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"content": "\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11941785']The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With algorithms constantly quantifying our tastes and habits, it’s freeing to remember that little is truly known about some dimensions of the human experience. \u003ca href=\"https://spellling.bandcamp.com/\">SPELLLING\u003c/a> turns to her most trusted divination tools to tap into the spiritual realm: her synthesizer, her tarot cards and her intuition.\u003c/p>\n\u003cp>Since her critically acclaimed 2017 debut \u003ca href=\"https://spellling.bandcamp.com/album/pantheon-of-me-2\">\u003ci>Pantheon of Me\u003c/i>\u003c/a>, SPELLLING, born Chrystia Cabral, has evolved from a singer-songwriter into a bandleader and producer with her own cosmography. With the help of her mega-talented live band, her new album \u003ci>SPELLLING & the Mystery School\u003c/i> (out today via \u003ca href=\"https://www.sacredbonesrecords.com/\">Sacred Bones\u003c/a>) reimagines beloved tracks from \u003ci>Pantheon\u003c/i>, 2018’s haunting \u003ca href=\"https://spellling.bandcamp.com/album/mazy-fly\">\u003ci>Mazy Fly\u003c/i>\u003c/a> and her most ambitious project yet, 2021’s dark, orchestral \u003ca href=\"https://spellling.bandcamp.com/album/the-turning-wheel\">\u003ci>The Turning Wheel\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3464162172/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>To celebrate, on Sept. 16 Cabral is throwing a mini festival after hours at Oakland’s 73-year-old theme park, Children’s Fairyland. The enchanted evening is fittingly titled \u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, and features performances by Afrofuturist ensemble \u003ca href=\"https://www.sunraarkestra.com/\">Sun Ra Arkestra\u003c/a>, spiritual griot \u003ca href=\"https://www.youtube.com/watch?v=apUE3nAeszw\">Laraaji\u003c/a>, art rocker \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/?hl=en\">AroMa\u003c/a> and more. Much like SPELLLING’s music, Cabral’s curation flows through styles and eras, paying homage to the lineage of Black artists who use fantasy to understand themselves and assert their place in the universe.\u003c/p>\n\u003cp>It’s certainly been a powerful tool for Cabral. “I struggled a lot through my youth with coping and being in an awkward position as a biracial, mixed, weird, freaky person and growing up in the suburbs in Sacramento,” she says. “I lived in an internal world.”\u003c/p>\n\u003cfigure id=\"attachment_13933894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg\" alt=\"A person in a crop top stands on a staircase beside some windows smiling at the camera.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral stands for a portrait in her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Cabral has evolved from a shy kid into a musician captivating international audiences without sacrificing her unorthodox vision. “Something that I can 100% stand by is that you can radically reshape who you are and what you want to do with fantasy,” she reflects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During our interview on a recent afternoon, Cabral looks like a sorceress on her day off, with a \u003ci>Twilight Zone\u003c/i> vortex pattern on her T-shirt and glitter on her eyelids. She’s reclining on the couch, cuddling her two rescue dogs, Chani and Cooper, in her light-filled, artfully curated Oakland loft apartment. Small piles of books sit on nearly every flat surface — science fiction by Ursula K. Le Guin, a tarot guide by Alejandro Jodorowsky and Rick Rubin’s meditation on creativity.\u003c/p>\n\u003cfigure id=\"attachment_13933892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg\" alt=\"A young woman cuddles on the couch with her dog in a light-filled, loft-style apartment. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral, known as SPELLLING, sits for a portrait with her dog Chani at her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs, analog synths, guitars and a violin line the walls of Cabral’s small attic studio. Her musical ideas start here before she brings them to her ensemble, composed of string players Del Sol Quartet and Divya Farias, pianist Jaren Feeley, percussionist Patrick Shelley, bassist Giulio Xavier Cetto, guitarist Wyatt Overson and vocalists Toya Willock and Dharma Moon-Hunter. Together, the musicians interlace jazz, soul and classic rock influences, with Cabral’s eerie, minor-key synth playing enveloping their instrumentation in a spiderweb of darkness. [aside postid='arts_13931047']\u003c/p>\n\u003cp>“She has it all in her ears, which is very cool to see. She’s very good at hearing it all already, and then telling you how she wants it to go,” says bassist Cetto, who has played with contemporary jazz stars like Theo Crocker and Kassa Overall. “I feel like there’s a whole SPELLLING sound now.”\u003c/p>\n\u003cp>On \u003ci>SPELLLING & the Mystery School\u003c/i>, the band’s collaborative process adds dimension to the striking “Haunted Water,” whose wailing vocals and crescendo of drums conjure the restless spirits of the enslaved people who perished in the Atlantic Ocean. A teetering electric guitar melody builds suspense on “Cherry,” which Cabral reveals is about connecting with her “animalistic side,” submitting to her “desires as a woman and as a free person in this world.”\u003c/p>\n\u003cp>“It’s a hot girl anthem,” Cabral laughs.\u003c/p>\n\u003cfigure id=\"attachment_13933891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral plays her synth as her dogs Cooper and Chani sit nearby in her studio in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another track reimagined on \u003ci>Mystery School\u003c/i>, “Boys at School,” with its Pink Floyd-esque guitar solo, has become a rallying cry for her fans. Many of the people at SPELLLING shows are young, queer, trans, female, Black and brown, and they seem to identify deeply with the way Cabral conveys her frustration about a lifetime of feeling misunderstood. “I hate the boys at school,” sang a sold-out audience last Halloween at The Independent, letting out a howl of collective angst.\u003c/p>\n\u003cp>Depending on the listener, the “boys” could represent any force that keeps us down. “The whole institution — I feel like that’s what it represents,” Cabral says. “The things that feel like they have to be, for whatever reason, because of tradition or because of patriarchy as a whole — things that just go unchecked.”\u003c/p>\n\u003cp>And that’s the beauty of SPELLLING’s music — as if beckoning us through the looking glass, it offers us a new lens through which to examine our lives and our histories, and imagine new versions of ourselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13849223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, curated by SPELLLING, Sacred Bones and Atlas Obscura, takes place Sept. 16 at Children’s Fairyland in Oakland. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With algorithms constantly quantifying our tastes and habits, it’s freeing to remember that little is truly known about some dimensions of the human experience. \u003ca href=\"https://spellling.bandcamp.com/\">SPELLLING\u003c/a> turns to her most trusted divination tools to tap into the spiritual realm: her synthesizer, her tarot cards and her intuition.\u003c/p>\n\u003cp>Since her critically acclaimed 2017 debut \u003ca href=\"https://spellling.bandcamp.com/album/pantheon-of-me-2\">\u003ci>Pantheon of Me\u003c/i>\u003c/a>, SPELLLING, born Chrystia Cabral, has evolved from a singer-songwriter into a bandleader and producer with her own cosmography. With the help of her mega-talented live band, her new album \u003ci>SPELLLING & the Mystery School\u003c/i> (out today via \u003ca href=\"https://www.sacredbonesrecords.com/\">Sacred Bones\u003c/a>) reimagines beloved tracks from \u003ci>Pantheon\u003c/i>, 2018’s haunting \u003ca href=\"https://spellling.bandcamp.com/album/mazy-fly\">\u003ci>Mazy Fly\u003c/i>\u003c/a> and her most ambitious project yet, 2021’s dark, orchestral \u003ca href=\"https://spellling.bandcamp.com/album/the-turning-wheel\">\u003ci>The Turning Wheel\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3464162172/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>To celebrate, on Sept. 16 Cabral is throwing a mini festival after hours at Oakland’s 73-year-old theme park, Children’s Fairyland. The enchanted evening is fittingly titled \u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, and features performances by Afrofuturist ensemble \u003ca href=\"https://www.sunraarkestra.com/\">Sun Ra Arkestra\u003c/a>, spiritual griot \u003ca href=\"https://www.youtube.com/watch?v=apUE3nAeszw\">Laraaji\u003c/a>, art rocker \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/?hl=en\">AroMa\u003c/a> and more. Much like SPELLLING’s music, Cabral’s curation flows through styles and eras, paying homage to the lineage of Black artists who use fantasy to understand themselves and assert their place in the universe.\u003c/p>\n\u003cp>It’s certainly been a powerful tool for Cabral. “I struggled a lot through my youth with coping and being in an awkward position as a biracial, mixed, weird, freaky person and growing up in the suburbs in Sacramento,” she says. “I lived in an internal world.”\u003c/p>\n\u003cfigure id=\"attachment_13933894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg\" alt=\"A person in a crop top stands on a staircase beside some windows smiling at the camera.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral stands for a portrait in her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Cabral has evolved from a shy kid into a musician captivating international audiences without sacrificing her unorthodox vision. “Something that I can 100% stand by is that you can radically reshape who you are and what you want to do with fantasy,” she reflects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During our interview on a recent afternoon, Cabral looks like a sorceress on her day off, with a \u003ci>Twilight Zone\u003c/i> vortex pattern on her T-shirt and glitter on her eyelids. She’s reclining on the couch, cuddling her two rescue dogs, Chani and Cooper, in her light-filled, artfully curated Oakland loft apartment. Small piles of books sit on nearly every flat surface — science fiction by Ursula K. Le Guin, a tarot guide by Alejandro Jodorowsky and Rick Rubin’s meditation on creativity.\u003c/p>\n\u003cfigure id=\"attachment_13933892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg\" alt=\"A young woman cuddles on the couch with her dog in a light-filled, loft-style apartment. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral, known as SPELLLING, sits for a portrait with her dog Chani at her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs, analog synths, guitars and a violin line the walls of Cabral’s small attic studio. Her musical ideas start here before she brings them to her ensemble, composed of string players Del Sol Quartet and Divya Farias, pianist Jaren Feeley, percussionist Patrick Shelley, bassist Giulio Xavier Cetto, guitarist Wyatt Overson and vocalists Toya Willock and Dharma Moon-Hunter. Together, the musicians interlace jazz, soul and classic rock influences, with Cabral’s eerie, minor-key synth playing enveloping their instrumentation in a spiderweb of darkness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She has it all in her ears, which is very cool to see. She’s very good at hearing it all already, and then telling you how she wants it to go,” says bassist Cetto, who has played with contemporary jazz stars like Theo Crocker and Kassa Overall. “I feel like there’s a whole SPELLLING sound now.”\u003c/p>\n\u003cp>On \u003ci>SPELLLING & the Mystery School\u003c/i>, the band’s collaborative process adds dimension to the striking “Haunted Water,” whose wailing vocals and crescendo of drums conjure the restless spirits of the enslaved people who perished in the Atlantic Ocean. A teetering electric guitar melody builds suspense on “Cherry,” which Cabral reveals is about connecting with her “animalistic side,” submitting to her “desires as a woman and as a free person in this world.”\u003c/p>\n\u003cp>“It’s a hot girl anthem,” Cabral laughs.\u003c/p>\n\u003cfigure id=\"attachment_13933891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral plays her synth as her dogs Cooper and Chani sit nearby in her studio in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another track reimagined on \u003ci>Mystery School\u003c/i>, “Boys at School,” with its Pink Floyd-esque guitar solo, has become a rallying cry for her fans. Many of the people at SPELLLING shows are young, queer, trans, female, Black and brown, and they seem to identify deeply with the way Cabral conveys her frustration about a lifetime of feeling misunderstood. “I hate the boys at school,” sang a sold-out audience last Halloween at The Independent, letting out a howl of collective angst.\u003c/p>\n\u003cp>Depending on the listener, the “boys” could represent any force that keeps us down. “The whole institution — I feel like that’s what it represents,” Cabral says. “The things that feel like they have to be, for whatever reason, because of tradition or because of patriarchy as a whole — things that just go unchecked.”\u003c/p>\n\u003cp>And that’s the beauty of SPELLLING’s music — as if beckoning us through the looking glass, it offers us a new lens through which to examine our lives and our histories, and imagine new versions of ourselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13849223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, curated by SPELLLING, Sacred Bones and Atlas Obscura, takes place Sept. 16 at Children’s Fairyland in Oakland. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-to-celebrate-juneteenth-2023-in-the-bay-area",
"title": "How to Celebrate Juneteenth 2023 in the Bay Area",
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"headTitle": "How to Celebrate Juneteenth 2023 in the Bay Area | KQED",
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"content": "\u003cp>This year’s roundup of Juneteenth events celebrates the communities and organizations forging unity through education, technology, art, dance and music — highlighting joyful local traditions as well as innovative new projects and spaces honoring Black freedom.\u003c/p>\n\u003cfigure id=\"attachment_13930153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg\" alt=\"people at an outdoor farmers' market against a blue sky in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees explore different Black-owned food businesses at Juneteenth on the Waterfront, an annual pop-up event at the Embarcadero Ferry Terminal Plaza in San Francisco. \u003ccite>(Courtesy of Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://foodwise.org/events/pop-ups-on-the-plaza-juneteenth-on-the-waterfront/\">Juneteenth on the Waterfront\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 10\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Embarcadero Ferry Terminal Plaza, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The weekend farmers’ market trip was something I delighted in as a kid. It was a chance for me and my brother to explore new scents and foods, happening upon morsels we’d never have at home. Here, the magic was in the search.\u003c/p>\n\u003cp>Juneteenth on the Waterfront provides this familiar wonder, with a focus on uplifting and highlighting local Black-owned businesses. Organized by \u003ca href=\"https://www.instagram.com/foodwise/\">Foodwise\u003c/a>, a nonprofit that manages farmers markets and education programs rooted in food equity and sustainability, the event features 15 Black-owned pop-up vendors selling hearty meals, desserts and drinks. Now in its third year, Juneteenth on the Waterfront will also be debuting a craft market, where several Black creators will be selling accessories, attire, skincare and more.\u003c/p>\n\u003cp>There will also be a Black Chefs and Wine Makers talk, where a panel of restaurateurs and sommeliers that includes \u003ca href=\"https://www.instagram.com/mstanyaholland/?hl=en\">chef Tanya Holland\u003c/a> will discuss the history of Black farmers and food migration to California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PIolFf_j3AE\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">..