in their vulnerability, or in those often grotesque, dark corners of our psyche.\u003c/p>\n\u003cp>The worlds that we traverse — as a dance company rooted in change-work — are really separate. You’re either making community-based social justice work, or producing “classical” or “technical” art in fancy theaters, which are euphemisms for “Euro-centric” (in both narrative and form). That’s the binary which Embodiment Project aims to challenge. We take street dance styles out of their traditional context and reinterpret them as concert dance.\u003c/p>\n\u003cp>One way that we bridge these worlds is by throwing the first ever free-style hip-hop battle at the Oakland Museum of California. Maintaining access to our work and presenting in both S.F. and Oakland is very important to us.\u003c/p>\n\u003cfigure id=\"attachment_13767293\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13767293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber.jpg\" alt='Dante \"Animal\" Rose and Amber Julian of Embodiment Project.' width=\"940\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-520x347.jpg 520w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">Dante “Animal” Rose and Amber Julian of Embodiment Project. \u003ccite>(Photo: Andrew Weeks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Bay Area is fertile ground for artists. Yet it is also hostile — it drives some artists out to cities that are cheaper and perhaps more in need of innovation.\u003c/strong>\u003c/p>\n\u003cp>I have a lot of unprocessed grief around witnessing San Francisco become a whole new city, and seeing so many artists and people of color displaced by the influx of affluent white people. San Francisco is becoming an extension of Silicon Valley. There is a mass exodus of the soul of this city as the high cost of living forces out arts spaces and organizations that have fostered emerging artists.\u003c/p>\n\u003cfigure id=\"attachment_13789939\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nicole-edited-2.jpg\" alt=\"Nicole Klaymoon\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Klaymoon \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>We are in a country where a woman is raped about once a minute, and beaten about every 12 seconds. Statistics prove that one out of every four women has been sexually abused.\u003c/p>\n\u003cp>My ideal future for Bay Area women artists is to support each other to challenge the age-old silence that fuels this rape culture. To nurture one another and to create more spaces where we can tell our story. More spaces where we can use our art to change policy; to impact people in positions of power, and individuals who can hold our stories with great care; to use our creative talents to release the toxic shame of generational gender violence that so many of us carry in our wombs. I want to make and see art that is so steeped in humanity and skill that people who are defended against these issues can’t help but pay attention.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Art and life collide in \u003ca href=\"http://www.embodimentproject.org/nicole-klaymoon/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Klaymoon\u003c/a>’s works of dance and documentary theater. She welds street dance, music and spoken word to illuminate issues of social justice. Her work pairs startling imagery with gripping, sensual soundscapes concocted by collaborators like d. Sabela Grimes, and vocalist \u003ca href=\"https://www.valerietrouttprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a> and her band Mooncandy. With a wit that is sometimes poignant, sometimes lacerating, Klaymoon avoids polemic in pursuit of ambiguous, messy truths.\u003c/p>\n\u003cfigure id=\"attachment_13767291\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13767291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/AndrewWeeksPhotography_Embodiment_010-copy-e1501793110855.jpg\" alt=\"Embodiment Project\" width=\"2000\" height=\"1336\">\u003cfigcaption class=\"wp-caption-text\">Embodiment Project \u003ccite>(Photo: Andrew Weeks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her racially diverse company, known as \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Embodiment Project\u003c/a>, spins stories — the dancers’ own stories, as well as those of tragic figures in recent history (Michael Brown) and of formidable change-makers. Among the voices etched into the soundtrack of Klaymoon’s most recent production, titled \u003cem>Seed Language\u003c/em>, are those of former Black Panther leader Ericka Huggins and Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>She is also crafting a new play based on \u003cem>\u003ca href=\"https://world-trust.org/product/healing-justice/\" target=\"_blank\" rel=\"noopener noreferrer\">Healing Justice\u003c/a>\u003c/em>, a soon-to-be-released documentary by Shakti Butler. Both the film and the play, which Klaymoon has christened \u003cem>Ancient Children\u003c/em>, examine ways in which restorative justice can disrupt the school-to-prison pipeline.\u003c/p>\n\u003cp>Straddling the concert dance world and the street, Klaymoon pays tender homage to a mix of dance forms — even as she defies their traditional underpinnings of race, class and gender.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Embodiment Project reel 2015\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/k90WZezlVTU?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>\u003cstrong>Who has been an influential mentor?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris\u003c/a> has been my mentor for over a decade. I remember he told me something like, “If you want to create your own company someday, you should create work as a solo artist first.” I took his advice and I learned that performing and touring alone was a way to prove to myself that I am not entirely dependent on others to fully realize my vision.\u003c/p>\n\u003cp>\u003cstrong>How do you choose your dancers?\u003c/strong>\u003c/p>\n\u003cp>It’s not just about the movement aesthetics — though that’s an important piece that I look for, that they’re versed in multiple street dance styles — but there also has to be a shared intentionality. This intention is to harness these dance forms as social change, and also to deepen our own healing. We traverse our personal memory material, and often times things that we are taught not to talk about.\u003c/p>\n\u003cp>From a neuroscience perspective, all behavior (and movement) is based in memory and experience. So our movement expresses what has been repressed, hidden or silenced within us. As a dance-maker I source my inspiration from the unseen narratives that each dancer walks with. It is specific kind of artist who is called to this work.\u003c/p>\n\u003cfigure id=\"attachment_13767292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13767292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/photo-18.png\" alt=\"Embodiment Project\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/photo-18-520x293.png 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Embodiment Project \u003ccite>(Photo: Angelina Labate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Seed Language\u003c/em> continues to evolve. How do you shape a piece of documentary theater like this?\u003c/strong>\u003c/p>\n\u003cp>A dancer-actor interviews an individual and studies their idiosyncratic gestures to try to embody their story and spirit on the stage. We create monologues from the transcribed interviews and then I use movement to represent the subtext or the complex emotional world of the character.\u003c/p>\n\u003cp>\u003cstrong>What drives your latest project, \u003cem>Ancient Children\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>What’s funded in the dominant paradigm, in the concert dance world, tends to privilege dancers in their virtuosity — not necessarily in their tenderness, in their vulnerability, or in those often grotesque, dark corners of our psyche.\u003c/p>\n\u003cp>The worlds that we traverse — as a dance company rooted in change-work — are really separate. You’re either making community-based social justice work, or producing “classical” or “technical” art in fancy theaters, which are euphemisms for “Euro-centric” (in both narrative and form). That’s the binary which Embodiment Project aims to challenge. We take street dance styles out of their traditional context and reinterpret them as concert dance.\u003c/p>\n\u003cp>One way that we bridge these worlds is by throwing the first ever free-style hip-hop battle at the Oakland Museum of California. Maintaining access to our work and presenting in both S.F. and Oakland is very important to us.\u003c/p>\n\u003cfigure id=\"attachment_13767293\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13767293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber.jpg\" alt='Dante \"Animal\" Rose and Amber Julian of Embodiment Project.' width=\"940\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EP-Animal-an-Amber-520x347.jpg 520w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">Dante “Animal” Rose and Amber Julian of Embodiment Project. \u003ccite>(Photo: Andrew Weeks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Bay Area is fertile ground for artists. Yet it is also hostile — it drives some artists out to cities that are cheaper and perhaps more in need of innovation.\u003c/strong>\u003c/p>\n\u003cp>I have a lot of unprocessed grief around witnessing San Francisco become a whole new city, and seeing so many artists and people of color displaced by the influx of affluent white people. San Francisco is becoming an extension of Silicon Valley. There is a mass exodus of the soul of this city as the high cost of living forces out arts spaces and organizations that have fostered emerging artists.\u003c/p>\n\u003cfigure id=\"attachment_13789939\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nicole-edited-2.jpg\" alt=\"Nicole Klaymoon\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nicole-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Klaymoon \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>We are in a country where a woman is raped about once a minute, and beaten about every 12 seconds. Statistics prove that one out of every four women has been sexually abused.\u003c/p>\n\u003cp>My ideal future for Bay Area women artists is to support each other to challenge the age-old silence that fuels this rape culture. To nurture one another and to create more spaces where we can tell our story. More spaces where we can use our art to change policy; to impact people in positions of power, and individuals who can hold our stories with great care; to use our creative talents to release the toxic shame of generational gender violence that so many of us carry in our wombs. I want to make and see art that is so steeped in humanity and skill that people who are defended against these issues can’t help but pay attention.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>By now, Chinaka Hodge should need no introduction. As an MC and poet of two books (\u003cem>For Girls With Hips\u003c/em> and \u003cem>Dated Emcees\u003c/em>), she strings together words with intelligence, poignancy and wit; as a writer and activist, she brings deliberation and care to her work.\u003c/p>\n\u003cp>[contextly_sidebar id=”yXoZj9kOYLirJQRxOcteb8LRxskxjkcH”]\u003c/p>\n\u003cp>Raised in Oakland since birth, Hodge has lived on Myrtle Street in West Oakland all the way up to Sequoyah Hills — and nearly everywhere in between. Now 32 and splitting time between her hometown and Los Angeles, Hodge is one of Oakland’s perpetually inspiring ambassadors. Whether she’s \u003ca href=\"http://variety.com/2016/tv/news/minors-series-ryan-coogler-destin-cretton-charles-king-1201714996/\" target=\"_blank\" rel=\"noopener noreferrer\">writing a TV series about juvenile institutionalization\u003c/a> with director Ryan Coogler, \u003ca href=\"https://www.eastbayexpress.com/oakland/bobby-seales-history-of-resistance/Content?oid=5091255\" target=\"_blank\" rel=\"noopener noreferrer\">discussing the legacy of the Black Panthers\u003c/a> with founding member Bobby Seale, or \u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">delivering a powerful meditation on the current political landscape\u003c/a>, everything she does is worth one’s attention.\u003c/p>\n\u003cp>I talked to Hodge over the phone from Los Angeles, where she’s a staff writer on the TV show \u003cem>Rise\u003c/em>, set to air next Spring. But though you can take the poet out of The Town, you can’t take The Town out of the poet; “I love every nook and cranny of Oakland like it’s a family member,” she says. The proof’s below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/7tLy6sOJ7aI\u003c/p>\n\u003cp>\u003cstrong>These days it’s pretty rare for an artist working in Oakland to have been raised in Oakland since birth. What kind of perspective does that give you in your work?\u003c/strong>\u003c/p>\n\u003cp>I think it’s just one of the most diverse places in the world, and I feel like I got the best of the best growing up in the Bay. I got the best of ideas. I was raised by Black Panthers, and UC Berkeley professors, and a cadre of folks who were inventing what it meant to work in the non-profit sector, and forerunners in both black and brown education. I had a really great palette to pull from. I feel like that was a huge influence on me.\u003c/p>\n\u003cp>I grew up in all parts of Oakland. I grew up in West Oakland with my dad, and my mom lived in East Oakland in the flats and in the Fruitvale district, then we moved to the hills. I was in North Oakland as soon as I came back from college, and then I moved to Jack London right after that. I’m an all-city kind of girl. I love every nook and cranny of Oakland like it’s a family member. That’s something rare, and it can’t really be manufactured. Even if you’re a great artist from the Midwest or the East Coast that ends up in Oakland, there’s nothing like being from there and being able to document what you know, what you’ve seen, what you predict, what’s changed. We have a style all our own. It’s like, you’re going to write a certain way if you grew up listening to E-40 exclusively. You know what I mean?\u003c/p>\n\u003cfigure id=\"attachment_13789850\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789850\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg\" alt=\"Chinaka Hodge\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your book \u003cem>Dated Emcees\u003c/em> tells a lot of \u003ca href=\"https://ww2.kqed.org/arts/2016/05/08/chinaka-hodge-shines-a-harsh-true-light-on-life-in-hip-hop-with-dated-emcees/\" target=\"_blank\" rel=\"noopener noreferrer\">your story in relationships with rappers\u003c/a>, but it also speaks for so many other women on the other side of the stories heard on rap albums. What advice would you have for younger women attracted to, or hypnotized by rappers today?\u003c/strong>\u003c/p>\n\u003cp>Write your own music. Be your own storyteller. I spent a lot of time in my 20s dazzled by the talents of others, and not as interested in cultivating my own. I think that my 30s have really been about being unafraid to be great. That’s something I feel decadent, or foolish even, saying aloud to you right now, but my advice to women who are hypnotized — that’s a really good choice of words, “hypnotized by rappers” — I would say be your own delight, be your own best thing, like Toni Morrison.\u003c/p>\n\u003cp>That said, I was a \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Speaks\u003c/a> kid. I started performing at 14, and I wish I’d started later, to be honest. It would have served me to have spent a little less time in the limelight, as such a young person. I wanted to be a star when I was a kid, and I think that growing up on stage is hard. So I wish I’d started sharing my work a little later, maybe in my early 20s, but I will say I was blessed by being around so many amazing young poets from the time I was 14 until now.\u003c/p>\n\u003cfigure id=\"attachment_13789875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg\" alt=\"Chinaka Hodge\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Youth Speaks, which had a big impact on you. What are some other places or people in the Bay Area who made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>Oh, man. I’d have to say my parents, and my family. I’m the eldest of eight siblings. I’d say Sarah Tramble, who was my next-door neighbor and who passed away this year at 100 years old. Dave Eggers, and Michael Chabon, and Ayelet Waldman, who also helped contribute to the cost of my NYU education. I’d say 826 Valencia, as an organization, because of that. I’d say Youth Together, which did workshops at Berkeley High, and at Oakland Schools on agencies of freedom and power, when I was a high school student. I’d say Ile Omode, which is the private institution I went to that seeks to educate black children to be prepared leaders in the world. I went there. My parents actually started the school for us, and it’s in its 30th year now. I’d say Shelton’s Primary Education Center, and Gym Rompers, where I did gymnastics, and taught. I’d say Oakland Freedom Schools, and Allen Temple Baptist Church. I’d say \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-06-13/article/24383\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Ayers\u003c/a>, man, and the classrooms at Berkeley High School.\u003c/p>\n\u003cp>I feel like I was so lucky to have been born in the right time, and place, and to have been raised by so many people who believed that young people should have art as a tool, and who invested in me. I don’t know, I get emotional when I start talking about it. We talk about it as if one organization saves one kid’s life, and I think the Bay Area is a huge web of a lot of organizations working together to change the way we see youth, and the way that youth see the world. I think it’s easy to get bogged down with how crazy the world is, but I think we would do well to remember our resources. I had arts education, and I had it in the ’90s, coming out of crack-era ’80s Oakland. I had art when it mattered, and \u003cem>how\u003c/em> it mattered. Yeah, I could go on forever.\u003c/p>\n\u003cp>\u003cstrong>Lately, Oakland is rapidly losing its black population. What can be done? Where do you see Oakland going?