\u003c/span>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.oigc.org/news/2023-juneteenth-concert-series\">Oakland Interfaith Gospel Choir Juneteenth Concert Series\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 16, Freight & Salvage, Berkeley; June 23, Bankhead Theater, Livermore; June 25, \u003c/em>\u003cem>Great American Music Hall, San Francisco \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>With the aim to connect people through Black gospel music, local minister and composer Terrance Kelly founded the Oakland Interfaith Gospel Choir in 1986. In this upcoming three-part concert series, the passionate and diverse choir will perform songs that highlight the significance of gospel music to African American identity and history. Each performance is dynamic — rarely are the choir members static. They sing with exuberance, dancing as they harmonize through numbers that explore both historical and contemporary gospel styles.\u003c/p>\n\u003cp>The choir will perform at \u003ca href=\"https://thefreight.org/\">Freight & Salvage\u003c/a> in Berkeley on June 16, \u003ca href=\"https://livermorearts.org/\">Bankhead Theater\u003c/a> in Livermore on June 23 and \u003ca href=\"https://gamh.com/\">Great American Music Hall\u003c/a> in San Francisco on June 25. Tickets range from $22–30; \u003ca href=\"https://www.oigc.org/tickets\">more info here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg\" alt=\"attendees dance together at an outdoor Black music and culture festival\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees dance together at the 2022 Afrocentric Oakland’s Juneteenth Festival at Lake Merritt. \u003ccite>(Nate King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/fam-bam-oaklands-14th-annual-juneteenth-festival-registration-596989340187\">Afrocentric Oakland’s 14th Annual Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/afrocentricoakland/\">Afrocentric Oakland\u003c/a>’s beloved yearly Juneteenth Festival returns on June 17 with an array of live music performances, vendors, art installations and other activities. This large-scale event draws in eager crowds every year, with attendees in their breeziest outfits coming together to sing, dance and celebrate freedom. This year’s festival will be headlined by Vallejo rapper \u003ca href=\"https://www.instagram.com/larussell/\">LaRussell\u003c/a> and hosted by writer and poet \u003ca href=\"https://www.instagram.com/prenticepowell1906/\">Prentice Powell\u003c/a>, comedian \u003ca href=\"https://www.instagram.com/jayrich510/\">J. Rich\u003c/a> and artist-activist \u003ca href=\"https://www.instagram.com/msryannicole/\">RyanNicole\u003c/a>. General admission tickets are $25.\u003c/p>\n\u003cfigure id=\"attachment_13930156\" class=\"wp-caption aligncenter\" style=\"max-width: 528px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13930156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg\" alt=\"a musical group of seven people dressed in black and white, most of them with Afros, pose while holding instruments and smiling\" width=\"528\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1920x1280.jpg 1920w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Curtis Family C-notes will be performing at MoAD’s free community day. \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.moadsf.org/event/free-community-day-celebrate-juneteenth\">Free Community Day at MoAD\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Museum of the African Diaspora, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As part of its Juneteenth celebration, the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora\u003c/a> will offer free admission to its current exhibitions and a variety of events from 11 a.m. to 6 p.m. These include a conversation between Oakland librarian and writer \u003ca href=\"https://dorothylazard.com/\">Dorothy Lazard\u003c/a> and KQED’s own \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>; a family art workshop with the museum’s teaching artists; and musical performances by \u003ca href=\"https://www.instagram.com/thecurtisfamilycnotes/?hl=en\">The Curtis Family C-notes\u003c/a> and faculty from the \u003ca href=\"https://sfcmc.org/adults/group-classes-and-ensembles/black-music-studies-program/\">San Francisco Community Music Center’s Black Music Studies program\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg\" alt=\"a group of joyous young Black girls in colorful shirts dance in the street as part of a parade \" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children dance as the Juneteenth parade rolls through the Fillmore District in 2014. The event celebrates the abolition of slavery in the U.S. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://juneteenth-sf.org/\">Juneteenth SF Freedom Celebration\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>1330 Fillmore St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Spread throughout eight blocks of the Fillmore District — a historic neighborhood that became an epicenter for a thriving Black arts, music and entertainment scene in the 1940s — the Juneteenth SF Freedom Celebration will host thousands in its wide-ranging festivities. The event will be divided into six “districts” that include live performances, food, community and family-oriented games and rides, a classic car show and a hair and fashion show. Equipped with a carnival ride and ferris wheel, the festival both embodies the quintessential summer fair and centers the rich traditions of Black culture and history.\u003c/p>\n\u003cp>The event runs from 11 a.m. to 6 p.m. and admission is free. \u003ca href=\"https://www.eventbrite.com/e/juneteenth-festival-fillmore-sf-live-music-kids-zone-fashion-free-rsvp-tickets-616663736837\">More information here\u003c/a>.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.ci.richmond.ca.us/CivicAlerts.aspx?AID=2296\">Juneteenth in Richmond \u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Nicholl Park, Richmond\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The centerpiece for Richmond’s Juneteenth celebrations is its lively annual parade: a joyous procession made up of the city’s local leaders, youth groups and community organizations. The parade begins at 10 a.m. at the \u003ca href=\"https://www.ci.richmond.ca.us/2177/Booker-T-Anderson\">Booker T. Anderson Center\u003c/a> and will be followed by an 11 a.m. festival that includes live music, family activities and more.\u003c/p>\n\u003cfigure id=\"attachment_13930167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg\" alt=\"two people, seen from the back, look at bracelets at a vendor's stand\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People browse a vendor’s wares at the 2019 Vallejo Juneteenth Festival. \u003ccite>(Angela Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://vallejojuneteenth.com/\">Vallejo Juneteenth Festival and Parade\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>301 Mare Island Way, Vallejo\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Returning for its 33rd year, the Vallejo Juneteenth Festival will kick off with a parade at 9 a.m. before attendees are invited to wander among vendor booths, groove to live music and learn about local organizations and resources related to health and wellness, education, small business development and more.\u003c/p>\n\u003cfigure id=\"attachment_13930168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930168\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg\" alt=\"three adorable little Black girls hold balloon animals and wear stickers that read 'I heart being Black' at a festival\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young community members celebrate at the 2018 Berkeley Juneteenth Festival. \u003ccite>(Malaika Kabon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://berkeleyjuneteenth.org/festival-2023/\">36th Annual Berkeley Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 18\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Adeline and Alcatraz, Berkeley\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The longstanding Berkeley Juneteenth Festival returns with vendors and musical performances that include Oakland jazz artist \u003ca href=\"https://www.instagram.com/fairleysonny/\">Sonny Fairley\u003c/a>, reggae singer \u003ca href=\"https://www.instagram.com/juniortoots/\">Junior Toots\u003c/a>, musical trio \u003ca href=\"https://www.instagram.com/guitartrifecta/\">Guitar Trifecta\u003c/a> and other local talent. Since its first iteration in 1987, the festival not only emphasizes the historical significance of Black emancipation but also the steps community members can take today to work towards healing and justice.\u003c/p>\n\u003cp>Preceding the festival is a weeklong schedule of programming from June 11–17 that includes an open house at Berkeley’s African American Holistic Resource Center, workshops on identifying and working through intergenerational trauma, using legal and policy tools to support formerly incarcerated individuals and how to document and preserve family stories. There will also be a farmer’s market specifically aimed towards supporting residents living in South Berkeley, an area that has seen limited fresh food access.\u003c/p>\n\u003ch3>\u003ca href=\"https://juneteenthcommunityfestival.info/\">7th Marin City Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>800 Drake Ave., Marin City\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marin City’s Juneteenth Festival begins at 9 a.m. with a hearty and reflective prayer breakfast at the Marguerite Johnson Senior Center, before attendees are ushered into a day packed with eclectic and energetic dance and musical performances. The lineup includes rapper \u003ca href=\"https://www.instagram.com/will_believe/\">Will Believe\u003c/a>, Parliament tribute band \u003ca href=\"https://www.instagram.com/purifiedment_funkensurance_/\">Purifiedment Funkensurance\u003c/a> and Zimbabwe neo-soul artist \u003ca href=\"https://www.instagram.com/piwaiofficial/\">Piwai\u003c/a>, among others.\u003c/p>\n\u003cp>The free festival will also feature a marketplace where vendors will be selling food, art, hair and skin products, handmade crafts and more.\u003c/p>\n\u003cfigure id=\"attachment_13930170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg\" alt=\"a young Black man in glasses and a black hoodie delivers a lecture\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1020x567.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-768x427.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1536x853.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-2048x1138.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-672x372.jpeg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1038x576.jpeg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1920x1067.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">GHTech founder George Hofstetter delivers a lecture on Black creativity and technology. \u003ccite>(Shayan Davaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/tech-summit-tickets-640827170317\">GHTech and KitsCubed Juneteenth Tech Summit\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Broadway Event Hall, Oakland \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When Oakland software engineer and educator George Hofstetter founded \u003ca href=\"https://www.instagram.com/ghtechinc/\">GHTech\u003c/a>, he aimed to uplift and encourage people of marginalized communities to carve out their own space in the tech world. Hofstetter became aware of the lack of diverse voices in the field and sought to change that, creating \u003ca href=\"https://www.georgehofstettertechnologies.com/project/hbcu-lecture-series-on-black-creativity-and-hacktivism\">a lecture series highlighting Black creativity\u003c/a> and the intersections of social justice and technology at various HBCU campuses across the U.S.\u003c/p>\n\u003cp>In collaboration with \u003ca href=\"https://www.kitscubed.com/\">KitsCubed\u003c/a> — an Oakland organization dedicated to youth-oriented science education — GHTech will conclude its lecture series with a celebratory tech summit on June 19, where people of all ages, backgrounds and experience levels can network and listen to talks on hacktivism and technology through the lens of Black liberation. The event is free to attend and will run from 5–9 p.m.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"excerpt": "With live music and dance, film, food, tech talks and kids' activities, these celebrations of Black freedom have something for everyone.",
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"title": "How to Celebrate Juneteenth 2023 in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s roundup of Juneteenth events celebrates the communities and organizations forging unity through education, technology, art, dance and music — highlighting joyful local traditions as well as innovative new projects and spaces honoring Black freedom.\u003c/p>\n\u003cfigure id=\"attachment_13930153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg\" alt=\"people at an outdoor farmers' market against a blue sky in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees explore different Black-owned food businesses at Juneteenth on the Waterfront, an annual pop-up event at the Embarcadero Ferry Terminal Plaza in San Francisco. \u003ccite>(Courtesy of Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://foodwise.org/events/pop-ups-on-the-plaza-juneteenth-on-the-waterfront/\">Juneteenth on the Waterfront\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 10\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Embarcadero Ferry Terminal Plaza, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The weekend farmers’ market trip was something I delighted in as a kid. It was a chance for me and my brother to explore new scents and foods, happening upon morsels we’d never have at home. Here, the magic was in the search.\u003c/p>\n\u003cp>Juneteenth on the Waterfront provides this familiar wonder, with a focus on uplifting and highlighting local Black-owned businesses. Organized by \u003ca href=\"https://www.instagram.com/foodwise/\">Foodwise\u003c/a>, a nonprofit that manages farmers markets and education programs rooted in food equity and sustainability, the event features 15 Black-owned pop-up vendors selling hearty meals, desserts and drinks. Now in its third year, Juneteenth on the Waterfront will also be debuting a craft market, where several Black creators will be selling accessories, attire, skincare and more.\u003c/p>\n\u003cp>There will also be a Black Chefs and Wine Makers talk, where a panel of restaurateurs and sommeliers that includes \u003ca href=\"https://www.instagram.com/mstanyaholland/?hl=en\">chef Tanya Holland\u003c/a> will discuss the history of Black farmers and food migration to California.\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/PIolFf_j3AE'\n title='//www.youtube.com/embed/PIolFf_j3AE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">..\u003c/span>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.oigc.org/news/2023-juneteenth-concert-series\">Oakland Interfaith Gospel Choir Juneteenth Concert Series\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 16, Freight & Salvage, Berkeley; June 23, Bankhead Theater, Livermore; June 25, \u003c/em>\u003cem>Great American Music Hall, San Francisco \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>With the aim to connect people through Black gospel music, local minister and composer Terrance Kelly founded the Oakland Interfaith Gospel Choir in 1986. In this upcoming three-part concert series, the passionate and diverse choir will perform songs that highlight the significance of gospel music to African American identity and history. Each performance is dynamic — rarely are the choir members static. They sing with exuberance, dancing as they harmonize through numbers that explore both historical and contemporary gospel styles.