\u003c/strong>\u003c/p>\n\u003cp>To me, Oakland is as much an idea as it is a fixed place. Oakland is Daveed Diggs on \u003cem>Blackish\u003c/em>, and on the \u003cem>Hamilton\u003c/em> stage. Oakland is Ambrose Akinmusire in Tokyo. Many of those who can’t afford to live there go out to proselytize about what Oakland was, or what Oakland is.\u003c/p>\n\u003cp>I am terrified of where Oakland is going. I’m really concerned not only that artists can’t be there, but people I grew up with, and know, and love, they can’t afford to raise their kids there. We’re being supplanted by an influx of literally thousands of people every year who have no interest in investing in the established culture. It’d be like moving to Paris, and being like, “Fuck the Eiffel Tower. Fuck baguettes.”\u003c/p>\n\u003cp>It baffles me every day, and I hope that the market moves in our favor, that developers are more conscientious about how art and culture are necessary in order to have a thriving city, and that art without context is just decoration. I think it’s incumbent upon all of us to make the Bay Area what we want it to be — an affordable, safe haven for art and politics, as it’s always been. We all make this very weird distinction that the technologists are the ones who are destroying the Bay Area, and I posit every single time that my mom has been a black technologist working in the Bay Area since the ’80s, and she also had respect for art, and culture. She’s also a transplant from the Midwest, but I think she moved here respectfully, and I think she moved here to try and improve the area, as opposed to being a succubus upon it.\u003c/p>\n\u003cp>Oakland will never die. I’m just dubious about what happens next.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" width=\"854px\" height=\"480px\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>While we’re talking about hope in the face of hopelessness, you had a very popular poem recently, “\u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">What Will You Tell Your Daughters About 2016?\u003c/a>” Some people wake up and compulsively check the news, and get out and march as much as they can, and ride this roller coaster of outrage and defeat. Other people are just trying to disconnect entirely. How are you dealing with it?\u003c/strong>\u003c/p>\n\u003cp>I’m trying to figure it out. I watched the whole election process, and I was pretty confident he was going to win, based on the way he was ruling the half hour immediately following debates. He’s really set a model where Kim Kardashian can run next term, and win. We elected royalty, basically. No platform, all popularity, all media spin, all media cycles. I \u003cem>am\u003c/em> hopeful in the face of hopelessness, because I believe that the universe operates in balance, and will balance itself out, just as water does, just as life does, and I believe that… I have a perhaps naïve belief that good will eventually prosper over evil.\u003c/p>\n\u003cp>My major advice for myself is to remain painfully aware, and not get caught up, while the White House does its prestidigitation act. I refuse to be distracted by one hand, while the other perpetrates war. I talked to Miss Tramble, the neighbor I was talking about before, right after the election. She was 100 at the time. I asked her was she worried, and she was like, “You know, I’ve seen many of these men come and go, and we all outlast them, so don’t worry no mo’, not one second longer.” That’s kind of what I’ve adopted. Stay vigilant, remain artistic, remain a truth-teller, put the skills that I say I’ve been honing for this moment to work, but not to be scared, not to be afraid anymore. That’s kinda where I land.\u003c/p>\n\u003cp>\u003cstrong>A lot of your work is informed by a love of music, particularly hip-hop. What would you say are your top five hip-hop albums? Of all time, or right now, whatever, don’t overthink it.\u003c/strong>\u003c/p>\n\u003cp>I’d say \u003ca href=\"https://www.youtube.com/watch?v=eSX7LmESZQ4\" target=\"_blank\" rel=\"noopener noreferrer\">Noname, \u003cem>Telefone\u003c/em>\u003c/a>. I’d say Kendrick Lamar, \u003cem>To Pimp a Butterfly\u003c/em> — this last album is not my favorite of his, I understand how it’s useful, but I love \u003cem>To Pimp a Butterfly\u003c/em>, and a bunch of my friends are on it. I would say clipping. — I like \u003ca href=\"https://clppng.bandcamp.com/album/midcity\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Midcity\u003c/em>\u003c/a> a lot, though their last album’s great. That’s the homey Daveed Diggs’ rap group. What am I actually listening to? Outkast, \u003cem>Stankonia\u003c/em>. That’d be up there. One more. Man, whose do I just love the most? I’ll say, just because I hope the Queen returns, \u003cem>The Miseducation of Lauryn Hill\u003c/em>. Still the greatest ever.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That we are able to eat, work, breathe, and revolt without fear for our bodies, or our minds’ injury. That we learn to use our privilege to extend the privilege to those without it. And that we get to knock “I Got 5 On It” at the end of every party.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Learn more about Chinaka Hodge \u003ca href=\"http://chinakahodge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>By now, Chinaka Hodge should need no introduction. As an MC and poet of two books (\u003cem>For Girls With Hips\u003c/em> and \u003cem>Dated Emcees\u003c/em>), she strings together words with intelligence, poignancy and wit; as a writer and activist, she brings deliberation and care to her work.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Raised in Oakland since birth, Hodge has lived on Myrtle Street in West Oakland all the way up to Sequoyah Hills — and nearly everywhere in between. Now 32 and splitting time between her hometown and Los Angeles, Hodge is one of Oakland’s perpetually inspiring ambassadors. Whether she’s \u003ca href=\"http://variety.com/2016/tv/news/minors-series-ryan-coogler-destin-cretton-charles-king-1201714996/\" target=\"_blank\" rel=\"noopener noreferrer\">writing a TV series about juvenile institutionalization\u003c/a> with director Ryan Coogler, \u003ca href=\"https://www.eastbayexpress.com/oakland/bobby-seales-history-of-resistance/Content?oid=5091255\" target=\"_blank\" rel=\"noopener noreferrer\">discussing the legacy of the Black Panthers\u003c/a> with founding member Bobby Seale, or \u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">delivering a powerful meditation on the current political landscape\u003c/a>, everything she does is worth one’s attention.\u003c/p>\n\u003cp>I talked to Hodge over the phone from Los Angeles, where she’s a staff writer on the TV show \u003cem>Rise\u003c/em>, set to air next Spring. But though you can take the poet out of The Town, you can’t take The Town out of the poet; “I love every nook and cranny of Oakland like it’s a family member,” she says. The proof’s below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7tLy6sOJ7aI'\n title='//www.youtube.com/embed/7tLy6sOJ7aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>These days it’s pretty rare for an artist working in Oakland to have been raised in Oakland since birth. What kind of perspective does that give you in your work?\u003c/strong>\u003c/p>\n\u003cp>I think it’s just one of the most diverse places in the world, and I feel like I got the best of the best growing up in the Bay. I got the best of ideas. I was raised by Black Panthers, and UC Berkeley professors, and a cadre of folks who were inventing what it meant to work in the non-profit sector, and forerunners in both black and brown education. I had a really great palette to pull from. I feel like that was a huge influence on me.\u003c/p>\n\u003cp>I grew up in all parts of Oakland. I grew up in West Oakland with my dad, and my mom lived in East Oakland in the flats and in the Fruitvale district, then we moved to the hills. I was in North Oakland as soon as I came back from college, and then I moved to Jack London right after that. I’m an all-city kind of girl. I love every nook and cranny of Oakland like it’s a family member. That’s something rare, and it can’t really be manufactured. Even if you’re a great artist from the Midwest or the East Coast that ends up in Oakland, there’s nothing like being from there and being able to document what you know, what you’ve seen, what you predict, what’s changed. We have a style all our own. It’s like, you’re going to write a certain way if you grew up listening to E-40 exclusively. You know what I mean?\u003c/p>\n\u003cfigure id=\"attachment_13789850\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789850\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg\" alt=\"Chinaka Hodge\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your book \u003cem>Dated Emcees\u003c/em> tells a lot of \u003ca href=\"https://ww2.kqed.org/arts/2016/05/08/chinaka-hodge-shines-a-harsh-true-light-on-life-in-hip-hop-with-dated-emcees/\" target=\"_blank\" rel=\"noopener noreferrer\">your story in relationships with rappers\u003c/a>, but it also speaks for so many other women on the other side of the stories heard on rap albums. What advice would you have for younger women attracted to, or hypnotized by rappers today?\u003c/strong>\u003c/p>\n\u003cp>Write your own music. Be your own storyteller. I spent a lot of time in my 20s dazzled by the talents of others, and not as interested in cultivating my own. I think that my 30s have really been about being unafraid to be great. That’s something I feel decadent, or foolish even, saying aloud to you right now, but my advice to women who are hypnotized — that’s a really good choice of words, “hypnotized by rappers” — I would say be your own delight, be your own best thing, like Toni Morrison.\u003c/p>\n\u003cp>That said, I was a \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Speaks\u003c/a> kid. I started performing at 14, and I wish I’d started later, to be honest. It would have served me to have spent a little less time in the limelight, as such a young person. I wanted to be a star when I was a kid, and I think that growing up on stage is hard. So I wish I’d started sharing my work a little later, maybe in my early 20s, but I will say I was blessed by being around so many amazing young poets from the time I was 14 until now.\u003c/p>\n\u003cfigure id=\"attachment_13789875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg\" alt=\"Chinaka Hodge\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Youth Speaks, which had a big impact on you. What are some other places or people in the Bay Area who made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>Oh, man. I’d have to say my parents, and my family. I’m the eldest of eight siblings. I’d say Sarah Tramble, who was my next-door neighbor and who passed away this year at 100 years old. Dave Eggers, and Michael Chabon, and Ayelet Waldman, who also helped contribute to the cost of my NYU education. I’d say 826 Valencia, as an organization, because of that. I’d say Youth Together, which did workshops at Berkeley High, and at Oakland Schools on agencies of freedom and power, when I was a high school student. I’d say Ile Omode, which is the private institution I went to that seeks to educate black children to be prepared leaders in the world. I went there. My parents actually started the school for us, and it’s in its 30th year now. I’d say Shelton’s Primary Education Center, and Gym Rompers, where I did gymnastics, and taught. I’d say Oakland Freedom Schools, and Allen Temple Baptist Church. I’d say \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-06-13/article/24383\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Ayers\u003c/a>, man, and the classrooms at Berkeley High School.\u003c/p>\n\u003cp>I feel like I was so lucky to have been born in the right time, and place, and to have been raised by so many people who believed that young people should have art as a tool, and who invested in me. I don’t know, I get emotional when I start talking about it. We talk about it as if one organization saves one kid’s life, and I think the Bay Area is a huge web of a lot of organizations working together to change the way we see youth, and the way that youth see the world. I think it’s easy to get bogged down with how crazy the world is, but I think we would do well to remember our resources. I had arts education, and I had it in the ’90s, coming out of crack-era ’80s Oakland. I had art when it mattered, and \u003cem>how\u003c/em> it mattered. Yeah, I could go on forever.\u003c/p>\n\u003cp>\u003cstrong>Lately, Oakland is rapidly losing its black population. What can be done? Where do you see Oakland going?\u003c/strong>\u003c/p>\n\u003cp>To me, Oakland is as much an idea as it is a fixed place. Oakland is Daveed Diggs on \u003cem>Blackish\u003c/em>, and on the \u003cem>Hamilton\u003c/em> stage. Oakland is Ambrose Akinmusire in Tokyo. Many of those who can’t afford to live there go out to proselytize about what Oakland was, or what Oakland is.\u003c/p>\n\u003cp>I am terrified of where Oakland is going. I’m really concerned not only that artists can’t be there, but people I grew up with, and know, and love, they can’t afford to raise their kids there. We’re being supplanted by an influx of literally thousands of people every year who have no interest in investing in the established culture. It’d be like moving to Paris, and being like, “Fuck the Eiffel Tower. Fuck baguettes.”\u003c/p>\n\u003cp>It baffles me every day, and I hope that the market moves in our favor, that developers are more conscientious about how art and culture are necessary in order to have a thriving city, and that art without context is just decoration. I think it’s incumbent upon all of us to make the Bay Area what we want it to be — an affordable, safe haven for art and politics, as it’s always been. We all make this very weird distinction that the technologists are the ones who are destroying the Bay Area, and I posit every single time that my mom has been a black technologist working in the Bay Area since the ’80s, and she also had respect for art, and culture. She’s also a transplant from the Midwest, but I think she moved here respectfully, and I think she moved here to try and improve the area, as opposed to being a succubus upon it.\u003c/p>\n\u003cp>Oakland will never die. I’m just dubious about what happens next.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" width=\"854px\" height=\"480px\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>While we’re talking about hope in the face of hopelessness, you had a very popular poem recently, “\u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">What Will You Tell Your Daughters About 2016?\u003c/a>” Some people wake up and compulsively check the news, and get out and march as much as they can, and ride this roller coaster of outrage and defeat. Other people are just trying to disconnect entirely. How are you dealing with it?\u003c/strong>\u003c/p>\n\u003cp>I’m trying to figure it out. I watched the whole election process, and I was pretty confident he was going to win, based on the way he was ruling the half hour immediately following debates. He’s really set a model where Kim Kardashian can run next term, and win. We elected royalty, basically. No platform, all popularity, all media spin, all media cycles. I \u003cem>am\u003c/em> hopeful in the face of hopelessness, because I believe that the universe operates in balance, and will balance itself out, just as water does, just as life does, and I believe that… I have a perhaps naïve belief that good will eventually prosper over evil.\u003c/p>\n\u003cp>My major advice for myself is to remain painfully aware, and not get caught up, while the White House does its prestidigitation act. I refuse to be distracted by one hand, while the other perpetrates war. I talked to Miss Tramble, the neighbor I was talking about before, right after the election. She was 100 at the time. I asked her was she worried, and she was like, “You know, I’ve seen many of these men come and go, and we all outlast them, so don’t worry no mo’, not one second longer.” That’s kind of what I’ve adopted. Stay vigilant, remain artistic, remain a truth-teller, put the skills that I say I’ve been honing for this moment to work, but not to be scared, not to be afraid anymore. That’s kinda where I land.\u003c/p>\n\u003cp>\u003cstrong>A lot of your work is informed by a love of music, particularly hip-hop. What would you say are your top five hip-hop albums? Of all time, or right now, whatever, don’t overthink it.\u003c/strong>\u003c/p>\n\u003cp>I’d say \u003ca href=\"https://www.youtube.com/watch?v=eSX7LmESZQ4\" target=\"_blank\" rel=\"noopener noreferrer\">Noname, \u003cem>Telefone\u003c/em>\u003c/a>. I’d say Kendrick Lamar, \u003cem>To Pimp a Butterfly\u003c/em> — this last album is not my favorite of his, I understand how it’s useful, but I love \u003cem>To Pimp a Butterfly\u003c/em>, and a bunch of my friends are on it. I would say clipping. — I like \u003ca href=\"https://clppng.bandcamp.com/album/midcity\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Midcity\u003c/em>\u003c/a> a lot, though their last album’s great. That’s the homey Daveed Diggs’ rap group. What am I actually listening to? Outkast, \u003cem>Stankonia\u003c/em>. That’d be up there. One more. Man, whose do I just love the most? I’ll say, just because I hope the Queen returns, \u003cem>The Miseducation of Lauryn Hill\u003c/em>. Still the greatest ever.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That we are able to eat, work, breathe, and revolt without fear for our bodies, or our minds’ injury. That we learn to use our privilege to extend the privilege to those without it. And that we get to knock “I Got 5 On It” at the end of every party.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Learn more about Chinaka Hodge \u003ca href=\"http://chinakahodge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Oakland-based filmmaker Melinda James is still, in her words, “figuring it out.” A sociologist by trade, James transitioned to filmmaking to honor a population in Oakland often relegated to statistics and academic scrutiny by scholars and researchers. With just a camcorder and the internet at her fingertips, she sought instead to celebrate the creativity and joy among the city’s underserved communities.\u003c/p>\n\u003cp>Today, in her new life as a full-time filmmaker, her work carries a sense of obligation. Her production company, \u003ca href=\"http://www.aboutherfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">About Her Films\u003c/a>, spotlights creatives from marginalized communities with an intimate, vibrant, and lucid spirit. James’ latest project, \u003ca href=\"http://whenwomendisrupt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">When Women Disrupt\u003c/a>, involves traveling with artist-activists Jessica Sabogal and \u003ca href=\"https://www.instagram.com/tlynnfaz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tatyana Fazlalizadeh\u003c/a> in the rural Southwest for two weeks to facilitate a willful, difficult dialogue about anti-Blackness, misogyny and xenophobia in states that voted for a leader who embodies much of these issues. It’s a unique form of revolution, and one that she hopes will give rise to a more equitable future.\u003c/p>\n\u003cp>We talked to James about coming-out narratives, Ursula from \u003cem>The Little Mermaid\u003c/em>, and the value of cinema in social justice.\u003c/p>\n\u003cp>https://youtu.be/6o0SU04_eIc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What does the name of the production company you founded, About Her Films, represent for you and your work?\u003c/strong>\u003c/p>\n\u003cp>It’s open to interpretation. I’m so curious when people ask me about this. It’s like “Oh, it’s you!” It’s “About Her,” it’s all about you. And that’s one way. But for me, it’s about representing any woman in your life. Whenever there’s an opportunity that comes up where I can work with women, showcase women, folks of color, and other underrepresented groups, okay, I’ll do it all. I’ll be it all.\u003c/p>\n\u003cp>If I could just hang out with people that I think are very talented and are doing something for their communities — for the world — if I could just hang out and document that, that would be it. I would love that. I’m so amazed at the process of creativity, and I feel like I’m a vehicle for either someone’s vision or if I see someone who’s doing really good work, and I want to showcase that. It’s a privilege to represent Oakland in an authentic, positive, and well-meaning way.\u003c/p>\n\u003cp>\u003cstrong>One of your most compelling projects to date was “\u003ca href=\"http://aboutherfilms.com/When-Women-Disrupt\">When Women Disrupt\u003c/a>” a tour you went on with artists Jessica Sabogal and Tatyana Fazlalizadeh. Can you talk a bit about that experience and what that meant for you?\u003c/strong>\u003c/p>\n\u003cp>It was really amazing. Just imagine being on the road with two of your highly talented friends, and you just get to see them work. You get to see what goes into that process, and you get to hang out, and you get to be a part of that, and you’re road-tripping through some of the most beautiful parts of America. It’s a little conflicting because those parts are not welcoming to folks of color, to women, to queer folks. And yeah, it makes you think about other places in America that you may not know about because they’re Republican, they’re conservative, because folks of color don’t belong there. It was an amazing trip.\u003c/p>\n\u003cfigure id=\"attachment_13789665\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg\" alt=\"Melinda James.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Melinda James. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a filmmaker who went through a less-than-traditional route, what inspires and informs your work?\u003c/strong>\u003c/p>\n\u003cp>A way that I keep myself pushed and inspired are finding the images that make me feel something and lend themselves to some sort of narrative, that mean something other than looking good. Anyone can make a good image, but to make an impactful image — an image that you can take now and 50, 100 years from now, that would provide some context to what was going on in that moment in time — that’s what I strive to do.\u003c/p>\n\u003cp>The things that inspire me are long projects, when people spend time with communities and other people to create this really beautiful body of work. People like Mary Ellen Mark and Gordon Parks spend years and years with people and have big, vast bodies of work. That’s what I try to use to keep myself grounded when I’m feeling impatient or when I’m feeling frustrated. When I don’t feel inspired, I just remind myself that good things take time. If I spend the rest of my life to only get one good thing, I’ve done my life’s work.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot of people who talk about a shift in media representation toward inclusivity across underrepresented groups. Do you feel as if there is, indeed, a shift?\u003c/strong>\u003c/p>\n\u003cp>People are hungry for different stories, stories from different people, stories that show different representations of life, especially Black life. From what I remember as a young kid, when I was a kid, just watching all those Disney movies with my parents in the movie theater, and it was like, the damsel-in-distress, but the characters are all white. In \u003cem>The Little Mermaid,\u003c/em> you have Ursula, she’s like…you know.\u003c/p>\n\u003cp>I think about that where we are now, and you have Ava Duvernay, who’s directing \u003cem>A Wrinkle in Time,\u003c/em> and her whole cast is just very inclusive. There’s lots of really great, strong women in the media. When you think about \u003cem>Master of None\u003c/em> — that Thanksgiving episode — could you imagine seeing something like that 15 years ago? A coming out story about a Black, queer woman? Although it’s still white, it’s still male, there are avenues to make sure that we are represented and that our voices are heard and respected.\u003c/p>\n\u003cp>You have an opportunity as a maker and as a creative to have a platform to talk about real issues. It’s my duty — my responsibility — to make sure that what I do with my craft not only serves me and my creative needs, but also serves other communities and voices that aren’t often heard. The more that I do this, the more I have that in mind. The idea of making something just for me, just because, seems like a waste of energy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’d be great if there were a way to bring everyone together and showcase all of their different work. It would just be nice to see a gallery of awesome women doing incredible work all at once. It feels like there isn’t a lot of space for it, so it’d be really nice to see people come together. I just wish that more people know about all the rad work that a lot of women are doing out there. I’d love to shout it from the rooftops.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Oakland-based filmmaker Melinda James is still, in her words, “figuring it out.” A sociologist by trade, James transitioned to filmmaking to honor a population in Oakland often relegated to statistics and academic scrutiny by scholars and researchers. With just a camcorder and the internet at her fingertips, she sought instead to celebrate the creativity and joy among the city’s underserved communities.\u003c/p>\n\u003cp>Today, in her new life as a full-time filmmaker, her work carries a sense of obligation. Her production company, \u003ca href=\"http://www.aboutherfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">About Her Films\u003c/a>, spotlights creatives from marginalized communities with an intimate, vibrant, and lucid spirit. James’ latest project, \u003ca href=\"http://whenwomendisrupt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">When Women Disrupt\u003c/a>, involves traveling with artist-activists Jessica Sabogal and \u003ca href=\"https://www.instagram.com/tlynnfaz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tatyana Fazlalizadeh\u003c/a> in the rural Southwest for two weeks to facilitate a willful, difficult dialogue about anti-Blackness, misogyny and xenophobia in states that voted for a leader who embodies much of these issues. It’s a unique form of revolution, and one that she hopes will give rise to a more equitable future.\u003c/p>\n\u003cp>We talked to James about coming-out narratives, Ursula from \u003cem>The Little Mermaid\u003c/em>, and the value of cinema in social justice.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6o0SU04_eIc'\n title='//www.youtube.com/embed/6o0SU04_eIc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What does the name of the production company you founded, About Her Films, represent for you and your work?\u003c/strong>\u003c/p>\n\u003cp>It’s open to interpretation. I’m so curious when people ask me about this. It’s like “Oh, it’s you!” It’s “About Her,” it’s all about you. And that’s one way. But for me, it’s about representing any woman in your life. Whenever there’s an opportunity that comes up where I can work with women, showcase women, folks of color, and other underrepresented groups, okay, I’ll do it all. I’ll be it all.\u003c/p>\n\u003cp>If I could just hang out with people that I think are very talented and are doing something for their communities — for the world — if I could just hang out and document that, that would be it. I would love that. I’m so amazed at the process of creativity, and I feel like I’m a vehicle for either someone’s vision or if I see someone who’s doing really good work, and I want to showcase that. It’s a privilege to represent Oakland in an authentic, positive, and well-meaning way.\u003c/p>\n\u003cp>\u003cstrong>One of your most compelling projects to date was “\u003ca href=\"http://aboutherfilms.com/When-Women-Disrupt\">When Women Disrupt\u003c/a>” a tour you went on with artists Jessica Sabogal and Tatyana Fazlalizadeh. Can you talk a bit about that experience and what that meant for you?\u003c/strong>\u003c/p>\n\u003cp>It was really amazing. Just imagine being on the road with two of your highly talented friends, and you just get to see them work. You get to see what goes into that process, and you get to hang out, and you get to be a part of that, and you’re road-tripping through some of the most beautiful parts of America. It’s a little conflicting because those parts are not welcoming to folks of color, to women, to queer folks. And yeah, it makes you think about other places in America that you may not know about because they’re Republican, they’re conservative, because folks of color don’t belong there. It was an amazing trip.\u003c/p>\n\u003cfigure id=\"attachment_13789665\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg\" alt=\"Melinda James.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Melinda James. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a filmmaker who went through a less-than-traditional route, what inspires and informs your work?\u003c/strong>\u003c/p>\n\u003cp>A way that I keep myself pushed and inspired are finding the images that make me feel something and lend themselves to some sort of narrative, that mean something other than looking good. Anyone can make a good image, but to make an impactful image — an image that you can take now and 50, 100 years from now, that would provide some context to what was going on in that moment in time — that’s what I strive to do.\u003c/p>\n\u003cp>The things that inspire me are long projects, when people spend time with communities and other people to create this really beautiful body of work. People like Mary Ellen Mark and Gordon Parks spend years and years with people and have big, vast bodies of work. That’s what I try to use to keep myself grounded when I’m feeling impatient or when I’m feeling frustrated. When I don’t feel inspired, I just remind myself that good things take time. If I spend the rest of my life to only get one good thing, I’ve done my life’s work.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot of people who talk about a shift in media representation toward inclusivity across underrepresented groups. Do you feel as if there is, indeed, a shift?\u003c/strong>\u003c/p>\n\u003cp>People are hungry for different stories, stories from different people, stories that show different representations of life, especially Black life. From what I remember as a young kid, when I was a kid, just watching all those Disney movies with my parents in the movie theater, and it was like, the damsel-in-distress, but the characters are all white. In \u003cem>The Little Mermaid,\u003c/em> you have Ursula, she’s like…you know.\u003c/p>\n\u003cp>I think about that where we are now, and you have Ava Duvernay, who’s directing \u003cem>A Wrinkle in Time,\u003c/em> and her whole cast is just very inclusive. There’s lots of really great, strong women in the media. When you think about \u003cem>Master of None\u003c/em> — that Thanksgiving episode — could you imagine seeing something like that 15 years ago? A coming out story about a Black, queer woman? Although it’s still white, it’s still male, there are avenues to make sure that we are represented and that our voices are heard and respected.\u003c/p>\n\u003cp>You have an opportunity as a maker and as a creative to have a platform to talk about real issues. It’s my duty — my responsibility — to make sure that what I do with my craft not only serves me and my creative needs, but also serves other communities and voices that aren’t often heard. The more that I do this, the more I have that in mind. The idea of making something just for me, just because, seems like a waste of energy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’d be great if there were a way to bring everyone together and showcase all of their different work. It would just be nice to see a gallery of awesome women doing incredible work all at once. It feels like there isn’t a lot of space for it, so it’d be really nice to see people come together. I just wish that more people know about all the rad work that a lot of women are doing out there. I’d love to shout it from the rooftops.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-candice-antique-wicks-davis",
"title": "Women to Watch: Candice 'Antique' Wicks-Davis",
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"content": "\u003cp>Candice Wicks-Davis is one of those prolific people with their hand in almost everything. A musician, educator, activist and entrepreneur, she knows the payoffs of hard work and dedication. The only thing is that she makes it look like, well, \u003cem>not\u003c/em> hard work.\u003c/p>\n\u003cp>That’s because she’s driven by passion, a fuel that’s propelled her all over the world from her home in Oakland to Iran, Spain, Cuba, Ghana and beyond. That global perspective has proven valuable, as I found out talking to her about her work. With involvement in \u003ca href=\"http://edutainmentforequity.com/new-page/\" target=\"_blank\" rel=\"noopener noreferrer\">Edutainment for Equity\u003c/a>, \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gifted & Black\u003c/a>, and the \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living Festival\u003c/a>, Wicks-Davis is part of the a capella quartet \u003ca href=\"https://www.facebook.com/Antique-Naked-Soul-836093419808849/\" target=\"_blank\" rel=\"noopener noreferrer\">Antique Naked Soul\u003c/a>, but also performs as \u003ca href=\"http://antique-music.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Candice Antique\u003c/a> — and today we’re glad to premiere her video for “Nappy,” a song about “advocating for and affirming self-love as the first step to end cultural transformation.”\u003c/p>\n\u003cp>https://youtu.be/ZRSNywhXVdM\u003c/p>\n\u003cp>\u003cstrong>Your work has taken you all over the world. What sort of perspective has that given you on America?\u003c/strong>\u003c/p>\n\u003cp>Oh, wow… so much. One that’s fairly recent was being in Ghana, and dealing with police. I have dreadlocks, my husband has dreadlocks, the person that works with us in Ghana does as well, and there’s a certain amount of profiling that happens with people who have dreadlocks. So we were getting pulled over quite a bit while we were there. But the difference was that we were able to have full-on discussions and arguments with police without worry about losing our lives as three black people. If we were here, I can’t imagine what would have happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think also that we \u003cem>have\u003c/em> a lot. When you go to these other places in the world, materially people don’t have as much, and I don’t think they’re missing it. It makes you think about how much we really need, and just how much we expect. Over the course of the last couple of years, I’ve been really purging things, getting rid of things, and really trying to only have what I need in order to feel comfortable.\u003c/p>\n\u003cp>It’s also taught me, being here in America as a black woman, you don’t ever really think about being an \u003cem>American\u003c/em>. You think about being black, and what that brings, and the types of discrimination you experience on a daily basis. But when you’re in another country, it’s almost like your race gets de-centered and your nationality becomes central. So I wanted to be mindful of how we show up as Americans, and the ways that we can be really insightful, and helpful, and useful instead of the ways that we can be really entitled, and rude, and overbearing.\u003c/p>\n\u003cfigure id=\"attachment_13741251\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-candice-1-1020x1813.jpg\" alt=\"Candice 'Antique' Wicks-Davis.\" width=\"640\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Candice ‘Antique’ Wicks-Davis. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco’s already lost a lot of its black population, and in Oakland, the same thing is happening. How does your work react to that loss?\u003c/strong>\u003c/p>\n\u003cp>In Edutainment for Equity, my company, we are really trying to help businesses and institutions and companies think about the resource and the power of diversity — that when you have a team that’s homogenized, you lose perspective. You lose the ability to reach a map of people. There’s monetary value in diversity: your customer service is better, your ability to reach new customer segments is better, everything is better when there’s a diversity of experience and perspective in the room. So that work is fully around wanting to not only push for companies to look for ways to incorporate more diversity into their demographics of their business, but also how to create an environment that’s inclusive and respectful and nurturing of that diversity, and that doesn’t shut it down or tokenize it.