\u003c/p>\n\u003cp>The choir will perform at \u003ca href=\"https://thefreight.org/\">Freight & Salvage\u003c/a> in Berkeley on June 16, \u003ca href=\"https://livermorearts.org/\">Bankhead Theater\u003c/a> in Livermore on June 23 and \u003ca href=\"https://gamh.com/\">Great American Music Hall\u003c/a> in San Francisco on June 25. Tickets range from $22–30; \u003ca href=\"https://www.oigc.org/tickets\">more info here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg\" alt=\"attendees dance together at an outdoor Black music and culture festival\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees dance together at the 2022 Afrocentric Oakland’s Juneteenth Festival at Lake Merritt. \u003ccite>(Nate King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/fam-bam-oaklands-14th-annual-juneteenth-festival-registration-596989340187\">Afrocentric Oakland’s 14th Annual Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/afrocentricoakland/\">Afrocentric Oakland\u003c/a>’s beloved yearly Juneteenth Festival returns on June 17 with an array of live music performances, vendors, art installations and other activities. This large-scale event draws in eager crowds every year, with attendees in their breeziest outfits coming together to sing, dance and celebrate freedom. This year’s festival will be headlined by Vallejo rapper \u003ca href=\"https://www.instagram.com/larussell/\">LaRussell\u003c/a> and hosted by writer and poet \u003ca href=\"https://www.instagram.com/prenticepowell1906/\">Prentice Powell\u003c/a>, comedian \u003ca href=\"https://www.instagram.com/jayrich510/\">J. Rich\u003c/a> and artist-activist \u003ca href=\"https://www.instagram.com/msryannicole/\">RyanNicole\u003c/a>. General admission tickets are $25.\u003c/p>\n\u003cfigure id=\"attachment_13930156\" class=\"wp-caption aligncenter\" style=\"max-width: 528px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13930156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg\" alt=\"a musical group of seven people dressed in black and white, most of them with Afros, pose while holding instruments and smiling\" width=\"528\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1920x1280.jpg 1920w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Curtis Family C-notes will be performing at MoAD’s free community day. \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.moadsf.org/event/free-community-day-celebrate-juneteenth\">Free Community Day at MoAD\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Museum of the African Diaspora, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As part of its Juneteenth celebration, the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora\u003c/a> will offer free admission to its current exhibitions and a variety of events from 11 a.m. to 6 p.m. These include a conversation between Oakland librarian and writer \u003ca href=\"https://dorothylazard.com/\">Dorothy Lazard\u003c/a> and KQED’s own \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>; a family art workshop with the museum’s teaching artists; and musical performances by \u003ca href=\"https://www.instagram.com/thecurtisfamilycnotes/?hl=en\">The Curtis Family C-notes\u003c/a> and faculty from the \u003ca href=\"https://sfcmc.org/adults/group-classes-and-ensembles/black-music-studies-program/\">San Francisco Community Music Center’s Black Music Studies program\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg\" alt=\"a group of joyous young Black girls in colorful shirts dance in the street as part of a parade \" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children dance as the Juneteenth parade rolls through the Fillmore District in 2014. The event celebrates the abolition of slavery in the U.S. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://juneteenth-sf.org/\">Juneteenth SF Freedom Celebration\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>1330 Fillmore St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Spread throughout eight blocks of the Fillmore District — a historic neighborhood that became an epicenter for a thriving Black arts, music and entertainment scene in the 1940s — the Juneteenth SF Freedom Celebration will host thousands in its wide-ranging festivities. The event will be divided into six “districts” that include live performances, food, community and family-oriented games and rides, a classic car show and a hair and fashion show. Equipped with a carnival ride and ferris wheel, the festival both embodies the quintessential summer fair and centers the rich traditions of Black culture and history.\u003c/p>\n\u003cp>The event runs from 11 a.m. to 6 p.m. and admission is free. \u003ca href=\"https://www.eventbrite.com/e/juneteenth-festival-fillmore-sf-live-music-kids-zone-fashion-free-rsvp-tickets-616663736837\">More information here\u003c/a>.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.ci.richmond.ca.us/CivicAlerts.aspx?AID=2296\">Juneteenth in Richmond \u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Nicholl Park, Richmond\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The centerpiece for Richmond’s Juneteenth celebrations is its lively annual parade: a joyous procession made up of the city’s local leaders, youth groups and community organizations. The parade begins at 10 a.m. at the \u003ca href=\"https://www.ci.richmond.ca.us/2177/Booker-T-Anderson\">Booker T. Anderson Center\u003c/a> and will be followed by an 11 a.m. festival that includes live music, family activities and more.\u003c/p>\n\u003cfigure id=\"attachment_13930167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg\" alt=\"two people, seen from the back, look at bracelets at a vendor's stand\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People browse a vendor’s wares at the 2019 Vallejo Juneteenth Festival. \u003ccite>(Angela Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://vallejojuneteenth.com/\">Vallejo Juneteenth Festival and Parade\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>301 Mare Island Way, Vallejo\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Returning for its 33rd year, the Vallejo Juneteenth Festival will kick off with a parade at 9 a.m. before attendees are invited to wander among vendor booths, groove to live music and learn about local organizations and resources related to health and wellness, education, small business development and more.\u003c/p>\n\u003cfigure id=\"attachment_13930168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930168\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg\" alt=\"three adorable little Black girls hold balloon animals and wear stickers that read 'I heart being Black' at a festival\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young community members celebrate at the 2018 Berkeley Juneteenth Festival. \u003ccite>(Malaika Kabon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://berkeleyjuneteenth.org/festival-2023/\">36th Annual Berkeley Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 18\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Adeline and Alcatraz, Berkeley\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The longstanding Berkeley Juneteenth Festival returns with vendors and musical performances that include Oakland jazz artist \u003ca href=\"https://www.instagram.com/fairleysonny/\">Sonny Fairley\u003c/a>, reggae singer \u003ca href=\"https://www.instagram.com/juniortoots/\">Junior Toots\u003c/a>, musical trio \u003ca href=\"https://www.instagram.com/guitartrifecta/\">Guitar Trifecta\u003c/a> and other local talent. Since its first iteration in 1987, the festival not only emphasizes the historical significance of Black emancipation but also the steps community members can take today to work towards healing and justice.\u003c/p>\n\u003cp>Preceding the festival is a weeklong schedule of programming from June 11–17 that includes an open house at Berkeley’s African American Holistic Resource Center, workshops on identifying and working through intergenerational trauma, using legal and policy tools to support formerly incarcerated individuals and how to document and preserve family stories. There will also be a farmer’s market specifically aimed towards supporting residents living in South Berkeley, an area that has seen limited fresh food access.\u003c/p>\n\u003ch3>\u003ca href=\"https://juneteenthcommunityfestival.info/\">7th Marin City Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>800 Drake Ave., Marin City\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marin City’s Juneteenth Festival begins at 9 a.m. with a hearty and reflective prayer breakfast at the Marguerite Johnson Senior Center, before attendees are ushered into a day packed with eclectic and energetic dance and musical performances. The lineup includes rapper \u003ca href=\"https://www.instagram.com/will_believe/\">Will Believe\u003c/a>, Parliament tribute band \u003ca href=\"https://www.instagram.com/purifiedment_funkensurance_/\">Purifiedment Funkensurance\u003c/a> and Zimbabwe neo-soul artist \u003ca href=\"https://www.instagram.com/piwaiofficial/\">Piwai\u003c/a>, among others.\u003c/p>\n\u003cp>The free festival will also feature a marketplace where vendors will be selling food, art, hair and skin products, handmade crafts and more.\u003c/p>\n\u003cfigure id=\"attachment_13930170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg\" alt=\"a young Black man in glasses and a black hoodie delivers a lecture\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1020x567.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-768x427.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1536x853.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-2048x1138.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-672x372.jpeg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1038x576.jpeg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1920x1067.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">GHTech founder George Hofstetter delivers a lecture on Black creativity and technology. \u003ccite>(Shayan Davaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/tech-summit-tickets-640827170317\">GHTech and KitsCubed Juneteenth Tech Summit\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Broadway Event Hall, Oakland \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When Oakland software engineer and educator George Hofstetter founded \u003ca href=\"https://www.instagram.com/ghtechinc/\">GHTech\u003c/a>, he aimed to uplift and encourage people of marginalized communities to carve out their own space in the tech world. Hofstetter became aware of the lack of diverse voices in the field and sought to change that, creating \u003ca href=\"https://www.georgehofstettertechnologies.com/project/hbcu-lecture-series-on-black-creativity-and-hacktivism\">a lecture series highlighting Black creativity\u003c/a> and the intersections of social justice and technology at various HBCU campuses across the U.S.\u003c/p>\n\u003cp>In collaboration with \u003ca href=\"https://www.kitscubed.com/\">KitsCubed\u003c/a> — an Oakland organization dedicated to youth-oriented science education — GHTech will conclude its lecture series with a celebratory tech summit on June 19, where people of all ages, backgrounds and experience levels can network and listen to talks on hacktivism and technology through the lens of Black liberation. The event is free to attend and will run from 5–9 p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Nyame Brown’s Black World-Building Depicts a Necessary Future",
"headTitle": "Nyame Brown’s Black World-Building Depicts a Necessary Future | KQED",
"content": "\u003cp>If \u003cem>Black Panther\u003c/em> is your favorite hero of the Marvel Cinematic Universe and the movies left you wanting so much more, there’s a San Francisco exhibition that will interest you. On view through June 9 at the California Institute of Integral Studies (CIIS), \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">\u003ci>Bay-Sick: New Mythologies from Black Speculative Worldbuilding\u003c/i>\u003c/a> invites us to witness Oakland artist \u003ca href=\"https://www.nyamebrown.com/\">Nyame Brown\u003c/a>’s dimension-expanding practice. Working with diverse media, including cut paper and oil paint applied to blackboards, Brown riffs off of African American folklore tradition to build worlds in which fantasy and reality coexist.\u003c/p>\n\u003cp>Brown identifies his work as part of Afrofuturism, a cultural aesthetic that combines literature (particularly science fiction and speculative fiction), history and fantasy to explore African American experience, and connects African diasporan communities to ancestral traditions that were violently interrupted by the Atlantic slave trade. N.K. Jemisin and the late Octavia Butler are luminary Afrofuturst novelists; Sun Ra and George Clinton came at the movement musically. \u003c/p>\n\u003cp>In contemporary art, Wangechi Mutu is a standard-bearer. Her installation \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/wangechi-mutu\">I’m Speaking, Are You Listening?\u003c/a>\u003c/i> transformed the Legion of Honor in 2021, and made the journey to San Francisco’s windy edge worthwhile. Within this lineage, Brown proposes different ways to think of Black history as a shared experience, and puts forth possible futures equally shaped by both similarities and dynamic differences.\u003c/p>\n\u003cfigure id=\"attachment_13927840\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg\" alt=\"Brightly costumed figures leap onto platforms in fantastical landscape of cubes shapes\" width=\"1080\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-800x539.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-1020x687.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-768x517.jpeg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘Galo Canto,’ 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>At CIIS, curator Kija Lucas has selected pieces that reflect Brown’s varied practice. In addition to watercolor works on paper, the show includes oil paintings on chalkboards. It’s a nod to Brown’s tenure as an Oakland School for the Arts educator. His use of oil paint, as opposed to chalk, suggests a hope for a time in which Black lives and Black history are not so easily erased.\u003c/p>\n\u003cp>An example of this style, \u003ci>Galo Canto\u003c/i> (2022), registers the influence of contemporary fashion and video game design. At the center of the blackboard, one of three vividly costumed figures moves as though gravity and average human mobility are of no concern. Gamers may appreciate what look like interlocking platforms, a familiar visual trope in virtual world-building, that in Brown’s work suggest a precariousness the figures gracefully navigate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The folk hero \u003ca href=\"https://www.nps.gov/neri/planyourvisit/the-legend-of-john-henry-talcott-wv.htm\">John Henry\u003c/a> makes repeated appearances in Brown’s work. Henry, who is celebrated for defeating a steam drill in a 19th-century coal-digging competition, often symbolizes heroic stamina; he vanquishes mindless mechanized strength as his last mortal act.\u003c/p>\n\u003cp>But \u003ci>Drippin in the Bay: John Henry with His Head in the Clouds\u003c/i> (2022), doesn’t emphasize back-breaking labor. Another oil-on-blackboard composition, the painting features a purple-skinned giant seated on the Bay Bridge. He appears contemplative, perhaps pondering the economic and cultural forces that have shrunk the Bay Area’s Black population. He also appears restful, defying capitalism’s mandate that we hustle from one task to the next. In Brown’s treatment, this version of the John Henry myth may teach us that rest — and by extension, self-care — is a potent relief from living in survival mode.\u003c/p>\n\u003cfigure id=\"attachment_13927843\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg\" alt=\"Wide drawing on white paper with various perspectives and swirling action\" width=\"2560\" height=\"1816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1920x1362.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘New Black Myth Scroll,’ 2021. \u003ccite>(Courtesy of CIIS / Kija Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a \u003ca href=\"https://gizmodo.com/margaret-atwood-and-ursula-k-le-guin-debate-science-fi-5650396\">2010 conversation\u003c/a> with fellow author Margaret Atwood, Ursula K. Le Guin urged that the difference between science fiction and fantasy is one of possibility: fantasy cannot happen, but science fiction can. Brown reckons with this in \u003ci>New Black Myth Scroll\u003c/i> (2021). By its size, the 15-foot canvas paper scroll reminds me of medieval tapestries that narratively recount key battles. Brown’s composition is not so polished. It looks more like a sketchpad, a place for potential to take root. If the chairs and tables in CIIS’s Desai | Matta Gallery, which is a shared public space, are not in use when you visit, move them. Seeing this monumental piece both at a distance and up close is a must.