\u003c/p>\n\u003cp>The other part of the work is we’ve been doing our best to try to document and archive what \u003cem>was\u003c/em> here. I think that’s what Young, Gifted & Black does. It archives the experience of black Oakland, when Oakland was a black city, primarily. We make sure to incorporate the local kind of heroes, and local celebrities, and local people who have been doing so much to fight for equality and justice and equity within this city in particular.\u003c/p>\n\u003cp>I would also say that gentrification is a part of the reason that we’re pushing the extension of our work onto an international platform. Because the more that the population in the Bay Area of diverse people shrinks, they’re going \u003cem>somewhere\u003c/em>. And if we want to continue to serve those communities, we have to be where they are. It’s a shame that we can’t all exist in this city together, and that money means more than human beings. But that’s clearly the choice that’s been made in this city.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13785283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Candice.2.jpg\" alt=\"\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>With your work with Young, Gifted & Black, and in general, what do you most want to impart to young people in Oakland?\u003c/strong>\u003c/p>\n\u003cp>Ultimately, for my own journey, self-love was a critical part of me being able to accomplish anything. So to me, I want to impart pride in yourself: in your cultural identity, your national identity, your racial identity, your gender, whatever it is about you, your feeling about who that person is that you’re looking at in the mirror is the foundation for your life. And if you look in the mirror and you see something that you hate, there are a lot of things that you’re not going to do. There are a lot of things that you won’t pursue because you won’t feel like you’re worthy of pursuing an opportunity that would make you so happy, or help you to manifest your full self.\u003c/p>\n\u003cp>When we take young people to Africa, one of the things that they’ve said consistently across the board, different groups of children and youth that we’ve taken, is that they’ve never felt like race wasn’t an issue until they were in Africa. One of our kids even said that “I forgot that I was even black, because everybody’s like me and the statues look like me, and the magazine pictures look like me, and the billboard people look like me, and the people when I go to the bank or the grocery store, they look like me.” There’s something about seeing your own image and having it affirmed and validated.\u003c/p>\n\u003cp>Young, Gifted & Black, to me, that’s the deepest function of it — to create a space that feels validating and that affirms you, and teaches history that you’re never taught in school about who you were. It helps to recover the histories that were erased. And to me, that’s critical. If you have a strong sense of self, there’s nothing that can stop you from being whoever you’re supposed to be in the world.\u003c/p>\n\u003cfigure id=\"attachment_13741250\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741250\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-candice-2-1020x1813.jpg\" alt=\"Candice 'Antique' Wicks-Davis.\" width=\"640\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Candice ‘Antique’ Wicks-Davis. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I have to ask you about this, it’s even in your official bio, that you “touched Prince’s hand at a concert.” What did you learn from Prince’s life and his music?\u003c/strong>\u003c/p>\n\u003cp>He’s someone who showed me how to make my own way. He’s someone who showed me that there are boxes that exist, but they don’t have to apply to you. He’s someone who showed me that you, in and of yourself, you are art. And everything about you is art.\u003c/p>\n\u003cp>I think he defied the boundaries of genre, he defied the boundaries of gender, he defied the boundaries of race, and people couldn’t place him. They couldn’t place him in a category, and I think that’s why we love him so much, and that’s why a lot of people were afraid of Prince’s music and didn’t want it played, and didn’t want him performing. And that, to me, is when you’re really pushing the envelope, that’s when you’re really forwarding and trailblazing, is when there are a contingent of people who are confused by who you are and they can’t, in their mind, figure out where to put you. So I try to strive for that as much as I can in my music, in my business, and just in my life in general. How can I be everything and nothing at the same time? He was a master at that. At just blazing his own path. And you can come along or not.\u003c/p>\n\u003cp>To me, he also represented self-love and a self-acceptance that was really brave and courageous, especially I that time, especially in the early ’80s, the late ’70s. To be who he was at the time was groundbreaking. And so I strive for that in everything I do.\u003c/p>\n\u003cp>https://youtu.be/abfL57gsAGE\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Hopefully we’ll still be here and be able to afford to still live in the city! My ideal future would be… I think we have a scene, but we don’t have an industry. And so I’m hoping that all of the talent here draws people who can help us to build a business industry around our local music scene. I think our music scene is so unique — the art is everywhere, and the art is high-quality, and it’s beautiful. I hope that we can draw industry here.\u003c/p>\n\u003cp>I also hope that we can use our music more intentionally as a tool for changing actual circumstances. One of the ways traveling has changed me, too, is that the song is not enough. The music in and of itself is not enough. We have to also do something. We also have to have action behind the music.\u003c/p>\n\u003cp>I don’t want us to take gentrification lying down and just write songs about what we used to be. I want us to write songs and \u003cem>also\u003c/em> put pressure on people to have policies that don’t allow these types of things to happen. I want to empower a generation of young people to not tolerate it happening again. That’s my hope.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A new album by Candice Antique called ‘Afrikantique,’ a sonic reflection of travels throughout Africa, is being released on Oct. 15. For more details, \u003ca href=\"http://antique-music.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">see her site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Candice Wicks-Davis is one of those prolific people with their hand in almost everything. A musician, educator, activist and entrepreneur, she knows the payoffs of hard work and dedication. The only thing is that she makes it look like, well, \u003cem>not\u003c/em> hard work.\u003c/p>\n\u003cp>That’s because she’s driven by passion, a fuel that’s propelled her all over the world from her home in Oakland to Iran, Spain, Cuba, Ghana and beyond. That global perspective has proven valuable, as I found out talking to her about her work. With involvement in \u003ca href=\"http://edutainmentforequity.com/new-page/\" target=\"_blank\" rel=\"noopener noreferrer\">Edutainment for Equity\u003c/a>, \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gifted & Black\u003c/a>, and the \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living Festival\u003c/a>, Wicks-Davis is part of the a capella quartet \u003ca href=\"https://www.facebook.com/Antique-Naked-Soul-836093419808849/\" target=\"_blank\" rel=\"noopener noreferrer\">Antique Naked Soul\u003c/a>, but also performs as \u003ca href=\"http://antique-music.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Candice Antique\u003c/a> — and today we’re glad to premiere her video for “Nappy,” a song about “advocating for and affirming self-love as the first step to end cultural transformation.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZRSNywhXVdM'\n title='//www.youtube.com/embed/ZRSNywhXVdM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Your work has taken you all over the world. What sort of perspective has that given you on America?\u003c/strong>\u003c/p>\n\u003cp>Oh, wow… so much. One that’s fairly recent was being in Ghana, and dealing with police. I have dreadlocks, my husband has dreadlocks, the person that works with us in Ghana does as well, and there’s a certain amount of profiling that happens with people who have dreadlocks. So we were getting pulled over quite a bit while we were there. But the difference was that we were able to have full-on discussions and arguments with police without worry about losing our lives as three black people. If we were here, I can’t imagine what would have happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think also that we \u003cem>have\u003c/em> a lot. When you go to these other places in the world, materially people don’t have as much, and I don’t think they’re missing it. It makes you think about how much we really need, and just how much we expect. Over the course of the last couple of years, I’ve been really purging things, getting rid of things, and really trying to only have what I need in order to feel comfortable.\u003c/p>\n\u003cp>It’s also taught me, being here in America as a black woman, you don’t ever really think about being an \u003cem>American\u003c/em>. You think about being black, and what that brings, and the types of discrimination you experience on a daily basis. But when you’re in another country, it’s almost like your race gets de-centered and your nationality becomes central. So I wanted to be mindful of how we show up as Americans, and the ways that we can be really insightful, and helpful, and useful instead of the ways that we can be really entitled, and rude, and overbearing.\u003c/p>\n\u003cfigure id=\"attachment_13741251\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-candice-1-1020x1813.jpg\" alt=\"Candice 'Antique' Wicks-Davis.\" width=\"640\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-1.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Candice ‘Antique’ Wicks-Davis. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco’s already lost a lot of its black population, and in Oakland, the same thing is happening. How does your work react to that loss?\u003c/strong>\u003c/p>\n\u003cp>In Edutainment for Equity, my company, we are really trying to help businesses and institutions and companies think about the resource and the power of diversity — that when you have a team that’s homogenized, you lose perspective. You lose the ability to reach a map of people. There’s monetary value in diversity: your customer service is better, your ability to reach new customer segments is better, everything is better when there’s a diversity of experience and perspective in the room. So that work is fully around wanting to not only push for companies to look for ways to incorporate more diversity into their demographics of their business, but also how to create an environment that’s inclusive and respectful and nurturing of that diversity, and that doesn’t shut it down or tokenize it.\u003c/p>\n\u003cp>The other part of the work is we’ve been doing our best to try to document and archive what \u003cem>was\u003c/em> here. I think that’s what Young, Gifted & Black does. It archives the experience of black Oakland, when Oakland was a black city, primarily. We make sure to incorporate the local kind of heroes, and local celebrities, and local people who have been doing so much to fight for equality and justice and equity within this city in particular.\u003c/p>\n\u003cp>I would also say that gentrification is a part of the reason that we’re pushing the extension of our work onto an international platform. Because the more that the population in the Bay Area of diverse people shrinks, they’re going \u003cem>somewhere\u003c/em>. And if we want to continue to serve those communities, we have to be where they are. It’s a shame that we can’t all exist in this city together, and that money means more than human beings. But that’s clearly the choice that’s been made in this city.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13785283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Candice.2.jpg\" alt=\"\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Candice.2-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>With your work with Young, Gifted & Black, and in general, what do you most want to impart to young people in Oakland?\u003c/strong>\u003c/p>\n\u003cp>Ultimately, for my own journey, self-love was a critical part of me being able to accomplish anything. So to me, I want to impart pride in yourself: in your cultural identity, your national identity, your racial identity, your gender, whatever it is about you, your feeling about who that person is that you’re looking at in the mirror is the foundation for your life. And if you look in the mirror and you see something that you hate, there are a lot of things that you’re not going to do. There are a lot of things that you won’t pursue because you won’t feel like you’re worthy of pursuing an opportunity that would make you so happy, or help you to manifest your full self.\u003c/p>\n\u003cp>When we take young people to Africa, one of the things that they’ve said consistently across the board, different groups of children and youth that we’ve taken, is that they’ve never felt like race wasn’t an issue until they were in Africa. One of our kids even said that “I forgot that I was even black, because everybody’s like me and the statues look like me, and the magazine pictures look like me, and the billboard people look like me, and the people when I go to the bank or the grocery store, they look like me.” There’s something about seeing your own image and having it affirmed and validated.\u003c/p>\n\u003cp>Young, Gifted & Black, to me, that’s the deepest function of it — to create a space that feels validating and that affirms you, and teaches history that you’re never taught in school about who you were. It helps to recover the histories that were erased. And to me, that’s critical. If you have a strong sense of self, there’s nothing that can stop you from being whoever you’re supposed to be in the world.\u003c/p>\n\u003cfigure id=\"attachment_13741250\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741250\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-candice-2-1020x1813.jpg\" alt=\"Candice 'Antique' Wicks-Davis.\" width=\"640\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-candice-2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Candice ‘Antique’ Wicks-Davis. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I have to ask you about this, it’s even in your official bio, that you “touched Prince’s hand at a concert.” What did you learn from Prince’s life and his music?\u003c/strong>\u003c/p>\n\u003cp>He’s someone who showed me how to make my own way. He’s someone who showed me that there are boxes that exist, but they don’t have to apply to you. He’s someone who showed me that you, in and of yourself, you are art. And everything about you is art.\u003c/p>\n\u003cp>I think he defied the boundaries of genre, he defied the boundaries of gender, he defied the boundaries of race, and people couldn’t place him. They couldn’t place him in a category, and I think that’s why we love him so much, and that’s why a lot of people were afraid of Prince’s music and didn’t want it played, and didn’t want him performing. And that, to me, is when you’re really pushing the envelope, that’s when you’re really forwarding and trailblazing, is when there are a contingent of people who are confused by who you are and they can’t, in their mind, figure out where to put you. So I try to strive for that as much as I can in my music, in my business, and just in my life in general. How can I be everything and nothing at the same time? He was a master at that. At just blazing his own path. And you can come along or not.\u003c/p>\n\u003cp>To me, he also represented self-love and a self-acceptance that was really brave and courageous, especially I that time, especially in the early ’80s, the late ’70s. To be who he was at the time was groundbreaking. And so I strive for that in everything I do.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/abfL57gsAGE'\n title='//www.youtube.com/embed/abfL57gsAGE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Hopefully we’ll still be here and be able to afford to still live in the city! My ideal future would be… I think we have a scene, but we don’t have an industry. And so I’m hoping that all of the talent here draws people who can help us to build a business industry around our local music scene. I think our music scene is so unique — the art is everywhere, and the art is high-quality, and it’s beautiful. I hope that we can draw industry here.\u003c/p>\n\u003cp>I also hope that we can use our music more intentionally as a tool for changing actual circumstances. One of the ways traveling has changed me, too, is that the song is not enough. The music in and of itself is not enough. We have to also do something. We also have to have action behind the music.\u003c/p>\n\u003cp>I don’t want us to take gentrification lying down and just write songs about what we used to be. I want us to write songs and \u003cem>also\u003c/em> put pressure on people to have policies that don’t allow these types of things to happen. I want to empower a generation of young people to not tolerate it happening again. That’s my hope.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A new album by Candice Antique called ‘Afrikantique,’ a sonic reflection of travels throughout Africa, is being released on Oct. 15. For more details, \u003ca href=\"http://antique-music.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">see her site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Born and raised in Sacramento to parents who immigrated from India as medical professionals in the 1960s, Shanthi Sekaran finds that her background continually informs her work. Her first novel, \u003ca href=\"http://www.sfgate.com/books/article/The-Prayer-Room-by-Shanthi-Sekaran-3169305.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Prayer Room\u003c/em>\u003c/a>, (MacAdam/Cage; 2009) is the story of Viji, a young Indian woman who marries an American man, moves to Sacramento, gives birth to triplets, and navigates culture clashes as an immigrant in 1974 America.\u003c/p>\n\u003cp>https://youtu.be/BOt6Mzm0Is0\u003c/p>\n\u003cp>Sekaran’s second novel, \u003cem>\u003ca href=\"http://www.penguinrandomhouse.com/books/529983/lucky-boy-by-shanthi-sekaran/9781101982242/\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky Boy\u003c/a>\u003c/em> (Penguin Random House; 2017), opens with Soli, an undocumented immigrant from Oaxaca, Mexico, who finds work as a housekeeper in Berkeley. After giving birth to a son, Ignacio, Soli’s life goes terribly awry when she’s placed in immigrant detention and sent out of California. Her baby is put in the care of two thirty-something Indian-American professionals, Kavya and Rishi. From there, the novel delves into complicated and harrowing stories of motherhood, and explores how the bonds of love develop and forever alter families, biological and otherwise.\u003c/p>\n\u003cp>Sekaran, who attended UC Berkeley as an undergrad and lived abroad for a few years before returning to California, is an adjunct creative writing instructor at St. Mary’s College and the California College of the Arts. She lives in Berkeley with her husband and two sons, ages 4 and 9.\u003c/p>\n\u003cfigure id=\"attachment_13778534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13778534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg\" alt=\"Shanthi Sekaran.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Ian Tuttle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview you said: “I want people to see that there isn’t actually much of a difference between a documented immigrant and an undocumented immigrant.” Can you talk about how this informs the themes and plot of \u003cem>Lucky Boy\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like any writer of fiction, I had to approach \u003cem>Lucky Boy\u003c/em> partially through plot, but really, deeply through character. My goal was to create a vibrant and full character [in Soli]. That kind of inherently connects to this idea that an undocumented immigrant on the inside is not much different from any young woman anywhere—who is trying to make something for herself, who finds herself in various types of trouble, who finds herself in a struggle. Being undocumented didn’t make her inherently different, didn’t affect her moral framework, it didn’t affect her humanity, the human struggles and triumphs that she goes through. Those can be found anywhere in this world, regardless of status. Her undocumented status informed the trajectory of her story and shaped what was going to happen to her. But the undocumented status was not \u003cem>her\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13741647\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My husband’s parents are immigrants from Hong Kong, both now U.S citizens. I’ve been thinking about the different forms that immigration takes in the United States — who is seen as a legitimate immigrant and who is demonized. What’s your experience with that been like?\u003c/strong>\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.nytimes.com/2016/11/26/opinion/sunday/the-privileged-immigrant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">written a lot about that\u003c/a>. My parents struggled. They dealt with being taken advantage of in the workplace, and with various sorts of ignorance and racism. But they had the privilege of being here with legal documentation and a way to live and save and put down their roots. That’s something that people struggle with now, even though they come over with their own skill sets and similar hopes.\u003c/p>\n\u003cp>\u003cstrong>Motherhood is an important part of \u003cem>Lucky Boy\u003c/em>’s plot. How has motherhood impacted your writing process and the themes in your work? \u003c/strong>\u003c/p>\n\u003cp>Motherhood raises the stakes for everything in your life. It raises the stakes for the emotional connection you can make to other people and to characters. I think it sharpens your ability to empathize because you’ve produced something from your body that you’re so emotionally connected to. And that goes for adoptive parents as well — they forge these extremely strong emotional connections to someone outside of their own body.\u003c/p>\n\u003cp>In terms of how motherhood has helped me as a writer, I think back to my first novel. In \u003cem>The Prayer Room\u003c/em> I gave my protagonist triplets; this was before I had children. I kind of just gave her triplets as a plot point. I had no clue. I had no idea what I was doing to the poor woman. Or how big of a story that actually is of itself. Having three children at once. That would be the novel. I think [motherhood] has given me a better understanding of the mechanics and the shape of being human.\u003c/p>\n\u003cfigure id=\"attachment_13741646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there certain places in the Bay Area that trigger your creativity? \u003c/strong>\u003c/p>\n\u003cp>Walking is really important. I walk a lot to Indian Rock, which is in my neighborhood. I’m in one of those neighborhoods in Berkeley with tons of secret stairways and little pathways, and I like wandering around the hills where I live. It’s not the place, it’s the action of walking that helps me. And frankly, I have a lot of my connective, good ideas in the shower. I don’t know why. But I was realizing that the other day. Whenever I come up with a key to the books that I’m writing it’s been in the shower. Something about water.\u003c/p>\n\u003cp>My philosophy is to support independent bookstores, and, when you find one that you like, to support the hell out of it. So I spend a lot of my time at Pegasus Books on Solano Avenue. I like walking over there and seeing what’s around. I love that they get to know their customers. They start to understand what certain neighborhoods and cities are into. It’s important to have people on the ground who know what people are reading.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area? \u003c/strong>\u003c/p>\n\u003cp>My ideal future would involve a lot of funding for women artists. And opportunities for young women and girls to be exposed to the arts at an early age through the public school system, in a way that doesn’t involve tons of fundraising. Just to have it worked into the framework of public education again.\u003c/p>\n\u003cp>In terms of craft and the aesthetic, I want to see a world where women don’t have to be representatives of anything. They don’t have to be the “woman artist” or the “South Asian artist.” They could just be themselves. I’d like to see a world where we have anomalies and contradictions between female artists without a demand that they deliver a certain message or represent a certain group.\u003c/p>\n\u003cp>I’d like to see the art scene follow the trend it’s on now; it’s growing more and more complex. People are more daring with what they are willing to say about themselves and their experiences. I like seeing that. I also think that we are in a political atmosphere now where just telling someone’s story and humanizing them can be a revolutionary act. I appreciate the women who are digging deep, taking risks, and not following the demands of the mainstream and the status quo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more about Shanthi Sekaran at \u003ca href=\"https://www.shanthisekaran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her site\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Born and raised in Sacramento to parents who immigrated from India as medical professionals in the 1960s, Shanthi Sekaran finds that her background continually informs her work. Her first novel, \u003ca href=\"http://www.sfgate.com/books/article/The-Prayer-Room-by-Shanthi-Sekaran-3169305.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Prayer Room\u003c/em>\u003c/a>, (MacAdam/Cage; 2009) is the story of Viji, a young Indian woman who marries an American man, moves to Sacramento, gives birth to triplets, and navigates culture clashes as an immigrant in 1974 America.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BOt6Mzm0Is0'\n title='//www.youtube.com/embed/BOt6Mzm0Is0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sekaran’s second novel, \u003cem>\u003ca href=\"http://www.penguinrandomhouse.com/books/529983/lucky-boy-by-shanthi-sekaran/9781101982242/\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky Boy\u003c/a>\u003c/em> (Penguin Random House; 2017), opens with Soli, an undocumented immigrant from Oaxaca, Mexico, who finds work as a housekeeper in Berkeley. After giving birth to a son, Ignacio, Soli’s life goes terribly awry when she’s placed in immigrant detention and sent out of California. Her baby is put in the care of two thirty-something Indian-American professionals, Kavya and Rishi. From there, the novel delves into complicated and harrowing stories of motherhood, and explores how the bonds of love develop and forever alter families, biological and otherwise.\u003c/p>\n\u003cp>Sekaran, who attended UC Berkeley as an undergrad and lived abroad for a few years before returning to California, is an adjunct creative writing instructor at St. Mary’s College and the California College of the Arts. She lives in Berkeley with her husband and two sons, ages 4 and 9.\u003c/p>\n\u003cfigure id=\"attachment_13778534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13778534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg\" alt=\"Shanthi Sekaran.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Ian Tuttle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview you said: “I want people to see that there isn’t actually much of a difference between a documented immigrant and an undocumented immigrant.” Can you talk about how this informs the themes and plot of \u003cem>Lucky Boy\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like any writer of fiction, I had to approach \u003cem>Lucky Boy\u003c/em> partially through plot, but really, deeply through character. My goal was to create a vibrant and full character [in Soli]. That kind of inherently connects to this idea that an undocumented immigrant on the inside is not much different from any young woman anywhere—who is trying to make something for herself, who finds herself in various types of trouble, who finds herself in a struggle. Being undocumented didn’t make her inherently different, didn’t affect her moral framework, it didn’t affect her humanity, the human struggles and triumphs that she goes through. Those can be found anywhere in this world, regardless of status. Her undocumented status informed the trajectory of her story and shaped what was going to happen to her. But the undocumented status was not \u003cem>her\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13741647\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My husband’s parents are immigrants from Hong Kong, both now U.S citizens. I’ve been thinking about the different forms that immigration takes in the United States — who is seen as a legitimate immigrant and who is demonized. What’s your experience with that been like?\u003c/strong>\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.nytimes.com/2016/11/26/opinion/sunday/the-privileged-immigrant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">written a lot about that\u003c/a>. My parents struggled. They dealt with being taken advantage of in the workplace, and with various sorts of ignorance and racism. But they had the privilege of being here with legal documentation and a way to live and save and put down their roots. That’s something that people struggle with now, even though they come over with their own skill sets and similar hopes.\u003c/p>\n\u003cp>\u003cstrong>Motherhood is an important part of \u003cem>Lucky Boy\u003c/em>’s plot. How has motherhood impacted your writing process and the themes in your work? \u003c/strong>\u003c/p>\n\u003cp>Motherhood raises the stakes for everything in your life. It raises the stakes for the emotional connection you can make to other people and to characters. I think it sharpens your ability to empathize because you’ve produced something from your body that you’re so emotionally connected to. And that goes for adoptive parents as well — they forge these extremely strong emotional connections to someone outside of their own body.\u003c/p>\n\u003cp>In terms of how motherhood has helped me as a writer, I think back to my first novel. In \u003cem>The Prayer Room\u003c/em> I gave my protagonist triplets; this was before I had children. I kind of just gave her triplets as a plot point. I had no clue. I had no idea what I was doing to the poor woman. Or how big of a story that actually is of itself. Having three children at once. That would be the novel. I think [motherhood] has given me a better understanding of the mechanics and the shape of being human.\u003c/p>\n\u003cfigure id=\"attachment_13741646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there certain places in the Bay Area that trigger your creativity? \u003c/strong>\u003c/p>\n\u003cp>Walking is really important. I walk a lot to Indian Rock, which is in my neighborhood. I’m in one of those neighborhoods in Berkeley with tons of secret stairways and little pathways, and I like wandering around the hills where I live. It’s not the place, it’s the action of walking that helps me. And frankly, I have a lot of my connective, good ideas in the shower. I don’t know why. But I was realizing that the other day. Whenever I come up with a key to the books that I’m writing it’s been in the shower. Something about water.\u003c/p>\n\u003cp>My philosophy is to support independent bookstores, and, when you find one that you like, to support the hell out of it. So I spend a lot of my time at Pegasus Books on Solano Avenue. I like walking over there and seeing what’s around. I love that they get to know their customers. They start to understand what certain neighborhoods and cities are into. It’s important to have people on the ground who know what people are reading.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area? \u003c/strong>\u003c/p>\n\u003cp>My ideal future would involve a lot of funding for women artists. And opportunities for young women and girls to be exposed to the arts at an early age through the public school system, in a way that doesn’t involve tons of fundraising. Just to have it worked into the framework of public education again.\u003c/p>\n\u003cp>In terms of craft and the aesthetic, I want to see a world where women don’t have to be representatives of anything. They don’t have to be the “woman artist” or the “South Asian artist.” They could just be themselves. I’d like to see a world where we have anomalies and contradictions between female artists without a demand that they deliver a certain message or represent a certain group.\u003c/p>\n\u003cp>I’d like to see the art scene follow the trend it’s on now; it’s growing more and more complex. People are more daring with what they are willing to say about themselves and their experiences. I like seeing that. I also think that we are in a political atmosphere now where just telling someone’s story and humanizing them can be a revolutionary act. I appreciate the women who are digging deep, taking risks, and not following the demands of the mainstream and the status quo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more about Shanthi Sekaran at \u003ca href=\"https://www.shanthisekaran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her site\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>\u003c/b>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.janicewrites.com\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Lobo Sapigao\u003c/a> grew up in Northside San Jose, the child of first-generation Filipino immigrants. Her mom worked the night shift, her dad, the day shift, and so Sapigao never saw them together except on weekends. After her dad died when she was just six years old, her family moved in with her cousin — and his family of 12 people.\u003c/p>\n\u003cp>“I lived in the same room with my mom and my brother for eight years,” Sapigao says. “I was the youngest, really quiet and observant. I didn’t really talk much, which is different from the way I am now!” Now, Sapigao loves to talk, and write, and teach others to do the same.\u003c/p>\n\u003cp>She’s published two books of poetry —\u003cb>\u003ci> \u003c/i>\u003c/b>\u003ci>microchips for millions\u003c/i> and \u003ci>Like a Solid to a Shadow\u003c/i>\u003cb>\u003ci> —\u003c/i>\u003c/b> as well as two chapbooks: \u003ci>you don’t know what you don’t know\u003c/i> and \u003ci>toxic city\u003c/i>. She is the Associate Editor of \u003ci>TAYO Literary Magazine.\u003c/i> She co-founded an open mic in Los Angeles called the \u003ca href=\"http://www.facebook.com/thesundayjump\">\u003cb>Sunday Jump\u003c/b>\u003c/a>. She also teaches part-time at Skyline College in San Bruno and San Jose City College, working with many students who haven’t had positive experiences with English literature.\u003c/p>\n\u003cfigure id=\"attachment_13741267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg\" alt=\"Janice Sapigao.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Sapigao. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did I \u003ca href=\"https://www.youtube.com/watch?v=uU5Pw9S4950\" target=\"_blank\" rel=\"noopener noreferrer\">hear right\u003c/a> watching one of your readings on YouTube: Sapigao means “nuts of the bird?”\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I lived in L.A. (for grad school), I was doing community work in the historic Filipino neighborhood there and I met an elder who taught me \u003cem>Ilokano\u003c/em> (a native language in the Philippines), and he told me that. I haven’t checked with any other source, but I like it.\u003c/p>\n\u003cp>\u003cb>Your parents were first-generation immigrants. How did your mother react when you told her “I want to be a poet!”