\u003c/p>\n\u003cp>Of the exhibition’s seven pieces, this scroll best reflects how Le Guin frames science fiction. At the far left edge, a figure admiringly holds aloft a vanquished foe’s head. Further into the composition, razor-sharp teeth appear ready to bite. It’s a dizzying viewing experience. Brown’s accomplished and troubling vision, perhaps a reference to the bodily violence that many Black Americans face daily, reminds us of what \u003ci>can\u003c/i> happen, and that the strides we make as a society will profoundly shape a shared future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>‘Bay-Sick: New Mythologies from Black Speculative Worldbuilding’ is on view in the Desai | Matta Gallery at the California Institute of Integral Studies (1453 Mission St., San Francisco) through June 9. \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If \u003cem>Black Panther\u003c/em> is your favorite hero of the Marvel Cinematic Universe and the movies left you wanting so much more, there’s a San Francisco exhibition that will interest you. On view through June 9 at the California Institute of Integral Studies (CIIS), \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">\u003ci>Bay-Sick: New Mythologies from Black Speculative Worldbuilding\u003c/i>\u003c/a> invites us to witness Oakland artist \u003ca href=\"https://www.nyamebrown.com/\">Nyame Brown\u003c/a>’s dimension-expanding practice. Working with diverse media, including cut paper and oil paint applied to blackboards, Brown riffs off of African American folklore tradition to build worlds in which fantasy and reality coexist.\u003c/p>\n\u003cp>Brown identifies his work as part of Afrofuturism, a cultural aesthetic that combines literature (particularly science fiction and speculative fiction), history and fantasy to explore African American experience, and connects African diasporan communities to ancestral traditions that were violently interrupted by the Atlantic slave trade. N.K. Jemisin and the late Octavia Butler are luminary Afrofuturst novelists; Sun Ra and George Clinton came at the movement musically. \u003c/p>\n\u003cp>In contemporary art, Wangechi Mutu is a standard-bearer. Her installation \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/wangechi-mutu\">I’m Speaking, Are You Listening?\u003c/a>\u003c/i> transformed the Legion of Honor in 2021, and made the journey to San Francisco’s windy edge worthwhile. Within this lineage, Brown proposes different ways to think of Black history as a shared experience, and puts forth possible futures equally shaped by both similarities and dynamic differences.\u003c/p>\n\u003cfigure id=\"attachment_13927840\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg\" alt=\"Brightly costumed figures leap onto platforms in fantastical landscape of cubes shapes\" width=\"1080\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022.jpeg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-800x539.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-1020x687.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Galo-Canto-2022-768x517.jpeg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘Galo Canto,’ 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>At CIIS, curator Kija Lucas has selected pieces that reflect Brown’s varied practice. In addition to watercolor works on paper, the show includes oil paintings on chalkboards. It’s a nod to Brown’s tenure as an Oakland School for the Arts educator. His use of oil paint, as opposed to chalk, suggests a hope for a time in which Black lives and Black history are not so easily erased.\u003c/p>\n\u003cp>An example of this style, \u003ci>Galo Canto\u003c/i> (2022), registers the influence of contemporary fashion and video game design. At the center of the blackboard, one of three vividly costumed figures moves as though gravity and average human mobility are of no concern. Gamers may appreciate what look like interlocking platforms, a familiar visual trope in virtual world-building, that in Brown’s work suggest a precariousness the figures gracefully navigate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The folk hero \u003ca href=\"https://www.nps.gov/neri/planyourvisit/the-legend-of-john-henry-talcott-wv.htm\">John Henry\u003c/a> makes repeated appearances in Brown’s work. Henry, who is celebrated for defeating a steam drill in a 19th-century coal-digging competition, often symbolizes heroic stamina; he vanquishes mindless mechanized strength as his last mortal act.\u003c/p>\n\u003cp>But \u003ci>Drippin in the Bay: John Henry with His Head in the Clouds\u003c/i> (2022), doesn’t emphasize back-breaking labor. Another oil-on-blackboard composition, the painting features a purple-skinned giant seated on the Bay Bridge. He appears contemplative, perhaps pondering the economic and cultural forces that have shrunk the Bay Area’s Black population. He also appears restful, defying capitalism’s mandate that we hustle from one task to the next. In Brown’s treatment, this version of the John Henry myth may teach us that rest — and by extension, self-care — is a potent relief from living in survival mode.\u003c/p>\n\u003cfigure id=\"attachment_13927843\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg\" alt=\"Wide drawing on white paper with various perspectives and swirling action\" width=\"2560\" height=\"1816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/NyameBrown2-1920x1362.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nyame Brown, ‘New Black Myth Scroll,’ 2021. \u003ccite>(Courtesy of CIIS / Kija Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a \u003ca href=\"https://gizmodo.com/margaret-atwood-and-ursula-k-le-guin-debate-science-fi-5650396\">2010 conversation\u003c/a> with fellow author Margaret Atwood, Ursula K. Le Guin urged that the difference between science fiction and fantasy is one of possibility: fantasy cannot happen, but science fiction can. Brown reckons with this in \u003ci>New Black Myth Scroll\u003c/i> (2021). By its size, the 15-foot canvas paper scroll reminds me of medieval tapestries that narratively recount key battles. Brown’s composition is not so polished. It looks more like a sketchpad, a place for potential to take root. If the chairs and tables in CIIS’s Desai | Matta Gallery, which is a shared public space, are not in use when you visit, move them. Seeing this monumental piece both at a distance and up close is a must.\u003c/p>\n\u003cp>Of the exhibition’s seven pieces, this scroll best reflects how Le Guin frames science fiction. At the far left edge, a figure admiringly holds aloft a vanquished foe’s head. Further into the composition, razor-sharp teeth appear ready to bite. It’s a dizzying viewing experience. Brown’s accomplished and troubling vision, perhaps a reference to the bodily violence that many Black Americans face daily, reminds us of what \u003ci>can\u003c/i> happen, and that the strides we make as a society will profoundly shape a shared future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>‘Bay-Sick: New Mythologies from Black Speculative Worldbuilding’ is on view in the Desai | Matta Gallery at the California Institute of Integral Studies (1453 Mission St., San Francisco) through June 9. \u003ca href=\"http://www.artsatciis.org/2023#/nyamebrown/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jason Moran’s New Album Pays Tribute to Black Jazz Pioneer James Reese Europe",
"headTitle": "Jason Moran’s New Album Pays Tribute to Black Jazz Pioneer James Reese Europe | KQED",
"content": "\u003cp>The inspiration for Jason Moran’s new album, \u003cem>From the Dancehall to the Battlefield,\u003c/em> came from a distinguished source, who passed it down like a family heirloom. Randy Weston, a fellow pianist-composer in the jazz tradition, was still performing in his mid-80s a decade or so ago, when he welcomed Moran to his home in Brooklyn with an admonishment: \u003cem>You need to know about James Reese Europe.\u003c/em> (Weston, an NEA Jazz Master,\u003ca href=\"https://www.nytimes.com/2018/09/01/obituaries/randy-weston-dead.html\"> died in 2018\u003c/a> at 92.)\u003c/p>\n\u003cp>“He literally sat me down in his apartment with his wife, Fatoumata,” Moran tells NPR. “They gave me a five-hour history lesson about James Reese Europe. And Randy Weston has a way of talking about history, and especially diasporic Black history, in relationship to the music we make here in America; he’s always trying to find these ties. He locates James Reese Europe as kind of a seminal knot-maker in the line. It’s like, ‘You’ve got to know the guy who invented the Big Knot.’ And that was really where it started for me.”\u003c/p>\n\u003cp>James Reese Europe was a fearless pioneer in African-American history: a bandleader, composer and organizer who laid the groundwork for jazz in the early 20th century. He also founded and incorporated The Clef Club — a first-of-its-kind musicians’ union, contracting agency and social organization whose resident orchestra he brought to Carnegie Hall in 1912. (The ‘\u003ca href=\"https://www.carnegiehall.org/Explore/Articles/2021/03/31/When-Jazz-Arrived-at-Carnegie-Hall\">Concert of Negro Music\u003c/a>,’ as it was billed, is often remembered today as the first jazz concert in the prestigious concert hall, though “jazz” wasn’t a word Europe ever used.)\u003c/p>\n\u003cp>[aside postid='arts_13909444']America’s engagement in World War I plunged James Reese Europe into a different theater of operations. Commissioned as a lieutenant in the 369th Infantry, known as the Harlem Hellfighters, he formed a regimental band that garnered acclaim for its originality and syncopated fire. Europe’s friend Noble Sissle served as his drum major and the lyricist on a number of gripping songs from the front, like “\u003ca href=\"https://youtu.be/YeIET9ZIkGk\">On Patrol in No Man’s Land\u003c/a>,” composed in a field hospital after a gas attack. When the war was over, the 369th Infantry returned as heroes — marching up Fifth Avenue in a victory parade, with Europe’s band providing the beat.\u003c/p>\n\u003cp>For this and other reasons, Europe was a progenitor and pacesetter for American popular music, and for African-American culture; one of his contemporaries, pianist-composer Eubie Blake, later remembered him as “the Martin Luther King of music.” Scholars and historians in our time — like Dr. Tammy Kernodle, the University Distinguished Professor of Music at Miami University in Ohio, hold analogous views. “He’s such a pivotal figure,” Dr. Kernodle tells NPR, “and his influence crosses all types of spheres — social, intellectual, musical, cultural, political — so it’s unfortunate that he has not received the kind of attention that he deserves, because there’s so much that can be gleaned from his life and his career.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moran has been doing some of that gleaning, delving into research about Europe’s story and music, and considering what he means in the greater scheme of Black life. Several years ago he put together a multimedia tribute titled \u003cem>Harlem Hellfighters: James Reese Europe and The Absence Of Ruin, \u003c/em>presenting it at festivals abroad and the Kennedy Center.\u003ca href=\"https://www.npr.org/2018/12/07/674440715/a-century-later-an-illuminated-eulogy-for-a-jazz-pioneer\"> Covering that project for NPR Music\u003c/a> in 2018, Michelle Mercer wrote: “There’s more purposeful meaning in Moran’s song adaptations than a team of the most avid musicologists could hope to find.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Y_0Fhg7G3c\u003c/p>\n\u003cp>The same is now true of \u003cem>From the Dancehall to the Battlefield, \u003c/em>which Moran has\u003ca href=\"https://jasonmoran.bandcamp.com/album/from-the-dancehall-to-the-battlefield\"> released digitally\u003c/a> through his own YES Records. A brilliant and often startling listen, it’s the latest act of radical reimagining from Moran, whose previous forays into Black music history include celebrated tributes to\u003ca href=\"https://www.npr.org/2014/09/13/347664601/modern-misbehavin-jason-moran-gets-into-the-mind-of-fats-waller\"> Fats Waller\u003c/a> and\u003ca href=\"https://www.npr.org/2015/10/08/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\"> Thelonious Monk\u003c/a>. At the album’s center strides The Bandwagon, his flagship trio with bassist Tarus Mateen and drummer Nasheet Waits, who bring a headlong urgency to some of the songs, like Europe’s “Castle House Rag.” Elsewhere, Moran expands the frame to include collaborators like alto saxophonist Logan Richardson, clarinetist Darryl Harper and trumpeter David Adewumi.\u003c/p>\n\u003cp>[aside postid='arts_13914579']One elegiac track, “Flee as a Bird to your Mountain,” comes linked via interpretive segue to the Albert Ayler free-jazz anthem “Ghosts,” soulfully performed by tenor saxophonist Brian Settles. In his liner notes, Moran explains that “Flee as a Bird” was “a piece the 369th Infantry band played when a soldier did not return from the battlefield. Brian represents the restless soul fighting for his last breath before the last shovel full of dirt covers his body.”\u003c/p>\n\u003cp>The album’s overture and title track, “From the Dancehall to the Battlefield,” features a voiceover by Moran, putting the facts of the case in an urgent and poetic light. He notes that as a boy in Washington, D.C., James Reese Europe studied with violinist Joseph Douglass, grandson of the abolitionist Frederick Douglass — “because Douglass innately knew that liberation not only speaks from the mind, but also from instrument.” And he muses about the implications of Europe’s syncopated beat — “because syncopation is about urgency, pushing the beat ahead to apply the anticipation of the oncoming downbeat, an outlook that is inherently futuristic.”\u003c/p>\n\u003cp>Retrofitting the notion of Afrofuturism, as Moran explains, was part of the mission for the album. It’s one reason that his voiceover concludes with a bequest: “From to the dance hall to the battlefield,” he says, “and back home to you.” It’s why he has incorporated a sing-along into many of his performances over the last several years: using his composition “For James” as a means of activating his audiences, co-implicating them in Europe’s historical narrative. I’ve witnessed this a few times, in settings as intimate as The Village Vanguard and as grand as the Newport Jazz Festival — where, as Moran pointed out from the stage, the stone ramparts and cast-iron cannons at Fort Adams brought a layer of resonance to the music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“For James” is the natural endpoint on Moran’s new album, and he decided to splice a couple of different recordings together. One includes the singing of an audience in Germany; another features the\u003ca href=\"https://www.369experience.com/\"> 369 Experience\u003c/a>, a band made up of HBCU students, playing the music of the Harlem Hellfighters. The track’s final seconds capture Moran addressing these students —invoking Randy Weston, with the understanding that just as the torch was handed over at that moment, it awaits a new generation to keep it moving forward.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jason+Moran%27s+new+album+pays+tribute+to+Black+jazz+pioneer+James+Reese+Europe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The inspiration for Jason Moran’s new album, \u003cem>From the Dancehall to the Battlefield,\u003c/em> came from a distinguished source, who passed it down like a family heirloom. Randy Weston, a fellow pianist-composer in the jazz tradition, was still performing in his mid-80s a decade or so ago, when he welcomed Moran to his home in Brooklyn with an admonishment: \u003cem>You need to know about James Reese Europe.\u003c/em> (Weston, an NEA Jazz Master,\u003ca href=\"https://www.nytimes.com/2018/09/01/obituaries/randy-weston-dead.html\"> died in 2018\u003c/a> at 92.)\u003c/p>\n\u003cp>“He literally sat me down in his apartment with his wife, Fatoumata,” Moran tells NPR. “They gave me a five-hour history lesson about James Reese Europe. And Randy Weston has a way of talking about history, and especially diasporic Black history, in relationship to the music we make here in America; he’s always trying to find these ties. He locates James Reese Europe as kind of a seminal knot-maker in the line. It’s like, ‘You’ve got to know the guy who invented the Big Knot.’ And that was really where it started for me.”\u003c/p>\n\u003cp>James Reese Europe was a fearless pioneer in African-American history: a bandleader, composer and organizer who laid the groundwork for jazz in the early 20th century. He also founded and incorporated The Clef Club — a first-of-its-kind musicians’ union, contracting agency and social organization whose resident orchestra he brought to Carnegie Hall in 1912. (The ‘\u003ca href=\"https://www.carnegiehall.org/Explore/Articles/2021/03/31/When-Jazz-Arrived-at-Carnegie-Hall\">Concert of Negro Music\u003c/a>,’ as it was billed, is often remembered today as the first jazz concert in the prestigious concert hall, though “jazz” wasn’t a word Europe ever used.