\u003c/b>\u003c/p>\n\u003cp>I never had a moment when I told her I want to be a poet. What she tells my family is that I’m a journalist. She knows that I’ve always written, and I’ve read a lot of books. Her context around writing is different. In the Philippines, especially under martial law, writing was the way you could save your life and risk your life at the same time. A journalist is the closest thing to describing what it is that I do. I don’t know how else to say it, because my Americanness is seeping into everything, and maybe the words in English are not enough to say what she knows and I understand. That’s what my poetry looks like: the pieces of a puzzle trying to come together.\u003c/p>\n\u003cp>https://youtu.be/XfMONYmAGuA\u003c/p>\n\u003cp>\u003cb>How does teaching pull on different muscles from the work you do as an individual artist?\u003c/b>\u003c/p>\n\u003cp>Teaching forces me — in a good way — to rethink the possibilities of writing, and the possibilities of a story. A lot of students who come in to my classes will say “I’ve never read a book in its entirety.” Or “I’ve never written an essay that I liked.” They think saying that may get me to cut them some slack. I think that’s where the work begins. How can I really change the narrative of what students have been taught belongs in an English class?\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uU5Pw9S4950]\u003c/p>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>I look really young, and I am young, but I feel, being a Filipina, and being an artist, people treat me really shitty. There’s a lack of support from librarians, editors, people in my community who may be thinking that they’re helping me. In grad school, nobody said “Here’s how you’ll really be treated.” Especially when you’re a writer who identifies with several communities of struggle. Every time I try to stand up for myself or question, I get that same negative reaction. Community organizing has taught me that you can’t move the community if the community doesn’t want to move.\u003c/p>\n\u003cp>\u003cb>What organizations are supportive and “doing it right”?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Debug\u003c/a>. I just started writing a book review column for them. They’ve been super supportive. They do the same with other folks. It’s so welcoming. That’s a necessary resource in San Jose.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think of three things: money; more time to create; and residencies which combines both of those things. That are also local and easy to get into! There’s \u003ca href=\"http://www.djerassi.org\" target=\"_blank\" rel=\"noopener noreferrer\">Djerassi\u003c/a> and \u003ca href=\"http://montalvoarts.org/programs/residency/\" target=\"_blank\" rel=\"noopener noreferrer\">Montalvo\u003c/a>, but those are spaces for folks who’ve been able to build up their resumes, not for emerging artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Curious about who else made the list? Check out the \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch \u003c/i>\u003c/a>\u003ci>series page, including photo galleries, interviews, and videos.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Do you know a Bay Area artist who is doing amazing things? \u003c/i>\u003ca href=\"https://www.instagram.com/kqed_arts/\">\u003ci>We\u003c/i>\u003c/a>\u003ci> want to hear from you! Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003c/b>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.janicewrites.com\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Lobo Sapigao\u003c/a> grew up in Northside San Jose, the child of first-generation Filipino immigrants. Her mom worked the night shift, her dad, the day shift, and so Sapigao never saw them together except on weekends. After her dad died when she was just six years old, her family moved in with her cousin — and his family of 12 people.\u003c/p>\n\u003cp>“I lived in the same room with my mom and my brother for eight years,” Sapigao says. “I was the youngest, really quiet and observant. I didn’t really talk much, which is different from the way I am now!” Now, Sapigao loves to talk, and write, and teach others to do the same.\u003c/p>\n\u003cp>She’s published two books of poetry —\u003cb>\u003ci> \u003c/i>\u003c/b>\u003ci>microchips for millions\u003c/i> and \u003ci>Like a Solid to a Shadow\u003c/i>\u003cb>\u003ci> —\u003c/i>\u003c/b> as well as two chapbooks: \u003ci>you don’t know what you don’t know\u003c/i> and \u003ci>toxic city\u003c/i>. She is the Associate Editor of \u003ci>TAYO Literary Magazine.\u003c/i> She co-founded an open mic in Los Angeles called the \u003ca href=\"http://www.facebook.com/thesundayjump\">\u003cb>Sunday Jump\u003c/b>\u003c/a>. She also teaches part-time at Skyline College in San Bruno and San Jose City College, working with many students who haven’t had positive experiences with English literature.\u003c/p>\n\u003cfigure id=\"attachment_13741267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg\" alt=\"Janice Sapigao.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Sapigao. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did I \u003ca href=\"https://www.youtube.com/watch?v=uU5Pw9S4950\" target=\"_blank\" rel=\"noopener noreferrer\">hear right\u003c/a> watching one of your readings on YouTube: Sapigao means “nuts of the bird?”\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I lived in L.A. (for grad school), I was doing community work in the historic Filipino neighborhood there and I met an elder who taught me \u003cem>Ilokano\u003c/em> (a native language in the Philippines), and he told me that. I haven’t checked with any other source, but I like it.\u003c/p>\n\u003cp>\u003cb>Your parents were first-generation immigrants. How did your mother react when you told her “I want to be a poet!”\u003c/b>\u003c/p>\n\u003cp>I never had a moment when I told her I want to be a poet. What she tells my family is that I’m a journalist. She knows that I’ve always written, and I’ve read a lot of books. Her context around writing is different. In the Philippines, especially under martial law, writing was the way you could save your life and risk your life at the same time. A journalist is the closest thing to describing what it is that I do. I don’t know how else to say it, because my Americanness is seeping into everything, and maybe the words in English are not enough to say what she knows and I understand. That’s what my poetry looks like: the pieces of a puzzle trying to come together.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XfMONYmAGuA'\n title='//www.youtube.com/embed/XfMONYmAGuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>How does teaching pull on different muscles from the work you do as an individual artist?\u003c/b>\u003c/p>\n\u003cp>Teaching forces me — in a good way — to rethink the possibilities of writing, and the possibilities of a story. A lot of students who come in to my classes will say “I’ve never read a book in its entirety.” Or “I’ve never written an essay that I liked.” They think saying that may get me to cut them some slack. I think that’s where the work begins. How can I really change the narrative of what students have been taught belongs in an English class?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uU5Pw9S4950'\n title='//www.youtube.com/embed/uU5Pw9S4950'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>I look really young, and I am young, but I feel, being a Filipina, and being an artist, people treat me really shitty. There’s a lack of support from librarians, editors, people in my community who may be thinking that they’re helping me. In grad school, nobody said “Here’s how you’ll really be treated.” Especially when you’re a writer who identifies with several communities of struggle. Every time I try to stand up for myself or question, I get that same negative reaction. Community organizing has taught me that you can’t move the community if the community doesn’t want to move.\u003c/p>\n\u003cp>\u003cb>What organizations are supportive and “doing it right”?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Debug\u003c/a>. I just started writing a book review column for them. They’ve been super supportive. They do the same with other folks. It’s so welcoming. That’s a necessary resource in San Jose.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think of three things: money; more time to create; and residencies which combines both of those things. That are also local and easy to get into! There’s \u003ca href=\"http://www.djerassi.org\" target=\"_blank\" rel=\"noopener noreferrer\">Djerassi\u003c/a> and \u003ca href=\"http://montalvoarts.org/programs/residency/\" target=\"_blank\" rel=\"noopener noreferrer\">Montalvo\u003c/a>, but those are spaces for folks who’ve been able to build up their resumes, not for emerging artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Curious about who else made the list? Check out the \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch \u003c/i>\u003c/a>\u003ci>series page, including photo galleries, interviews, and videos.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Do you know a Bay Area artist who is doing amazing things? \u003c/i>\u003ca href=\"https://www.instagram.com/kqed_arts/\">\u003ci>We\u003c/i>\u003c/a>\u003ci> want to hear from you! Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Erin Salazar grew up in the Mojave Desert, the daughter of a teacher’s aide for high risk youth. When she left Southern California at 17 to pursue an arts degree at San Jose State, “I’d heard that it had a good arts program and it was far enough away from Hesperia so I didn’t have to go home for minor holidays. It was just the right distance away,” Salazar says. “At the time, I thought San Jose was a beautiful, cosmopolitan city.”\u003c/p>\n\u003cp>Today, her passionate affection for San Jose takes the form of her work beautifying its neighborhoods with murals. As the founder and executive director of the \u003ca href=\"https://www.exhibitiondistrict.com\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition District\u003c/a>, Salazar is on a mission to fill 40,000 square feet of blank space in downtown San Jose with art, receiving support from both the San Jose Downtown Association and the Knight Foundation.\u003c/p>\n\u003cp>Salazar started as a muralist herself, taking on commissions so modest she was sometimes paid with free beer and food. Then, in 2011 and 2012, both of her parents died, and Salazar began thinking of her own mortality. “I thought I could be more impactful working for other people,” she says, “than just working for myself.”\u003c/p>\n\u003cp>https://youtu.be/EiPZUEUzsds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Did you have a mission statement in mind when you started the Exhibition District?\u003c/b>\u003c/p>\n\u003cp>I started building this concept around creating economic opportunities for artists. City beautification was secondary to that. Artists are so quick to devalue the work they do, and so I wanted to make sure that artists were getting paid.\u003c/p>\n\u003cp>\u003cb>What’s the hardest part of this work?\u003c/b>\u003c/p>\n\u003cp>For me personally, it’s definitely the paperwork. I’m a creative person, and so I have to force myself to read about tax law and all this other stuff. Also, it’s tough finding the time to beat the street and get more work up.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 10 years?\u003c/b>\u003c/p>\n\u003cp>The Exhibition District has two different arms now. One of them is outside, and then there’s this secondary one that we just started. It’s called \u003ca href=\"https://www.exhibitiondistrict.com/localcolor\" target=\"_blank\" rel=\"noopener noreferrer\">Local Color\u003c/a>, and it’s about the reactivation of buildings that are going to be torn down. The owners let us have the keys [before then]. We’re just trying to create a beautiful prototype for a larger community. My hope is to get a semi-permanent space, so artists have a place to practice. I call it “asset-based community development.” I was in a fellowship with National Art Strategies. I was really inspired by the idea that we need to define communities according to their assets, rather than their deficits. So in 10 years, I want to run an art space.\u003c/p>\n\u003cfigure id=\"attachment_13741657\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg\" alt=\"Erin Salazar.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erin Salazar. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>You have to fake it ’til you make it. There’s so much money flowing about here, but it’s so far above what we’re able to access as artists. So it’s about trying to get people to value art. That comes with more exposure to what goes in to the craft, so people see the work that goes into this, the value. We have to work a lot harder because that value isn’t there yet. We lack exposure, because the region has been dubbed a wasteland. We have to get away from that. We have to re-brand.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Definitely more opportunities in public art. Getting more women to think big, and work big, and get paid. I want to be woman-centric in building my company. I want to help women get out of the sketchbook and onto the wall.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Erin Salazar grew up in the Mojave Desert, the daughter of a teacher’s aide for high risk youth. When she left Southern California at 17 to pursue an arts degree at San Jose State, “I’d heard that it had a good arts program and it was far enough away from Hesperia so I didn’t have to go home for minor holidays. It was just the right distance away,” Salazar says. “At the time, I thought San Jose was a beautiful, cosmopolitan city.”\u003c/p>\n\u003cp>Today, her passionate affection for San Jose takes the form of her work beautifying its neighborhoods with murals. As the founder and executive director of the \u003ca href=\"https://www.exhibitiondistrict.com\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition District\u003c/a>, Salazar is on a mission to fill 40,000 square feet of blank space in downtown San Jose with art, receiving support from both the San Jose Downtown Association and the Knight Foundation.\u003c/p>\n\u003cp>Salazar started as a muralist herself, taking on commissions so modest she was sometimes paid with free beer and food. Then, in 2011 and 2012, both of her parents died, and Salazar began thinking of her own mortality. “I thought I could be more impactful working for other people,” she says, “than just working for myself.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EiPZUEUzsds'\n title='//www.youtube.com/embed/EiPZUEUzsds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Did you have a mission statement in mind when you started the Exhibition District?\u003c/b>\u003c/p>\n\u003cp>I started building this concept around creating economic opportunities for artists. City beautification was secondary to that. Artists are so quick to devalue the work they do, and so I wanted to make sure that artists were getting paid.\u003c/p>\n\u003cp>\u003cb>What’s the hardest part of this work?\u003c/b>\u003c/p>\n\u003cp>For me personally, it’s definitely the paperwork. I’m a creative person, and so I have to force myself to read about tax law and all this other stuff. Also, it’s tough finding the time to beat the street and get more work up.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 10 years?\u003c/b>\u003c/p>\n\u003cp>The Exhibition District has two different arms now. One of them is outside, and then there’s this secondary one that we just started. It’s called \u003ca href=\"https://www.exhibitiondistrict.com/localcolor\" target=\"_blank\" rel=\"noopener noreferrer\">Local Color\u003c/a>, and it’s about the reactivation of buildings that are going to be torn down. The owners let us have the keys [before then]. We’re just trying to create a beautiful prototype for a larger community. My hope is to get a semi-permanent space, so artists have a place to practice. I call it “asset-based community development.” I was in a fellowship with National Art Strategies. I was really inspired by the idea that we need to define communities according to their assets, rather than their deficits. So in 10 years, I want to run an art space.\u003c/p>\n\u003cfigure id=\"attachment_13741657\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg\" alt=\"Erin Salazar.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-erin-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erin Salazar. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>You have to fake it ’til you make it. There’s so much money flowing about here, but it’s so far above what we’re able to access as artists. So it’s about trying to get people to value art. That comes with more exposure to what goes in to the craft, so people see the work that goes into this, the value. We have to work a lot harder because that value isn’t there yet. We lack exposure, because the region has been dubbed a wasteland. We have to get away from that. We have to re-brand.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Definitely more opportunities in public art. Getting more women to think big, and work big, and get paid. I want to be woman-centric in building my company. I want to help women get out of the sketchbook and onto the wall.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? 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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Artist and writer \u003ca href=\"http://indiraallegra.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Indira Allegra\u003c/a> weaves words, videos and performance into tapestries both physical and metaphorical. It’s almost impossible to succinctly describe Allegra’s practice, but in this and many other arenas, she’s the best one for the job: “I explore themes of tension and intimacy through text/ile performance,” she says.