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>America’s engagement in World War I plunged James Reese Europe into a different theater of operations. Commissioned as a lieutenant in the 369th Infantry, known as the Harlem Hellfighters, he formed a regimental band that garnered acclaim for its originality and syncopated fire. Europe’s friend Noble Sissle served as his drum major and the lyricist on a number of gripping songs from the front, like “\u003ca href=\"https://youtu.be/YeIET9ZIkGk\">On Patrol in No Man’s Land\u003c/a>,” composed in a field hospital after a gas attack. When the war was over, the 369th Infantry returned as heroes — marching up Fifth Avenue in a victory parade, with Europe’s band providing the beat.\u003c/p>\n\u003cp>For this and other reasons, Europe was a progenitor and pacesetter for American popular music, and for African-American culture; one of his contemporaries, pianist-composer Eubie Blake, later remembered him as “the Martin Luther King of music.” Scholars and historians in our time — like Dr. Tammy Kernodle, the University Distinguished Professor of Music at Miami University in Ohio, hold analogous views. “He’s such a pivotal figure,” Dr. Kernodle tells NPR, “and his influence crosses all types of spheres — social, intellectual, musical, cultural, political — so it’s unfortunate that he has not received the kind of attention that he deserves, because there’s so much that can be gleaned from his life and his career.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moran has been doing some of that gleaning, delving into research about Europe’s story and music, and considering what he means in the greater scheme of Black life. Several years ago he put together a multimedia tribute titled \u003cem>Harlem Hellfighters: James Reese Europe and The Absence Of Ruin, \u003c/em>presenting it at festivals abroad and the Kennedy Center.\u003ca href=\"https://www.npr.org/2018/12/07/674440715/a-century-later-an-illuminated-eulogy-for-a-jazz-pioneer\"> Covering that project for NPR Music\u003c/a> in 2018, Michelle Mercer wrote: “There’s more purposeful meaning in Moran’s song adaptations than a team of the most avid musicologists could hope to find.”\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/2Y_0Fhg7G3c'\n title='//www.youtube.com/embed/2Y_0Fhg7G3c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The same is now true of \u003cem>From the Dancehall to the Battlefield, \u003c/em>which Moran has\u003ca href=\"https://jasonmoran.bandcamp.com/album/from-the-dancehall-to-the-battlefield\"> released digitally\u003c/a> through his own YES Records. A brilliant and often startling listen, it’s the latest act of radical reimagining from Moran, whose previous forays into Black music history include celebrated tributes to\u003ca href=\"https://www.npr.org/2014/09/13/347664601/modern-misbehavin-jason-moran-gets-into-the-mind-of-fats-waller\"> Fats Waller\u003c/a> and\u003ca href=\"https://www.npr.org/2015/10/08/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\"> Thelonious Monk\u003c/a>. At the album’s center strides The Bandwagon, his flagship trio with bassist Tarus Mateen and drummer Nasheet Waits, who bring a headlong urgency to some of the songs, like Europe’s “Castle House Rag.” Elsewhere, Moran expands the frame to include collaborators like alto saxophonist Logan Richardson, clarinetist Darryl Harper and trumpeter David Adewumi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One elegiac track, “Flee as a Bird to your Mountain,” comes linked via interpretive segue to the Albert Ayler free-jazz anthem “Ghosts,” soulfully performed by tenor saxophonist Brian Settles. In his liner notes, Moran explains that “Flee as a Bird” was “a piece the 369th Infantry band played when a soldier did not return from the battlefield. Brian represents the restless soul fighting for his last breath before the last shovel full of dirt covers his body.”\u003c/p>\n\u003cp>The album’s overture and title track, “From the Dancehall to the Battlefield,” features a voiceover by Moran, putting the facts of the case in an urgent and poetic light. He notes that as a boy in Washington, D.C., James Reese Europe studied with violinist Joseph Douglass, grandson of the abolitionist Frederick Douglass — “because Douglass innately knew that liberation not only speaks from the mind, but also from instrument.” And he muses about the implications of Europe’s syncopated beat — “because syncopation is about urgency, pushing the beat ahead to apply the anticipation of the oncoming downbeat, an outlook that is inherently futuristic.”\u003c/p>\n\u003cp>Retrofitting the notion of Afrofuturism, as Moran explains, was part of the mission for the album. It’s one reason that his voiceover concludes with a bequest: “From to the dance hall to the battlefield,” he says, “and back home to you.” It’s why he has incorporated a sing-along into many of his performances over the last several years: using his composition “For James” as a means of activating his audiences, co-implicating them in Europe’s historical narrative. I’ve witnessed this a few times, in settings as intimate as The Village Vanguard and as grand as the Newport Jazz Festival — where, as Moran pointed out from the stage, the stone ramparts and cast-iron cannons at Fort Adams brought a layer of resonance to the music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For James” is the natural endpoint on Moran’s new album, and he decided to splice a couple of different recordings together. One includes the singing of an audience in Germany; another features the\u003ca href=\"https://www.369experience.com/\"> 369 Experience\u003c/a>, a band made up of HBCU students, playing the music of the Harlem Hellfighters. The track’s final seconds capture Moran addressing these students —invoking Randy Weston, with the understanding that just as the torch was handed over at that moment, it awaits a new generation to keep it moving forward.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jason+Moran%27s+new+album+pays+tribute+to+Black+jazz+pioneer+James+Reese+Europe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On Black Imagination at the 2022 San Francisco Aerial Arts Festival",
"headTitle": "On Black Imagination at the 2022 San Francisco Aerial Arts Festival | KQED",
"content": "\u003cp>When I interviewed San Francisco dance choreographer Robert Moses, I expected to use the recording to write a preview about his upcoming show. I didn’t expect that he would ask to incorporate the audio from our interview into a rehearsal for that very show. But Moses is big on challenging expectations.\u003c/p>\n\u003cp>Moses is the founder and artistic director of the San Francisco dance company Robert Moses’ Kin. His first aerial arts work will be performed at the \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Aerial Arts Festival\u003c/a> (SFAAF), taking place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.\u003c/p>\n\u003cp>“I said yes to this because it’s a risk,” Moses tells me about taking his choreography aloft. The festival, first held in 2014, commissions new work from Black choreographers, circus and aerial artists and centers their stories in what SFAAF founder Joanna Haigood calls a historically racist yet rapidly evolving field.\u003c/p>\n\u003cfigure id=\"attachment_13917528\" class=\"wp-caption alignnone\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg\" alt=\"Man in rehearsal with dancing woman\" width=\"625\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof-160x77.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses and dancer Crystaldawn Bell in Rehearsal \u003ccite>(Steven Disenhof.jpg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses’ work for the festival was originally conceived as “an oral history of God’s disappointment in man’s spiritual decline,” according to its press release. He began to dream a narrative of being on top of the world and speaking with God—with aerial artists challenging a higher deity.\u003c/p>\n\u003cp>“We assume that being heavenly is somewhat elevated,” Moses explains about the original vision for his work. “Off the ground, everything changes, right? And what does that represent? What if I put God on the ground?” he adds. “What is it like to talk down to God?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In our conversation, it became clear his work was constantly evolving and inspired by the world around him—including our interview.\u003c/p>\n\u003cp>In a sense, this is another story about Black artists reclaiming a historically-exclusionary art form. Yet Moses implores us to envisage beyond the platitude of what it means to be a Black artist in a historically white space. “Fuck the new area,” says Moses. “This is the old area that we’re claiming a right to.”\u003c/p>\n\u003ch2>\u003cb>Diversifying the field\u003c/b>\u003c/h2>\n\u003cp>Joanna Haigood, the artistic director of San Francisco’s Zaccho Dance Theatre and the founder and curator of SFAAF (which is supported by the Gerbode Foundation and San Francisco Arts Commission), says Black artists have been historically barred from entering the fields of circus and contemporary dance\u003cb>. \u003c/b>\u003c/p>\n\u003cp>There’s been “a fair amount of racism” in circus, says Haigood. “So it’s been difficult to break in for reasons of, you know, ‘Your skin’s too dark,’ or whatever ideas of what the perfect body is.” Aerial arts is a relatively new art form, she says, where the prejudice is perhaps less explicit—but there are fewer productions and therefore fewer artist opportunities.\u003c/p>\n\u003cp>Haigood is proud of the genre-defying artists who are actively diversifying the field and making work for the festival, which, beyond Moses, includes artists like Veronica Blair, Susan Voytickyand and the young aerialists of the SFAAF Youth Revelry.\u003c/p>\n\u003cfigure id=\"attachment_13917526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg\" alt=\"Aerial artists are suspended on building\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Aerial Arts Festival commissions new work from artists who seamlessly merge contemporary dance with circus and aerial arts, like BANDALOOP \u003ccite>(Austin Forbord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m bringing all these people together because they inspire me,” Haigood says. “These artists are not only calling out racism but celebrating their differences and finding voice in their cultural lives and personal experiences.”\u003c/p>\n\u003cp>Aerialists Veronica Blair and Susan Voyticky’s offering to SFAAF plays homage to a classic Black story. Seven stories, in fact.\u003c/p>\n\u003cp>Their project, \u003ci>The Rainbow is Enuf\u003c/i>, reimagines Ntozake Shange’s acclaimed choreopoem \u003ci>for colored girls who have considered suicide/ when the rainbow is enuf\u003c/i>. The 1975 source material peers into the lives of seven women of African descent, telling their individual stories and shared experiences in a world shaped by patriarchy, sexism and racism.\u003c/p>\n\u003cp>Blair and Voyticky connect the text to modern-day circus by channeling the contemporary experiences of the six women of color in the ensemble. “With our bodies, we’re able to interpret the work and ask … what does it mean to be a woman of color in 2022?” Blair asks. “What kind of things are we facing as a demographic, as individuals, generationally, ancestrally?”\u003c/p>\n\u003cfigure id=\"attachment_13917530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg\" alt=\"Aerial dancer suspended in fabric\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Blair and Susan Voytick’s work for SFAAF reimagines Ntozake Shange’s acclaimed choreopoem ‘for colored girls who have considered suicide/ when the rainbow is enuf’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Veronica is trying to tell a uniquely Black story through the lens of circus,” says Haigood. “I think that’s fantastic.”\u003c/p>\n\u003cp>While the festival centers artists who seamlessly merge contemporary dance with circus and aerial arts, it’s only recently that these fields have become less fragmented. “For a long while they were very separate, circus and dance. And that’s changing,” says Haigood. “I really wanted to help facilitate finding new ways to be in conversation.”\u003c/p>\n\u003ch2>‘This is a new kind of clay for me’\u003c/h2>\n\u003cp>Moses, for his part, doesn’t seem interested in creating cohesion or diversifying the field. He envisions Black futures from a higher plane of existence, an “intergalactic universe” that literally elevates Black people from the ground. Hence, aerial art.\u003c/p>\n\u003cp>“This is a new kind of clay for me … you’re unhinged from the things you have known,” Moses says of working in aerial choreography for the first time, describing the experience as disorienting. “The use of weights, how you manage rhythm and quality … the poetry and aesthetic is reconfigured.”\u003c/p>\n\u003cp>Moses references Afrofuturism when describing his work, a paradigm where the African American experience and ancestry is carried into limitless visions of an alternative or future universe—yes, beyond arts diversity and inclusion. “There’s a whole intergalactic empire,” he says. “That stretch of the imagination is what this [work] is, in a way.”\u003c/p>\n\u003cp>The festival can be seen as part of an encouraging recent trend in fiscal support in the Bay Area contemporary arts world for work that supports Black artists in visionary ways, such as SOMArts’ 2019 exhibition \u003ca href=\"https://somarts.org/event/foreveramoment/\">\u003ci>Forever, A Moment: Black Meditations on Time and Space\u003c/i>\u003c/a>. Haigood feels “blessed” SFAAF artists are receiving recent grant support to “really let their imaginations stretch.” Blair, too, describes such recent fiscal support as a “dramatic turn” in the kinds of aerial projects supported by the industry.\u003c/p>\n\u003cp>Indeed, if the arts ecology is making strides to expand its lens beyond identity politics into more imaginative territory, so should arts coverage. In reflecting on our conversation after Moses asked to use it in rehearsal, I realized that asking a Black choreographer about creating dance in a historically white space is reductionist at best.\u003c/p>\n\u003cp>“You asked that kind of question because you know what the answer is gonna be,” Moses told me in response to a question on race and art. And maybe he was right.\u003c/p>\n\u003cp>“If I’m thinking about the work in being an African American then I want to do that in a place of control,” Moses says. “And if I’m directing this conversation, then I’m in control of God. And that’s heresy, because how the fuck can a Black man be more in important and powerful than God?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003ci>The 2022 San Francisco Aerial Arts Festival takes place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse. \u003c/i>\u003ca href=\"https://fortmason.org/event/sf-aerial-arts-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I interviewed San Francisco dance choreographer Robert Moses, I expected to use the recording to write a preview about his upcoming show. I didn’t expect that he would ask to incorporate the audio from our interview into a rehearsal for that very show. But Moses is big on challenging expectations.\u003c/p>\n\u003cp>Moses is the founder and artistic director of the San Francisco dance company Robert Moses’ Kin. His first aerial arts work will be performed at the \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Aerial Arts Festival\u003c/a> (SFAAF), taking place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.\u003c/p>\n\u003cp>“I said yes to this because it’s a risk,” Moses tells me about taking his choreography aloft. The festival, first held in 2014, commissions new work from Black choreographers, circus and aerial artists and centers their stories in what SFAAF founder Joanna Haigood calls a historically racist yet rapidly evolving field.\u003c/p>\n\u003cfigure id=\"attachment_13917528\" class=\"wp-caption alignnone\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg\" alt=\"Man in rehearsal with dancing woman\" width=\"625\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof-160x77.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses and dancer Crystaldawn Bell in Rehearsal \u003ccite>(Steven Disenhof.jpg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses’ work for the festival was originally conceived as “an oral history of God’s disappointment in man’s spiritual decline,” according to its press release. He began to dream a narrative of being on top of the world and speaking with God—with aerial artists challenging a higher deity.\u003c/p>\n\u003cp>“We assume that being heavenly is somewhat elevated,” Moses explains about the original vision for his work. “Off the ground, everything changes, right? And what does that represent? What if I put God on the ground?” he adds. “What is it like to talk down to God?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In our conversation, it became clear his work was constantly evolving and inspired by the world around him—including our interview.\u003c/p>\n\u003cp>In a sense, this is another story about Black artists reclaiming a historically-exclusionary art form. Yet Moses implores us to envisage beyond the platitude of what it means to be a Black artist in a historically white space. “Fuck the new area,” says Moses. “This is the old area that we’re claiming a right to.”\u003c/p>\n\u003ch2>\u003cb>Diversifying the field\u003c/b>\u003c/h2>\n\u003cp>Joanna Haigood, the artistic director of San Francisco’s Zaccho Dance Theatre and the founder and curator of SFAAF (which is supported by the Gerbode Foundation and San Francisco Arts Commission), says Black artists have been historically barred from entering the fields of circus and contemporary dance\u003cb>. \u003c/b>\u003c/p>\n\u003cp>There’s been “a fair amount of racism” in circus, says Haigood. “So it’s been difficult to break in for reasons of, you know, ‘Your skin’s too dark,’ or whatever ideas of what the perfect body is.” Aerial arts is a relatively new art form, she says, where the prejudice is perhaps less explicit—but there are fewer productions and therefore fewer artist opportunities.\u003c/p>\n\u003cp>Haigood is proud of the genre-defying artists who are actively diversifying the field and making work for the festival, which, beyond Moses, includes artists like Veronica Blair, Susan Voytickyand and the young aerialists of the SFAAF Youth Revelry.\u003c/p>\n\u003cfigure id=\"attachment_13917526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg\" alt=\"Aerial artists are suspended on building\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Aerial Arts Festival commissions new work from artists who seamlessly merge contemporary dance with circus and aerial arts, like BANDALOOP \u003ccite>(Austin Forbord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m bringing all these people together because they inspire me,” Haigood says. “These artists are not only calling out racism but celebrating their differences and finding voice in their cultural lives and personal experiences.”\u003c/p>\n\u003cp>Aerialists Veronica Blair and Susan Voyticky’s offering to SFAAF plays homage to a classic Black story. Seven stories, in fact.\u003c/p>\n\u003cp>Their project, \u003ci>The Rainbow is Enuf\u003c/i>, reimagines Ntozake Shange’s acclaimed choreopoem \u003ci>for colored girls who have considered suicide/ when the rainbow is enuf\u003c/i>. The 1975 source material peers into the lives of seven women of African descent, telling their individual stories and shared experiences in a world shaped by patriarchy, sexism and racism.\u003c/p>\n\u003cp>Blair and Voyticky connect the text to modern-day circus by channeling the contemporary experiences of the six women of color in the ensemble. “With our bodies, we’re able to interpret the work and ask … what does it mean to be a woman of color in 2022?” Blair asks. “What kind of things are we facing as a demographic, as individuals, generationally, ancestrally?”\u003c/p>\n\u003cfigure id=\"attachment_13917530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg\" alt=\"Aerial dancer suspended in fabric\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Blair and Susan Voytick’s work for SFAAF reimagines Ntozake Shange’s acclaimed choreopoem ‘for colored girls who have considered suicide/ when the rainbow is enuf’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Veronica is trying to tell a uniquely Black story through the lens of circus,” says Haigood. “I think that’s fantastic.”\u003c/p>\n\u003cp>While the festival centers artists who seamlessly merge contemporary dance with circus and aerial arts, it’s only recently that these fields have become less fragmented. “For a long while they were very separate, circus and dance. And that’s changing,” says Haigood. “I really wanted to help facilitate finding new ways to be in conversation.”\u003c/p>\n\u003ch2>‘This is a new kind of clay for me’\u003c/h2>\n\u003cp>Moses, for his part, doesn’t seem interested in creating cohesion or diversifying the field. He envisions Black futures from a higher plane of existence, an “intergalactic universe” that literally elevates Black people from the ground. Hence, aerial art.\u003c/p>\n\u003cp>“This is a new kind of clay for me … you’re unhinged from the things you have known,” Moses says of working in aerial choreography for the first time, describing the experience as disorienting. “The use of weights, how you manage rhythm and quality … the poetry and aesthetic is reconfigured.”\u003c/p>\n\u003cp>Moses references Afrofuturism when describing his work, a paradigm where the African American experience and ancestry is carried into limitless visions of an alternative or future universe—yes, beyond arts diversity and inclusion. “There’s a whole intergalactic empire,” he says. “That stretch of the imagination is what this [work] is, in a way.”\u003c/p>\n\u003cp>The festival can be seen as part of an encouraging recent trend in fiscal support in the Bay Area contemporary arts world for work that supports Black artists in visionary ways, such as SOMArts’ 2019 exhibition \u003ca href=\"https://somarts.org/event/foreveramoment/\">\u003ci>Forever, A Moment: Black Meditations on Time and Space\u003c/i>\u003c/a>. Haigood feels “blessed” SFAAF artists are receiving recent grant support to “really let their imaginations stretch.” Blair, too, describes such recent fiscal support as a “dramatic turn” in the kinds of aerial projects supported by the industry.\u003c/p>\n\u003cp>Indeed, if the arts ecology is making strides to expand its lens beyond identity politics into more imaginative territory, so should arts coverage. In reflecting on our conversation after Moses asked to use it in rehearsal, I realized that asking a Black choreographer about creating dance in a historically white space is reductionist at best.\u003c/p>\n\u003cp>“You asked that kind of question because you know what the answer is gonna be,” Moses told me in response to a question on race and art. And maybe he was right.\u003c/p>\n\u003cp>“If I’m thinking about the work in being an African American then I want to do that in a place of control,” Moses says. “And if I’m directing this conversation, then I’m in control of God. And that’s heresy, because how the fuck can a Black man be more in important and powerful than God?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003ci>The 2022 San Francisco Aerial Arts Festival takes place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse. \u003c/i>\u003ca href=\"https://fortmason.org/event/sf-aerial-arts-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-futures-ball-oakland",
"title": "Imagining New Black Futures for a Good Cause",
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"content": "\u003cp>Not only are there Black folks in the future—they’re fly, too.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Black Futures Ball\u003c/a> at the Bridge Yard on Aug. 6, you’ll see a blend of Comic-Con with a traditional gala and Town culture, says Selena Wilson, CEO of the East Oakland Youth Development Center (\u003ca href=\"https://eoydc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">EOYDC\u003c/a>), which is hosting the event.\u003c/p>\n\u003cp>“Folks can expect to see people in straight-up cosplay. They can expect to see people in grills and Jordans. They’ll see folks in heels and cocktail dresses, in gowns, and in beautiful traditional African clothing mixed with futuristic pieces,” Wilson tells me. “There will be something for everybody.”\u003c/p>\n\u003cp>Both celebration and fundraiser, attendees of the Black Futures Ball are invited to contribute to EOYDC’s annual college fund. A staple for over two decades, the Deep East Oakland-based center’s fund donated $150,000 to Black and brown Bay Area students last year alone. Wilson hopes to keep that momentum: “We’re celebrating the theme of Afrofuturism,” she says. “We’re also legit investing in Black futures.”\u003c/p>\n\u003cp>That investment is more important than ever. When Black students take out student loans to attend college, a recent Brookings Institute report concluded, they \u003ca href=\"https://www.brookings.edu/research/student-loans-the-racial-wealth-divide-and-why-we-need-full-student-debt-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\">borrow more on average\u003c/a> than their white classmates. What’s more, the \u003ca href=\"https://www.brookings.edu/research/black-white-disparity-in-student-loan-debt-more-than-triples-after-graduation/\" target=\"_blank\" rel=\"noopener noreferrer\">debt disparity between Black graduates and white graduates more than triples\u003c/a> after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13916573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg\" alt=\"EOYDC students on a college tour at Rice University.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EOYDC students on a college tour at Rice University. \u003ccite>(Via EOYDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Backed by \u003ca href=\"https://www.instagram.com/thetownexperience/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, \u003ca href=\"https://instagram.com/marketing_kings?igshid=YmMyMTA2M2Y=\" target=\"_blank\" rel=\"noopener noreferrer\">Marketing Kings\u003c/a> and \u003ca href=\"https://www.thesubversal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Subversal\u003c/a> group, the event will be filled with visual arts, music and food. Performances include renowned Oakland vocalist \u003ca href=\"https://www.instagram.com/goapele/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> and emerging lyricist \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J-Walt\u003c/a>. Installations of visual art will come from \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aerosoul\u003c/a>, \u003ca href=\"https://www.blackterminus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Terminus\u003c/a>, \u003ca href=\"https://afrocomiccon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AfroComicCon\u003c/a>, \u003ca href=\"https://www.runtheworldclothing.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Run The World Clothing\u003c/a> and \u003ca href=\"https://www.darkstaruniverse.com/about.html#/\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Star Universe\u003c/a>, as well as an Afrofuturism-themed exhibit hosted by the \u003ca href=\"https://www.mocha.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s Museum of Children’s Art\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music from all throughout the diaspora will be spun by \u003ca href=\"https://www.instagram.com/dcischillin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DC is Chillin\u003c/a> and \u003ca href=\"https://www.instagram.com/mrdaveyd/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, and the \u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Turffeinz\u003c/a> will deliver a dance performance.\u003c/p>\n\u003cp>Hosted by Oakland’s own multitalented Grammy-nominated artist \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a>, there will be a formal segment of the evening where Champion for Youth Awards will be given to entertainer and community advocate Mistah F.A.B., activist and BART Board Director Lateefah Simon, organizer and educator Nehanda Imara, and the South Bay’s André Chapman, founder of Unity Care.\u003c/p>\n\u003cp>This all-star lineup comes together for a good cause in the face of the ever-increasing challenges in our world—a global pandemic, rising gun violence and more, says Wilson. “To solve the problems of today, it’s going to take radical imagination,” Wilson tells me. “And when I think about Afrofuturism, it inspires radical imagination for me.”\u003c/p>\n\u003cp>Motivated by the idea of the fictional utopia of Wakanda from the movie \u003cem>Black Panther\u003c/em>—and in the wake of the \u003ca href=\"https://www.youtube.com/watch?v=RlOB3UALvrQ\" target=\"_blank\" rel=\"noopener noreferrer\">recently dropped trailed for \u003cem>Wakanda Forever\u003c/em>\u003c/a>—this year’s theme is “Oakanda.”\u003c/p>\n\u003cp>Wilson asks rhetorically, “What if we could build the Oakanda of our dreams? What if we did engage in that radical imagination?”\u003c/p>\n\u003cp>Wilson, a firm believer that the key to liberation is joy, adds, “That’s why we wanted to make sure that we have so many different elements of joy in this event, so many things that are celebrating \u003cem>the culture\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Futures Ball gets underway on Saturday, Aug. 6, at the Bridge Yard in Oakland. \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not only are there Black folks in the future—they’re fly, too.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Black Futures Ball\u003c/a> at the Bridge Yard on Aug. 6, you’ll see a blend of Comic-Con with a traditional gala and Town culture, says Selena Wilson, CEO of the East Oakland Youth Development Center (\u003ca href=\"https://eoydc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">EOYDC\u003c/a>), which is hosting the event.\u003c/p>\n\u003cp>“Folks can expect to see people in straight-up cosplay. They can expect to see people in grills and Jordans. They’ll see folks in heels and cocktail dresses, in gowns, and in beautiful traditional African clothing mixed with futuristic pieces,” Wilson tells me. “There will be something for everybody.”\u003c/p>\n\u003cp>Both celebration and fundraiser, attendees of the Black Futures Ball are invited to contribute to EOYDC’s annual college fund. A staple for over two decades, the Deep East Oakland-based center’s fund donated $150,000 to Black and brown Bay Area students last year alone. Wilson hopes to keep that momentum: “We’re celebrating the theme of Afrofuturism,” she says. “We’re also legit investing in Black futures.”\u003c/p>\n\u003cp>That investment is more important than ever. When Black students take out student loans to attend college, a recent Brookings Institute report concluded, they \u003ca href=\"https://www.brookings.edu/research/student-loans-the-racial-wealth-divide-and-why-we-need-full-student-debt-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\">borrow more on average\u003c/a> than their white classmates. What’s more, the \u003ca href=\"https://www.brookings.edu/research/black-white-disparity-in-student-loan-debt-more-than-triples-after-graduation/\" target=\"_blank\" rel=\"noopener noreferrer\">debt disparity between Black graduates and white graduates more than triples\u003c/a> after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13916573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg\" alt=\"EOYDC students on a college tour at Rice University.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EOYDC students on a college tour at Rice University. \u003ccite>(Via EOYDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Backed by \u003ca href=\"https://www.instagram.com/thetownexperience/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, \u003ca href=\"https://instagram.com/marketing_kings?igshid=YmMyMTA2M2Y=\" target=\"_blank\" rel=\"noopener noreferrer\">Marketing Kings\u003c/a> and \u003ca href=\"https://www.thesubversal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Subversal\u003c/a> group, the event will be filled with visual arts, music and food. Performances include renowned Oakland vocalist \u003ca href=\"https://www.instagram.com/goapele/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> and emerging lyricist \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J-Walt\u003c/a>. Installations of visual art will come from \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aerosoul\u003c/a>, \u003ca href=\"https://www.blackterminus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Terminus\u003c/a>, \u003ca href=\"https://afrocomiccon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AfroComicCon\u003c/a>, \u003ca href=\"https://www.runtheworldclothing.