\u003c/p>\n\u003cp>https://youtu.be/IpYsEosN8DU\u003c/p>\n\u003cp>The slash in “text/ile” is important for Allegra — texts are built upon layers of words, textiles are built upon layers of thread. The loom is, for her, a writing tool. In Allegra’s \u003ci>Blackout\u003c/i>, a digital weaving installation featured in the 2016 YBCA exhibition \u003ci>\u003ca href=\"http://ww2.kqed.org/arts/2016/03/22/take-this-hammer-reveals-power-of-art-and-activism-at-ybca/\" target=\"_blank\" rel=\"noopener noreferrer\">Take This Hammer: Art + Media Activism from the Bay Area\u003c/a>\u003c/i>, she investigated the material of twill — commonly used in police uniforms — and its inherent ability to censor other narratives. In the projected videos, the twill pattern physically obscures text she gathered from family members who have lost loved ones to police violence.\u003c/p>\n\u003cp>For Allegra, tension is a material she doesn’t shy away from, whether that’s the tension of the loom, the tension in a body, or the unspoken social tensions that surround us daily. I talked to her about her work, her new \u003cem>Open Casket\u003c/em> series, and her inspirations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/YwHS1hI6crQ\u003c/p>\n\u003cp>\u003cstrong>Had you done any textile work before you came to California College of the Arts for your BFA in 2009?\u003c/strong>\u003c/p>\n\u003cp>I came to CCA as a writer and as a performance artist. One of the things that occurred to me when I encountered the loom for the first time — well, first I felt panicked — but then I immediately understood that it was a writing device. There’s not a lot of difference in my mind between laying down pieces of thread and laying down stanzas or stacking video and audio information into Adobe Premiere.\u003c/p>\n\u003cp>I think that we borrow from the architecture of weaving to know how to tell story — when scrolling and scanning on our computers, we’re always following the weft line or the warp line. When we use the word “text” we’re invoking the Latin verb “texere” which means to weave.\u003c/p>\n\u003cp>Part of textile work is also thinking about how things are made in a hypercapitalist environment where few people understand how many things are even produced anymore. That labor is outsourced to marginalized communities worldwide. Similarly, as a writer, thinking about etymology — or word origins — is also about understanding how things are made, understanding the underlying structure of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13741111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741111\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg\" alt=\"Indira Allegra\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are you currently working or have you been involved with recently that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>A couple different things. One is the \u003ci>Open Casket\u003c/i> series. This is an outgrowth from the \u003ci>Blackout\u003c/i> series. In this case I’m looking at crepe, a material used to line the interior of caskets. Each pixel is someone actually speaking about a loved one that they’ve lost to police violence. I focused on crepe not only because of its longstanding relationship to mourning, but because it’s a cheaper alternative for casket lining. If you weren’t prepared to cover funeral expenses for someone who was unexpectedly gunned down, you would use crepe. Velvet would be the more expensive material.\u003c/p>\n\u003cp>And then I’m working on a \u003ci>Body Warp\u003c/i> series which I’m showing teasers of on social media. And that’s going to be the work exhibited at \u003ca href=\"http://www.thealicegallery.com/the-alice.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Alice\u003c/a> gallery in Seattle in January. It explores my body as weaving material — or warp — and the tools and accoutrements associated with weaving.\u003c/p>\n\u003cp>I’m embodying all sort of marginalized identities, so how can I use that tension on the loom? Instead of putting thread on the loom, what if I put my body on the loom? What kind of fabric results?\u003c/p>\n\u003cfigure id=\"attachment_13755185\" class=\"wp-caption aligncenter\" style=\"max-width: 2550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13755185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg\" alt=\"An image from Indira Allegra's 'Body Warp' series, produced while in residence at Headlands Center for the Arts.\" width=\"2550\" height=\"1720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg 2550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1920x1295.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-520x351.jpg 520w\" sizes=\"(max-width: 2550px) 100vw, 2550px\">\u003cfigcaption class=\"wp-caption-text\">An image from Indira Allegra’s ‘Body Warp’ series, produced while in residence at Headlands Center for the Arts. \u003ccite>(Photo by @kimstar510; Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sustains you and your practice?\u003c/strong>\u003c/p>\n\u003cp>That morning time where I get a chance to take time out to read and listen to the news, which for me starts at 9am. And I think the relationships that I have in my very inner circle are also really important because I’m constantly staring into the unknown. It’s not like I know what a project is going to look like in the end. I don’t have that kind of certainty, it’s not actually mapped out. And living with that uncertainty actually requires a lot of emotional support from people who have a lot of empathy around how demanding this work is. There’s no way I could do this work alone emotionally.\u003c/p>\n\u003cfigure id=\"attachment_13762940\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13762940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg\" alt=\"Indira Allegra\" width=\"630\" height=\"965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-240x368.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-375x574.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-520x797.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/07/20/women-to-watch-black-salt-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Salt Collective\u003c/a>. I don’t know how you could not be watching them, if you’re in the Bay Area and you’re breathing!\u003c/p>\n\u003cp>The work they’re doing as a collective and individually is really important, and not only in terms of the strategies they’re using to make work. It’s very difficult to survive as an artist here working solo. It’s definitely something I know I have contended with in my own practice. I appreciate the way that they get to each have their distinct individual practice, but they can work in support of each other, which I think is a really good model if artists are going to continue to work in big metropolitan areas, where the engine of gentrification continues to be in play.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>My ideal future for women artists in the Bay Area is that our objects, our writings our performances are actually understood as scholarship. That we be conceived as thinkers with the ability to contribute a lot to solving social problems that exist here and nationally. As an artist you have to have a comfort with the unknown, being able to solve problems in a non-linear way. There’s a certain literacy you have to have about what cloth can say, how poetry can speak to the elusiveness of memory and how trauma is inherited. There’s a power in images, composition or performance — they can move people to experience things they might not be able to access on a daily basis.\u003c/p>\n\u003cp>All of that in my mind is scholarship. It’s not just something cool to buy to put on my wall. All these works are actually something the public can learn from and continue to be in dialogue with the artists about. It’s really about understanding the intellectual brilliance of women and also that scholarship can look really broad. It doesn’t have to be a 50-page thesis on something, a three minute dance can actually act as a dissertation as well.\u003c/p>\n\u003cp>I actually want to live in a society that recognizes that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Artist and writer \u003ca href=\"http://indiraallegra.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Indira Allegra\u003c/a> weaves words, videos and performance into tapestries both physical and metaphorical. It’s almost impossible to succinctly describe Allegra’s practice, but in this and many other arenas, she’s the best one for the job: “I explore themes of tension and intimacy through text/ile performance,” she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IpYsEosN8DU'\n title='//www.youtube.com/embed/IpYsEosN8DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The slash in “text/ile” is important for Allegra — texts are built upon layers of words, textiles are built upon layers of thread. The loom is, for her, a writing tool. In Allegra’s \u003ci>Blackout\u003c/i>, a digital weaving installation featured in the 2016 YBCA exhibition \u003ci>\u003ca href=\"http://ww2.kqed.org/arts/2016/03/22/take-this-hammer-reveals-power-of-art-and-activism-at-ybca/\" target=\"_blank\" rel=\"noopener noreferrer\">Take This Hammer: Art + Media Activism from the Bay Area\u003c/a>\u003c/i>, she investigated the material of twill — commonly used in police uniforms — and its inherent ability to censor other narratives. In the projected videos, the twill pattern physically obscures text she gathered from family members who have lost loved ones to police violence.\u003c/p>\n\u003cp>For Allegra, tension is a material she doesn’t shy away from, whether that’s the tension of the loom, the tension in a body, or the unspoken social tensions that surround us daily. I talked to her about her work, her new \u003cem>Open Casket\u003c/em> series, and her inspirations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YwHS1hI6crQ'\n title='//www.youtube.com/embed/YwHS1hI6crQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Had you done any textile work before you came to California College of the Arts for your BFA in 2009?\u003c/strong>\u003c/p>\n\u003cp>I came to CCA as a writer and as a performance artist. One of the things that occurred to me when I encountered the loom for the first time — well, first I felt panicked — but then I immediately understood that it was a writing device. There’s not a lot of difference in my mind between laying down pieces of thread and laying down stanzas or stacking video and audio information into Adobe Premiere.\u003c/p>\n\u003cp>I think that we borrow from the architecture of weaving to know how to tell story — when scrolling and scanning on our computers, we’re always following the weft line or the warp line. When we use the word “text” we’re invoking the Latin verb “texere” which means to weave.\u003c/p>\n\u003cp>Part of textile work is also thinking about how things are made in a hypercapitalist environment where few people understand how many things are even produced anymore. That labor is outsourced to marginalized communities worldwide. Similarly, as a writer, thinking about etymology — or word origins — is also about understanding how things are made, understanding the underlying structure of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13741111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741111\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg\" alt=\"Indira Allegra\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-indira-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are you currently working or have you been involved with recently that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>A couple different things. One is the \u003ci>Open Casket\u003c/i> series. This is an outgrowth from the \u003ci>Blackout\u003c/i> series. In this case I’m looking at crepe, a material used to line the interior of caskets. Each pixel is someone actually speaking about a loved one that they’ve lost to police violence. I focused on crepe not only because of its longstanding relationship to mourning, but because it’s a cheaper alternative for casket lining. If you weren’t prepared to cover funeral expenses for someone who was unexpectedly gunned down, you would use crepe. Velvet would be the more expensive material.\u003c/p>\n\u003cp>And then I’m working on a \u003ci>Body Warp\u003c/i> series which I’m showing teasers of on social media. And that’s going to be the work exhibited at \u003ca href=\"http://www.thealicegallery.com/the-alice.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Alice\u003c/a> gallery in Seattle in January. It explores my body as weaving material — or warp — and the tools and accoutrements associated with weaving.\u003c/p>\n\u003cp>I’m embodying all sort of marginalized identities, so how can I use that tension on the loom? Instead of putting thread on the loom, what if I put my body on the loom? What kind of fabric results?\u003c/p>\n\u003cfigure id=\"attachment_13755185\" class=\"wp-caption aligncenter\" style=\"max-width: 2550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13755185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg\" alt=\"An image from Indira Allegra's 'Body Warp' series, produced while in residence at Headlands Center for the Arts.\" width=\"2550\" height=\"1720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp.jpg 2550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1920x1295.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/BodyWarp-520x351.jpg 520w\" sizes=\"(max-width: 2550px) 100vw, 2550px\">\u003cfigcaption class=\"wp-caption-text\">An image from Indira Allegra’s ‘Body Warp’ series, produced while in residence at Headlands Center for the Arts. \u003ccite>(Photo by @kimstar510; Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sustains you and your practice?\u003c/strong>\u003c/p>\n\u003cp>That morning time where I get a chance to take time out to read and listen to the news, which for me starts at 9am. And I think the relationships that I have in my very inner circle are also really important because I’m constantly staring into the unknown. It’s not like I know what a project is going to look like in the end. I don’t have that kind of certainty, it’s not actually mapped out. And living with that uncertainty actually requires a lot of emotional support from people who have a lot of empathy around how demanding this work is. There’s no way I could do this work alone emotionally.\u003c/p>\n\u003cfigure id=\"attachment_13762940\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13762940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg\" alt=\"Indira Allegra\" width=\"630\" height=\"965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-240x368.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-375x574.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/W2W-Indira-in-text_1-520x797.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Indira Allegra \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/07/20/women-to-watch-black-salt-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Salt Collective\u003c/a>. I don’t know how you could not be watching them, if you’re in the Bay Area and you’re breathing!\u003c/p>\n\u003cp>The work they’re doing as a collective and individually is really important, and not only in terms of the strategies they’re using to make work. It’s very difficult to survive as an artist here working solo. It’s definitely something I know I have contended with in my own practice. I appreciate the way that they get to each have their distinct individual practice, but they can work in support of each other, which I think is a really good model if artists are going to continue to work in big metropolitan areas, where the engine of gentrification continues to be in play.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>My ideal future for women artists in the Bay Area is that our objects, our writings our performances are actually understood as scholarship. That we be conceived as thinkers with the ability to contribute a lot to solving social problems that exist here and nationally. As an artist you have to have a comfort with the unknown, being able to solve problems in a non-linear way. There’s a certain literacy you have to have about what cloth can say, how poetry can speak to the elusiveness of memory and how trauma is inherited. There’s a power in images, composition or performance — they can move people to experience things they might not be able to access on a daily basis.\u003c/p>\n\u003cp>All of that in my mind is scholarship. It’s not just something cool to buy to put on my wall. All these works are actually something the public can learn from and continue to be in dialogue with the artists about. It’s really about understanding the intellectual brilliance of women and also that scholarship can look really broad. It doesn’t have to be a 50-page thesis on something, a three minute dance can actually act as a dissertation as well.\u003c/p>\n\u003cp>I actually want to live in a society that recognizes that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>San Francisco-based visual artist \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy M. Ho\u003c/a> builds installations that explore the psychology of space. Her work asks: How does a built environment make a person feel, both physically and emotionally?\u003c/p>\n\u003cp>The installations often start as models of real or imagined spaces. Rendered in white paper, rooms, tables and chairs become ghostly. Light slants through open doorways, but also through the doors themselves, revealing their material nature. Ho photographs the models and projects those images into existing or specially made architectural spaces, rendering the once small-scale paper constructions eerily life-sized (or larger).\u003c/p>\n\u003cfigure id=\"attachment_13741261\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741261\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Ho.SpacesFromYesterdayTheGarage.2016.SingleChannelProjectionWoodFabric.96x84x144_2-e1501027736506.jpg\" alt=\"Installation view of 'Spaces from Yesterday: The Garage,' created with Bobby Dean Evans Jr.\" width=\"1200\" height=\"838\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Spaces from Yesterday: The Garage,’ created with Bobby Dean Evans Jr. \u003ccite>(Courtesy of Chandra Cerrito Contemporary; Photo by Chris Fraser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her ongoing series \u003ci>Spaces From Yesterday\u003c/i>, Ho collaborates with incarcerated artists from San Quentin State Prison — where she has worked with the \u003ca href=\"http://williamjamesassociation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William James Association\u003c/a> since 2012 — to recreate inmates’ memories of specific places. In each iteration of the project, which Ho purposefully identifies as a two-person show, her collaborator’s illustration of the same space hangs alongside Ho’s installation.