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Run The World Clothing\u003c/a> and \u003ca href=\"https://www.darkstaruniverse.com/about.html#/\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Star Universe\u003c/a>, as well as an Afrofuturism-themed exhibit hosted by the \u003ca href=\"https://www.mocha.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s Museum of Children’s Art\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music from all throughout the diaspora will be spun by \u003ca href=\"https://www.instagram.com/dcischillin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DC is Chillin\u003c/a> and \u003ca href=\"https://www.instagram.com/mrdaveyd/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, and the \u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Turffeinz\u003c/a> will deliver a dance performance.\u003c/p>\n\u003cp>Hosted by Oakland’s own multitalented Grammy-nominated artist \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a>, there will be a formal segment of the evening where Champion for Youth Awards will be given to entertainer and community advocate Mistah F.A.B., activist and BART Board Director Lateefah Simon, organizer and educator Nehanda Imara, and the South Bay’s André Chapman, founder of Unity Care.\u003c/p>\n\u003cp>This all-star lineup comes together for a good cause in the face of the ever-increasing challenges in our world—a global pandemic, rising gun violence and more, says Wilson. “To solve the problems of today, it’s going to take radical imagination,” Wilson tells me. “And when I think about Afrofuturism, it inspires radical imagination for me.”\u003c/p>\n\u003cp>Motivated by the idea of the fictional utopia of Wakanda from the movie \u003cem>Black Panther\u003c/em>—and in the wake of the \u003ca href=\"https://www.youtube.com/watch?v=RlOB3UALvrQ\" target=\"_blank\" rel=\"noopener noreferrer\">recently dropped trailed for \u003cem>Wakanda Forever\u003c/em>\u003c/a>—this year’s theme is “Oakanda.”\u003c/p>\n\u003cp>Wilson asks rhetorically, “What if we could build the Oakanda of our dreams? What if we did engage in that radical imagination?”\u003c/p>\n\u003cp>Wilson, a firm believer that the key to liberation is joy, adds, “That’s why we wanted to make sure that we have so many different elements of joy in this event, so many things that are celebrating \u003cem>the culture\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Futures Ball gets underway on Saturday, Aug. 6, at the Bridge Yard in Oakland. \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It",
"headTitle": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It | KQED",
"content": "\u003cp>Poet, musician, writer and actor Saul Williams’ wild, wonderful debut feature, \u003cem>Neptune Frost\u003c/em>, is a thoughtful and joyful ode to Black liberation and Black revolution. And as expansive as that description may be, it is insufficient to encompass the vastness of Williams’ imagination and ideas.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em>, which opens Friday, June 10 at the Roxie and June 17 at the New Parkway in Oakland (with a June 26 show at Alamo Drafthouse) after a heralded debut last year at Cannes and paeans at the Toronto, New York and Sundance festivals, depicts a world whose existence was first conjured (or at least hinted at) in Williams’ 2016 album \u003cem>MartyrLoserKing\u003c/em>. (Say that title out loud a couple times, or put “Dr.” in front of it, and another set of associations, and interpretations presents itself.)\u003c/p>\n\u003cp>Set in the hinterlands of Burundi, and peopled with a visually arresting array of colorful characters who have an innate urge to break into song, the movie delivers a radical worldview in a familiar frame—as a journey, an escape, a quest. Indeed, one of the protagonists declares, after a good deal of weirdness has already ensued, “I walk to understand.” \u003c/p>\n\u003cfigure id=\"attachment_13914609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg\" alt=\"Man in profile backlit by blue-screened monitors\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matalusa (Bertrand Netereste), a powerless coltan miner, runs away after the death of his aunt from natural causes, the murder of his brother by a brutal foreman and a sexual advance by the pastor who drops by to comfort him. (That’s just the first 15 minutes.) He eventually crosses paths with Neptune, an intersex hacker (played by both Cheryl Isheja and Elvis Ngabo) with considerable insights and powers. The characters allude throughout to a largely unseen landscape of war, authoritarianism and environmental decay, yet the movie carefully avoids crossing into post-apocalyptic dystopia.\u003c/p>\n\u003cp>So on its simplest level, \u003cem>Neptune Frost\u003c/em> (in Kinyarwanda, Kirundi, Swahili, French and English with English subtitles) is a parable of exploitation and the pursuit of freedom, justice and autonomy. But it evokes a galaxy of wide-ranging possibilities that are within our reach so long as our imaginations are not constrained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> unfolds in a gender-fluid world somewhere between, or rather among, the past and the future, replete with the occasional flashback and flash-forward. The multiverse is all the rage these days, and this ambitious and endearingly original film reimagines linear time and one-way reality with singular wit and wackiness. The thrust of Williams’ approach, in collaboration with Rwandan cinematographer and co-director Anisia Uzeyman (who’s also his partner), is more philosophical than dramatic or emotional. Or perhaps it would be more accurate to say that I was stimulated and pleased by the heady panoply of metaphors, aphorisms and themes more than by the dreams and plight of his protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13914610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg\" alt=\"Group of people with raise arms and middle fingers to camera\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to resist, however, a nocturnal dream sequence that looks like a blacklight poster brought to teeming, dripping life. Or a percussive soundtrack that links the beat of the heart to the traditions of Africa and, at the same time, rejects the Western construct of Afro-primitivism.\u003c/p>\n\u003cp>The movie is imbued with a fierceness that is never subsumed by anger—that is, frustration. Williams’ characters are the authors of their own destiny, never the victims of their circumstances. In fact, they run the planet, in the sense that miners dig up the minerals needed to fuel cellphones and the internet, and Neptune is the ultimate hot-wire ace and disruptor. (This take on Black power may sound jokey or sophomoric, but Williams and Uzeyman and their winning cast put the concept over with punch as well as panache.)\u003c/p>\n\u003cfigure id=\"attachment_13914608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg\" alt=\"Figure looks at camera through face mask of horizontal wires\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought a lot about Sun Ra, the visionary jazz musician and original buzzy light-years traveler, while I watched \u003cem>Neptune Frost\u003c/em>. He was a dreamer of utopias, and exuded the innocence of those who create and live in their own reality. Saul Williams also dreams of a better future, but he can’t put aside Black history and Black suffering. His idea of utopia is thrilling, but it’s not unencumbered.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> is an accessible yet dense work whose themes and metaphors intersect, overlap and fold into and around each other. It deserves to be seen twice. A walk will also be helpful, to understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Neptune Frost’ opens at the Roxie Theater (San Francisco) on June 10, the New Parkway (Oakland) on June 17 and the Alamo Drafthouse (San Francisco) on June 26.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Saul Williams adapts and expands his 2016 album ‘MartyrLoserKing’ into a wild, weird and wonderful film.",
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"headline": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, musician, writer and actor Saul Williams’ wild, wonderful debut feature, \u003cem>Neptune Frost\u003c/em>, is a thoughtful and joyful ode to Black liberation and Black revolution. And as expansive as that description may be, it is insufficient to encompass the vastness of Williams’ imagination and ideas.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em>, which opens Friday, June 10 at the Roxie and June 17 at the New Parkway in Oakland (with a June 26 show at Alamo Drafthouse) after a heralded debut last year at Cannes and paeans at the Toronto, New York and Sundance festivals, depicts a world whose existence was first conjured (or at least hinted at) in Williams’ 2016 album \u003cem>MartyrLoserKing\u003c/em>. (Say that title out loud a couple times, or put “Dr.” in front of it, and another set of associations, and interpretations presents itself.)\u003c/p>\n\u003cp>Set in the hinterlands of Burundi, and peopled with a visually arresting array of colorful characters who have an innate urge to break into song, the movie delivers a radical worldview in a familiar frame—as a journey, an escape, a quest. Indeed, one of the protagonists declares, after a good deal of weirdness has already ensued, “I walk to understand.” \u003c/p>\n\u003cfigure id=\"attachment_13914609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg\" alt=\"Man in profile backlit by blue-screened monitors\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matalusa (Bertrand Netereste), a powerless coltan miner, runs away after the death of his aunt from natural causes, the murder of his brother by a brutal foreman and a sexual advance by the pastor who drops by to comfort him. (That’s just the first 15 minutes.) He eventually crosses paths with Neptune, an intersex hacker (played by both Cheryl Isheja and Elvis Ngabo) with considerable insights and powers. The characters allude throughout to a largely unseen landscape of war, authoritarianism and environmental decay, yet the movie carefully avoids crossing into post-apocalyptic dystopia.\u003c/p>\n\u003cp>So on its simplest level, \u003cem>Neptune Frost\u003c/em> (in Kinyarwanda, Kirundi, Swahili, French and English with English subtitles) is a parable of exploitation and the pursuit of freedom, justice and autonomy. But it evokes a galaxy of wide-ranging possibilities that are within our reach so long as our imaginations are not constrained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> unfolds in a gender-fluid world somewhere between, or rather among, the past and the future, replete with the occasional flashback and flash-forward. The multiverse is all the rage these days, and this ambitious and endearingly original film reimagines linear time and one-way reality with singular wit and wackiness. The thrust of Williams’ approach, in collaboration with Rwandan cinematographer and co-director Anisia Uzeyman (who’s also his partner), is more philosophical than dramatic or emotional. Or perhaps it would be more accurate to say that I was stimulated and pleased by the heady panoply of metaphors, aphorisms and themes more than by the dreams and plight of his protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13914610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg\" alt=\"Group of people with raise arms and middle fingers to camera\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to resist, however, a nocturnal dream sequence that looks like a blacklight poster brought to teeming, dripping life. Or a percussive soundtrack that links the beat of the heart to the traditions of Africa and, at the same time, rejects the Western construct of Afro-primitivism.\u003c/p>\n\u003cp>The movie is imbued with a fierceness that is never subsumed by anger—that is, frustration. Williams’ characters are the authors of their own destiny, never the victims of their circumstances. In fact, they run the planet, in the sense that miners dig up the minerals needed to fuel cellphones and the internet, and Neptune is the ultimate hot-wire ace and disruptor. (This take on Black power may sound jokey or sophomoric, but Williams and Uzeyman and their winning cast put the concept over with punch as well as panache.)\u003c/p>\n\u003cfigure id=\"attachment_13914608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg\" alt=\"Figure looks at camera through face mask of horizontal wires\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought a lot about Sun Ra, the visionary jazz musician and original buzzy light-years traveler, while I watched \u003cem>Neptune Frost\u003c/em>. He was a dreamer of utopias, and exuded the innocence of those who create and live in their own reality. Saul Williams also dreams of a better future, but he can’t put aside Black history and Black suffering. His idea of utopia is thrilling, but it’s not unencumbered.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> is an accessible yet dense work whose themes and metaphors intersect, overlap and fold into and around each other. It deserves to be seen twice. A walk will also be helpful, to understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Neptune Frost’ opens at the Roxie Theater (San Francisco) on June 10, the New Parkway (Oakland) on June 17 and the Alamo Drafthouse (San Francisco) on June 26.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "at-moad-david-huffmans-terra-incognita-explores-black-trauma-among-the-stars",
"title": "At MoAD, David Huffman’s ‘Terra Incognita' Explores Black Trauma Among the Stars",
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"content": "\u003cfigure id=\"attachment_13911473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Treehuggers-4-1-1-800x598.jpg\" alt=\"A painting showing African American astronauts hugging trees against a green background.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Treehuggers #4,’\u003cbr>2008, is part of a large survey at San Francisco’s Museum of the African Diaspora, spanning three decades of the artists’ work. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we think of a far-off future where humans trek about the “final frontier” of space like an intergalactic highway, how do we envision those who travel the cosmos? Most science fiction paints them as nomads on the hunt for adventure and the spoils of mysterious new places.\u003c/p>\n\u003cp>But whose faces are inside those astronaut helmets?\u003c/p>\n\u003cp>David Huffman’s exhibit at San Francisco’s Museum of the African Diaspora, titled \u003ca href=\"https://www.moadsf.org/exhibitions/david-huffman-terra-incognita\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Terra Incognita\u003c/em>\u003c/a>, positions recurring images of Black people in spacesuits, whom he calls “Traumanauts,” at the center of this question. In the exhibit, which runs through Aug. 18, Huffman uses interstellar imagery to call attention to Black Americans’ search for identity in our all-too-real society grounded here on Earth—a society that has stripped them of their ancestral history and culture.\u003c/p>\n\u003cfigure id=\"attachment_13911462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Traumanaut-8-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Traumanaut-8-1-800x790.jpg\" alt=\"A painting of an African-American man's face inside an astronaut helmet.\" width=\"800\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-1020x1008.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-768x759.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-1536x1518.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Traumanaut #8,’ 2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The no therapy for Black folks after slavery, and just letting us figure out how to deal with it ourselves, becomes problematic in a sense of the continuity of health for a whole culture of folks,” the Berkeley-born visual artist tells KQED.\u003c/p>\n\u003cp>“In a way, we’re working out our own places of health,” Huffman adds. “So for me, these paintings cite these moments of trying to find health—like digging through some of the dirt, digging through some of the hard stuff—but also recognizing a sense of reflection.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Traumanauts’ journey takes place outside of space and time. But Huffman’s own use of the characters spans three decades and many mediums: from ceramics he sculpted as a graduate student at California College of the Arts in the ’90s to a live-action short film titled \u003cem>Tree Hugger\u003c/em> that he shot in 2011. Pieces from each of these eras are present in the exhibition, though it leans heavily on paintings he created in the mid to late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13911463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Jimi-Hendrix-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Jimi-Hendrix--800x802.jpg\" alt=\"A painting of an astronaut, seen from the back, playing guitar against a dark landscape.\" width=\"800\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--1533x1536.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Jimi Hendrix,’ no date. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The human subjects provide the throughline, drawn in minimalist, precise, linear boundaries. Huffman grew up watching classic sci-fi movies, but notes that his style was inspired more by 1960s Japanese manga like Osamu Tezuka’s “Astro Boy”; Walt Disney’s animations of the same era; and ancient Egyptian wall art.\u003c/p>\n\u003cp>These figures are positioned against abstract, horizontal landscapes. At times, Huffman paints in silhouette. At others, he uses models to create more defined recurring imagery like basketballs, watermelons, burning churches and barren trees meant to evoke Billie Holiday’s “Strange Fruit,” according to the artist, who now lives in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13911465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Yankee-Trash.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Yankee-Trash-800x397.jpg\" alt=\"A surrealist painting of burning churches, cars and barren trees on a foreign planet.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-800x397.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-1020x506.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-1536x762.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Yankee Trash,’ 2008. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This mixing of techniques also extends to the application of paint to canvas. Huffman created his otherworldly atmospheres using a variety of techniques: stroking, blotting, dabbing, jabbing or dripping with his brush; layering his canvases with multiple generations of paint including oil, acrylic, watercolor and even glitter.\u003c/p>\n\u003cp>In doing so, Huffman says, he seeks to “fracture the continuity of time” in order to create “unencumbered spaces” for his Black cosmic travelers to “work some of their own issues of trauma out.” The Traumanauts do this in a host of ways: \u003ca href=\"https://www.youtube.com/watch?v=ouhr0DDpiXI\" target=\"_blank\" rel=\"noopener noreferrer\">they play basketball\u003c/a>, or wage war against their oppressors. They also hug trees, create music and tend to one another’s injuries.\u003c/p>\n\u003cp>Some of these works undoubtedly come from a place of deep despair, such as “Untitled (Katrina Studies),” a collection of images created by Huffman in 2006 accented only by insidious blots and swirls of paint in ominous shades of black, gray and white. In scenes reminiscent of famous photographs from Hurricane Katrina, the Traumanauts’ spacesuits don’t look out of place in Huffman’s post-apocalyptic approximation of New Orleans.\u003c/p>\n\u003cfigure id=\"attachment_13911466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Katrina-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Katrina-1-800x533.jpg\" alt=\"A trifold painting depicting astronauts in a flood, reminiscent of scenes from Hurricane Katrina in New Orleans.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Katrina,’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wanted people to see this as an otherworldly landscape, because there’s not fully a map of the place, New Orleans, but it has leanings toward it,” Huffman said. “For me, Katrina signified a real urgent, hostile moment on Black culture and I wanted to show some of the absurdities and connections.”\u003c/p>\n\u003cp>[aside postID='arts_13824571']By contrast, Huffman’s work “Sideshow” stands out as a positive piece, populated with healthy trees, a colorful blue-green landscape and a scattering of Traumanauts exalting in the spectacle of cars burning rubber at a sideshow. Huffman positions his Traumanauts amidst bygone landmarks of both Oakland and Los Angeles—the Kwik Way Drive-In, the Crenshaw Hand Car Wash—while they do donuts, ghost ride their whips and post up in front of their cars, all without the threat of police presence to shut it down. Huffman created the piece to celebrate the “acrobatic delivery of the car,” he says, because if “you keep it illegal, you keep it dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_13911459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Sideshow-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Sideshow-2-800x335.jpg\" alt=\"A painting of a festive scene with cars at a sideshow in a city like Oakland or Los Angeles, in front of liquor stores and bright green trees.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Sideshow,’ 2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the painting’s inspiration, Huffman went looking for burnt rubber marks near his studio in Oakland, as well as Los Angeles, and photographed them. “I was like, ‘Whoa, this isn’t an Olympic sport yet?’” he said of sideshow culture. “To me, it’s an unsung creative act, because Black folks are thriving so well with so little… The idea that you can do it without funding is generally what we have to deal with all the time… so I do see this as a possibility of healing.”\u003c/p>\n\u003cp>On a personal note, Huffman hopes the exhibit will help showcase his career as “an originator of some of the components of Afrofuturism in contemporary art.” But he’d also like audiences to walk away with new ideas about the ways Black people find a sense of self.\u003c/p>\n\u003cp>“We’ve been separate from the larger sense of inclusion in society,” he said. “But we’ve always been extremely present and creative about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘David Huffman: Terra Incognita’ is on view at MoAD through Aug. 18. \u003ca href=\"https://www.moadsf.org/exhibitions/david-huffman-terra-incognita\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a short 2015 video about Huffman from KQED’s ‘Art School’ series below:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ouhr0DDpiXI\u003c/p>\n\n",
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"title": "At MoAD, David Huffman’s ‘Terra Incognita' Explores Black Trauma Among the Stars | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Treehuggers-4-1-1-800x598.jpg\" alt=\"A painting showing African American astronauts hugging trees against a green background.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Treehuggers-4-1-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Treehuggers #4,’\u003cbr>2008, is part of a large survey at San Francisco’s Museum of the African Diaspora, spanning three decades of the artists’ work. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we think of a far-off future where humans trek about the “final frontier” of space like an intergalactic highway, how do we envision those who travel the cosmos? Most science fiction paints them as nomads on the hunt for adventure and the spoils of mysterious new places.\u003c/p>\n\u003cp>But whose faces are inside those astronaut helmets?\u003c/p>\n\u003cp>David Huffman’s exhibit at San Francisco’s Museum of the African Diaspora, titled \u003ca href=\"https://www.moadsf.org/exhibitions/david-huffman-terra-incognita\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Terra Incognita\u003c/em>\u003c/a>, positions recurring images of Black people in spacesuits, whom he calls “Traumanauts,” at the center of this question. In the exhibit, which runs through Aug. 18, Huffman uses interstellar imagery to call attention to Black Americans’ search for identity in our all-too-real society grounded here on Earth—a society that has stripped them of their ancestral history and culture.\u003c/p>\n\u003cfigure id=\"attachment_13911462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Traumanaut-8-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Traumanaut-8-1-800x790.jpg\" alt=\"A painting of an African-American man's face inside an astronaut helmet.\" width=\"800\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-1020x1008.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-768x759.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1-1536x1518.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Traumanaut-8-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Traumanaut #8,’ 2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The no therapy for Black folks after slavery, and just letting us figure out how to deal with it ourselves, becomes problematic in a sense of the continuity of health for a whole culture of folks,” the Berkeley-born visual artist tells KQED.\u003c/p>\n\u003cp>“In a way, we’re working out our own places of health,” Huffman adds. “So for me, these paintings cite these moments of trying to find health—like digging through some of the dirt, digging through some of the hard stuff—but also recognizing a sense of reflection.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Traumanauts’ journey takes place outside of space and time. But Huffman’s own use of the characters spans three decades and many mediums: from ceramics he sculpted as a graduate student at California College of the Arts in the ’90s to a live-action short film titled \u003cem>Tree Hugger\u003c/em> that he shot in 2011. Pieces from each of these eras are present in the exhibition, though it leans heavily on paintings he created in the mid to late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13911463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Jimi-Hendrix-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Jimi-Hendrix--800x802.jpg\" alt=\"A painting of an astronaut, seen from the back, playing guitar against a dark landscape.\" width=\"800\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix--1533x1536.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Jimi-Hendrix-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Jimi Hendrix,’ no date. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The human subjects provide the throughline, drawn in minimalist, precise, linear boundaries. Huffman grew up watching classic sci-fi movies, but notes that his style was inspired more by 1960s Japanese manga like Osamu Tezuka’s “Astro Boy”; Walt Disney’s animations of the same era; and ancient Egyptian wall art.\u003c/p>\n\u003cp>These figures are positioned against abstract, horizontal landscapes. At times, Huffman paints in silhouette. At others, he uses models to create more defined recurring imagery like basketballs, watermelons, burning churches and barren trees meant to evoke Billie Holiday’s “Strange Fruit,” according to the artist, who now lives in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13911465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Yankee-Trash.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Yankee-Trash-800x397.jpg\" alt=\"A surrealist painting of burning churches, cars and barren trees on a foreign planet.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-800x397.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-1020x506.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash-1536x762.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Yankee-Trash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Yankee Trash,’ 2008. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This mixing of techniques also extends to the application of paint to canvas. Huffman created his otherworldly atmospheres using a variety of techniques: stroking, blotting, dabbing, jabbing or dripping with his brush; layering his canvases with multiple generations of paint including oil, acrylic, watercolor and even glitter.\u003c/p>\n\u003cp>In doing so, Huffman says, he seeks to “fracture the continuity of time” in order to create “unencumbered spaces” for his Black cosmic travelers to “work some of their own issues of trauma out.” The Traumanauts do this in a host of ways: \u003ca href=\"https://www.youtube.com/watch?v=ouhr0DDpiXI\" target=\"_blank\" rel=\"noopener noreferrer\">they play basketball\u003c/a>, or wage war against their oppressors. They also hug trees, create music and tend to one another’s injuries.\u003c/p>\n\u003cp>Some of these works undoubtedly come from a place of deep despair, such as “Untitled (Katrina Studies),” a collection of images created by Huffman in 2006 accented only by insidious blots and swirls of paint in ominous shades of black, gray and white. In scenes reminiscent of famous photographs from Hurricane Katrina, the Traumanauts’ spacesuits don’t look out of place in Huffman’s post-apocalyptic approximation of New Orleans.\u003c/p>\n\u003cfigure id=\"attachment_13911466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Katrina-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Katrina-1-800x533.jpg\" alt=\"A trifold painting depicting astronauts in a flood, reminiscent of scenes from Hurricane Katrina in New Orleans.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Katrina-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Katrina,’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wanted people to see this as an otherworldly landscape, because there’s not fully a map of the place, New Orleans, but it has leanings toward it,” Huffman said. “For me, Katrina signified a real urgent, hostile moment on Black culture and I wanted to show some of the absurdities and connections.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By contrast, Huffman’s work “Sideshow” stands out as a positive piece, populated with healthy trees, a colorful blue-green landscape and a scattering of Traumanauts exalting in the spectacle of cars burning rubber at a sideshow. Huffman positions his Traumanauts amidst bygone landmarks of both Oakland and Los Angeles—the Kwik Way Drive-In, the Crenshaw Hand Car Wash—while they do donuts, ghost ride their whips and post up in front of their cars, all without the threat of police presence to shut it down. Huffman created the piece to celebrate the “acrobatic delivery of the car,” he says, because if “you keep it illegal, you keep it dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_13911459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Sideshow-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Sideshow-2-800x335.jpg\" alt=\"A painting of a festive scene with cars at a sideshow in a city like Oakland or Los Angeles, in front of liquor stores and bright green trees.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Sideshow-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Huffman’s ‘Sideshow,’ 2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the painting’s inspiration, Huffman went looking for burnt rubber marks near his studio in Oakland, as well as Los Angeles, and photographed them. “I was like, ‘Whoa, this isn’t an Olympic sport yet?’” he said of sideshow culture. “To me, it’s an unsung creative act, because Black folks are thriving so well with so little… The idea that you can do it without funding is generally what we have to deal with all the time… so I do see this as a possibility of healing.”\u003c/p>\n\u003cp>On a personal note, Huffman hopes the exhibit will help showcase his career as “an originator of some of the components of Afrofuturism in contemporary art.” But he’d also like audiences to walk away with new ideas about the ways Black people find a sense of self.\u003c/p>\n\u003cp>“We’ve been separate from the larger sense of inclusion in society,” he said. “But we’ve always been extremely present and creative about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘David Huffman: Terra Incognita’ is on view at MoAD through Aug. 18. \u003ca href=\"https://www.moadsf.org/exhibitions/david-huffman-terra-incognita\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a short 2015 video about Huffman from KQED’s ‘Art School’ series below:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"thebay": {
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"californiareport": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"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. ",
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