\u003c/p>\n\u003cp>In this and all of her work, uncanny projections of psychologically significant spaces coexist with carefully constructed physical structures, blending real and imagined spaces, image and object, and personal memory with the artist’s abstractions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/q32-E_P-i_g\u003c/p>\n\u003cp>\u003cstrong>How did you start working with incarcerated artists at San Quentin?\u003c/strong>\u003c/p>\n\u003cp>At one point when I was in college I thought I would be a human rights activist. But the activist lifestyle seems really stressful to me — you’re always fighting and you won’t necessarily see any immediate change. I really believe in expanding human rights but I wasn’t sure I could live that lifestyle.\u003c/p>\n\u003cp>Some time after grad school, I still cared about these issues and I wondered how I could participate in prison reform. [Oakland-based curator, artist and writer] \u003ca href=\"http://kevinbchen.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Chen\u003c/a> put me in touch with the William James Association. When I started, the program had no money and people were volunteering at San Quentin for free. In the last three years \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">the California Arts Council slowly started refunding the “Arts in Corrections” program\u003c/a> — now it’s up to $8 million a year.\u003c/p>\n\u003cfigure id=\"attachment_13741260\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg\" alt=\"Amy M. Ho with collaborator Dennis Crookes standing inside installation for 'Spaces From Yesterday: The Hallway' at Oakland's Royal NoneSuch Gallery.\" width=\"640\" height=\"870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-800x1088.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-768x1044.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1920x2611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1180x1605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-960x1305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-375x510.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-520x707.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho with collaborator Dennis Crookes standing inside installation for ‘Spaces From Yesterday: The Hallway’ at Oakland’s Royal NoneSuch Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How has your work at San Quentin influenced your own art practice?\u003c/strong>\u003c/p>\n\u003cp>A big part of going inside for me has been interacting with the people that I meet there; a big part of the art program in general is treating people like human beings.\u003c/p>\n\u003cp>In that way I really got to know a lot of people that I work with and hear their stories of their lives before prison. It became obvious that these memories were really special to them. As an artist I was interested in capturing or preserving their stories in a way.\u003c/p>\n\u003cp>I started writing them down, but I’m not a writer. It was easier for me to think in a visual way. I decided to build installations around these stories.\u003c/p>\n\u003cp>There are a lot of projects that exist where artists work with incarcerated people as a group, but I can only think of a couple where artists work with incarcerated people on a personal and individual level. I really wanted \u003cem>Spaces From Yesterday\u003c/em> to be about these very specific people that I had met. Instead of making work \u003cem>about\u003c/em> them, the whole premise of the project is individual collaborations.\u003c/p>\n\u003cp>It’s important for me to have their work represented in each show. I use the word collaboration to describe it, but it’s more like an exchange — we’re inspiring each other to make work. The process — the storytelling and conversational part of it — is really important to me, not just the final work.\u003c/p>\n\u003cfigure id=\"attachment_13741080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg\" alt=\"Amy M. Ho at the Real Time & Space studios.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho at the Real Time & Space studios. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re the studio director of \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Real Time & Space\u003c/a> (RTS), a former print shop in Oakland’s Chinatown that’s home to 15 artists’ studios (yours included) and a residency program. What does it mean for you to be part of a studio community and manage a space like RTS?\u003c/strong>\u003c/p>\n\u003cp>I kind of see RTS as my home now; it’s a place to go back to where I know for sure that I’m going to have friends and people who care about me. I feel incredibly lucky that I’ve met so many people who have worked in or done residencies at RTS. Those are the people I look to for inspiration or advice.\u003c/p>\n\u003cp>It’s also a huge contrast to San Quentin. It’s a super supportive and really strong community. At San Quentin we kind of have that in the art classroom, but it’s a prison — it’s not supportive, the atmosphere is inherently negative. To have something else in my life that’s so positive is a good balance.\u003c/p>\n\u003cfigure id=\"attachment_13747032\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13747032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg\" alt=\"An anonymous quote from 'Voices from San Quentin,' April 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">An anonymous quote from ‘Voices from San Quentin,’ April 2017. \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What else are you working on that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>I have this Instagram project happening right now in collaboration with Ronell “Rauch” Draper called \u003ca href=\"https://www.instagram.com/voices_from_san_quentin/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Voices from San Quentin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Right around Trump’s election when a lot of people were protesting, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/20/local-artists-organize-100-day-calendar-of-creative-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">100 Days Action\u003c/a> started and I asked the guys [in San Quentin] if there was anything they’d like to do to participate. Rauch said he wished there was a forum for them to speak freely. We came up with the idea to do it via Instagram. There’s a bit of censorship — the prison gave us a few guidelines about what they can and can’t say. But Rauch collects all the quotes from people inside and he gives it me and I post it online.\u003c/p>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>I really admire the work that Nigel Poor’s doing inside San Quentin. In the radio programs she’s done inside, she works with the men as peers and not as someone who’s superior.\u003c/p>\n\u003cp>\u003ci>[Editor’s note: The \u003ca href=\"https://www.earhustlesq.com/episodes/2017/7/12/looking-out\" target=\"_blank\" rel=\"noopener noreferrer\">third episode of Poor’s current San Quentin project\u003c/a>, the podcast ‘\u003ci>Earhustle\u003c/i>,’ features Ho’s ‘Voices from San Quentin’ collaborator, Ronell “Rauch” Draper.]\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>This is something I’ve been thinking about lately, but I’m not sure what the answer is exactly. I think my gut reaction is to say that women would be treated as equals to men. But I want the world to change to be more accommodating to women and the way that they approach the world. If you’re aggressive and put yourself out there and are pushing your own agenda, the art world responds to that. I don’t know what the opposite of that looks like. But in my ideal future the world doesn’t hold those expectations for artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Women to Watch: Amy M. Ho",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>San Francisco-based visual artist \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy M. Ho\u003c/a> builds installations that explore the psychology of space. Her work asks: How does a built environment make a person feel, both physically and emotionally?\u003c/p>\n\u003cp>The installations often start as models of real or imagined spaces. Rendered in white paper, rooms, tables and chairs become ghostly. Light slants through open doorways, but also through the doors themselves, revealing their material nature. Ho photographs the models and projects those images into existing or specially made architectural spaces, rendering the once small-scale paper constructions eerily life-sized (or larger).\u003c/p>\n\u003cfigure id=\"attachment_13741261\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741261\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Ho.SpacesFromYesterdayTheGarage.2016.SingleChannelProjectionWoodFabric.96x84x144_2-e1501027736506.jpg\" alt=\"Installation view of 'Spaces from Yesterday: The Garage,' created with Bobby Dean Evans Jr.\" width=\"1200\" height=\"838\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Spaces from Yesterday: The Garage,’ created with Bobby Dean Evans Jr. \u003ccite>(Courtesy of Chandra Cerrito Contemporary; Photo by Chris Fraser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her ongoing series \u003ci>Spaces From Yesterday\u003c/i>, Ho collaborates with incarcerated artists from San Quentin State Prison — where she has worked with the \u003ca href=\"http://williamjamesassociation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William James Association\u003c/a> since 2012 — to recreate inmates’ memories of specific places. In each iteration of the project, which Ho purposefully identifies as a two-person show, her collaborator’s illustration of the same space hangs alongside Ho’s installation.\u003c/p>\n\u003cp>In this and all of her work, uncanny projections of psychologically significant spaces coexist with carefully constructed physical structures, blending real and imagined spaces, image and object, and personal memory with the artist’s abstractions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q32-E_P-i_g'\n title='//www.youtube.com/embed/q32-E_P-i_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How did you start working with incarcerated artists at San Quentin?\u003c/strong>\u003c/p>\n\u003cp>At one point when I was in college I thought I would be a human rights activist. But the activist lifestyle seems really stressful to me — you’re always fighting and you won’t necessarily see any immediate change. I really believe in expanding human rights but I wasn’t sure I could live that lifestyle.\u003c/p>\n\u003cp>Some time after grad school, I still cared about these issues and I wondered how I could participate in prison reform. [Oakland-based curator, artist and writer] \u003ca href=\"http://kevinbchen.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Chen\u003c/a> put me in touch with the William James Association. When I started, the program had no money and people were volunteering at San Quentin for free. In the last three years \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">the California Arts Council slowly started refunding the “Arts in Corrections” program\u003c/a> — now it’s up to $8 million a year.\u003c/p>\n\u003cfigure id=\"attachment_13741260\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13741260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg\" alt=\"Amy M. Ho with collaborator Dennis Crookes standing inside installation for 'Spaces From Yesterday: The Hallway' at Oakland's Royal NoneSuch Gallery.\" width=\"640\" height=\"870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1020x1387.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-800x1088.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-768x1044.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1920x2611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-1180x1605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-960x1305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-375x510.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Collaborators1-520x707.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho with collaborator Dennis Crookes standing inside installation for ‘Spaces From Yesterday: The Hallway’ at Oakland’s Royal NoneSuch Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How has your work at San Quentin influenced your own art practice?\u003c/strong>\u003c/p>\n\u003cp>A big part of going inside for me has been interacting with the people that I meet there; a big part of the art program in general is treating people like human beings.\u003c/p>\n\u003cp>In that way I really got to know a lot of people that I work with and hear their stories of their lives before prison. It became obvious that these memories were really special to them. As an artist I was interested in capturing or preserving their stories in a way.\u003c/p>\n\u003cp>I started writing them down, but I’m not a writer. It was easier for me to think in a visual way. I decided to build installations around these stories.\u003c/p>\n\u003cp>There are a lot of projects that exist where artists work with incarcerated people as a group, but I can only think of a couple where artists work with incarcerated people on a personal and individual level. I really wanted \u003cem>Spaces From Yesterday\u003c/em> to be about these very specific people that I had met. Instead of making work \u003cem>about\u003c/em> them, the whole premise of the project is individual collaborations.\u003c/p>\n\u003cp>It’s important for me to have their work represented in each show. I use the word collaboration to describe it, but it’s more like an exchange — we’re inspiring each other to make work. The process — the storytelling and conversational part of it — is really important to me, not just the final work.\u003c/p>\n\u003cfigure id=\"attachment_13741080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13741080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg\" alt=\"Amy M. Ho at the Real Time & Space studios.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-edited-amy-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy M. Ho at the Real Time & Space studios. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re the studio director of \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Real Time & Space\u003c/a> (RTS), a former print shop in Oakland’s Chinatown that’s home to 15 artists’ studios (yours included) and a residency program. What does it mean for you to be part of a studio community and manage a space like RTS?\u003c/strong>\u003c/p>\n\u003cp>I kind of see RTS as my home now; it’s a place to go back to where I know for sure that I’m going to have friends and people who care about me. I feel incredibly lucky that I’ve met so many people who have worked in or done residencies at RTS. Those are the people I look to for inspiration or advice.\u003c/p>\n\u003cp>It’s also a huge contrast to San Quentin. It’s a super supportive and really strong community. At San Quentin we kind of have that in the art classroom, but it’s a prison — it’s not supportive, the atmosphere is inherently negative. To have something else in my life that’s so positive is a good balance.\u003c/p>\n\u003cfigure id=\"attachment_13747032\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13747032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg\" alt=\"An anonymous quote from 'Voices from San Quentin,' April 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/VoicesSQ-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">An anonymous quote from ‘Voices from San Quentin,’ April 2017. \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What else are you working on that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>I have this Instagram project happening right now in collaboration with Ronell “Rauch” Draper called \u003ca href=\"https://www.instagram.com/voices_from_san_quentin/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Voices from San Quentin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Right around Trump’s election when a lot of people were protesting, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/20/local-artists-organize-100-day-calendar-of-creative-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">100 Days Action\u003c/a> started and I asked the guys [in San Quentin] if there was anything they’d like to do to participate. Rauch said he wished there was a forum for them to speak freely. We came up with the idea to do it via Instagram. There’s a bit of censorship — the prison gave us a few guidelines about what they can and can’t say. But Rauch collects all the quotes from people inside and he gives it me and I post it online.\u003c/p>\n\u003cp>\u003cstrong>Do you have any “women you watch”?\u003c/strong>\u003c/p>\n\u003cp>I really admire the work that Nigel Poor’s doing inside San Quentin. In the radio programs she’s done inside, she works with the men as peers and not as someone who’s superior.\u003c/p>\n\u003cp>\u003ci>[Editor’s note: The \u003ca href=\"https://www.earhustlesq.com/episodes/2017/7/12/looking-out\" target=\"_blank\" rel=\"noopener noreferrer\">third episode of Poor’s current San Quentin project\u003c/a>, the podcast ‘\u003ci>Earhustle\u003c/i>,’ features Ho’s ‘Voices from San Quentin’ collaborator, Ronell “Rauch” Draper.]\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>This is something I’ve been thinking about lately, but I’m not sure what the answer is exactly. I think my gut reaction is to say that women would be treated as equals to men. But I want the world to change to be more accommodating to women and the way that they approach the world. If you’re aggressive and put yourself out there and are pushing your own agenda, the art world responds to that. I don’t know what the opposite of that looks like. But in my ideal future the world doesn’t hold those expectations for artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
},
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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