Dance into the New Year With 6 Super How-To Videos
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As house culture took root in other cities, Philly’s scene was distinct from its harder-edged Chicago, Detroit and New York counterparts, and its dancers have always moved a little more soulfully.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://bit.ly/ICCDxPhiladelphia\" target=\"_blank\" rel=\"noopener noreferrer\">Philadelphia’s House Dancers Preserve the Soul of the Scene\u003c/a>.” Read more about \u003ca href=\"https://bit.ly/ICCDxPhilly\" target=\"_blank\" rel=\"noopener noreferrer\">Kyle and Dinita Clark\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>Hula How-To with Snowbird Bento\u003c/h2>\n\u003cp>https://youtu.be/xCWhAwllo38\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this hula tutorial, Honolulu Kumu Hula (hula instructor) Snowbird Bento and the dancers from her hālau hula (hula school), Ka Pā Hula O Ka Lei Lehua, demonstrate wāwae (foot) and lima (hand) movements. They dance to the song “This is the Rain,” composed by Kumu Hula Johnny Lum Ho. Kumu Johnny passed it down to Kumu Snowbird, who now uses the song to teach the basics of hula ‘auana movements to kids and beginners.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"http://bit.ly/ICCDxHONO\" target=\"_blank\" rel=\"noopener noreferrer\">How Hula Dancers Connect Hawaii’s Past and Present\u003c/a>.” Read more about \u003ca href=\"https://www.kqed.org/arts/13897894/if-cities-could-dance-honolulu-hula\" target=\"_blank\" rel=\"noopener noreferrer\">Kumu Snowbird and the next generation\u003c/a> of hula dancers.\u003c/em>\u003c/p>\n\u003ch2>Learn 4 Roller Skating Dance Moves at Venice Beach\u003c/h2>\n\u003cp>https://youtu.be/tsmX9VJ7YPY\u003c/p>\n\u003cp>Los Angeles pro roller skater Alicia Reason breaks down some classic jam skate moves, including the crazy legs, moonwalk, electric slide, and spread eagle, then puts them together in a dance routine for you to follow.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"http://bit.ly/ICCDxLA\" target=\"_blank\" rel=\"noopener noreferrer\">How Black Roller Skaters Are Carrying Forward LA’s Iconic Scene\u003c/a>.” Learn more about \u003ca href=\"http://bit.ly/ICCDxLosAngeles\" target=\"_blank\" rel=\"noopener noreferrer\">Alicia and other roller skaters\u003c/a> carrying forward the OG’s legacy.\u003c/em>\u003c/p>\n\u003ch2>Tap Dance How-To for Beginners\u003c/h2>\n\u003cp>https://youtu.be/jtiD3lC1X88\u003c/p>\n\u003cp>Learn a basic tap sequence with Vanessa Sanchez, a San Francisco dancer and founder of \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla\u003c/a>, a dance company made up of women tap and zapateado dancers. La Mezcla brings these two dance forms with African diasporic roots together in theatrical stage performances to tell stories about people of color and social justice.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://youtu.be/U_vm9EU0YBU\" target=\"_blank\" rel=\"noopener noreferrer\">Chicana Dance Crew Blends Tap and Mexican Footwork\u003c/a>”. Learn more about how \u003ca href=\"https://bit.ly/ICCDxSF\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company uses dance and song\u003c/a> to tell stories of Chicana history, culture and resistance.\u003c/em>\u003c/p>\n\u003ch2>Learn How to Dance Bomba with Afro-Puerto Rican Dancer Mar Cruz\u003c/h2>\n\u003cp>https://youtu.be/4nFyLdsyIgk\u003c/p>\n\u003cp>From the paseo to the marullo, learn a few basic steps of bomba with Afro-Puerto Rican dancer Mar Cruz in Loíza, Puerto Rico. Mar and her sister María represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Jump into el batey and move to the beat of the drums as Mar leads you through a few fundamental movements of seis corrido style bomba. ¡A bailar!\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://youtu.be/z0vzkGKEWX4\" target=\"_blank\" rel=\"noopener noreferrer\">Puerto Rico’s Bomba, A Dance of The African Diaspora\u003c/a>.” Learn more about \u003ca href=\"https://bit.ly/ICCDxPR\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a> and dive deep into the Afro-diasporic origins of Puerto Rican bomba.\u003c/em>\u003c/p>\n\u003ch2>Learn How to Dance Beat Ya Feet to D.C.’s Go-Go Music\u003c/h2>\n\u003cp>https://youtu.be/2dgZhWL-Vj8\u003c/p>\n\u003cp>Learn how to Beat Ya Feet in this dance tutorial with Kevin “Noodlez” Davis and Tierra “Poca” Parham. They, along with their mentor John “Crazy Legz” Pearson, are part of a movement to keep this unique part of Washington, D.C. culture alive. Beat Ya Feet, danced in the streets, backyards and go-go clubs of Black D.C., is making a comeback thanks to their motivated dance crew and \u003ca href=\"https://www.youtube.com/hashtag/dontmutedc\">#DontmuteDC\u003c/a>, the people-powered movement against gentrification. The dance is a bouncy, fast-moving tribute to the insurmountable spirit of the DMV (D.C.-Maryland-Virginia).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://youtu.be/m14kt5Nj9XQ\">Why Go-Go Music and Beat Ya Feet are 100% Washington, DC\u003c/a>.” Learn more about how \u003ca href=\"https://bit.ly/ICCDxDC\">go-go music inspired this street dance\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ready to shake off the old year, burn off some holiday calories and jumpstart your New Year’s resolutions? These six short dance tutorials will help get you moving and motivated for 2022. Choose from house, hula, roller skating, tap, bomba and Beat Ya Feet. And be sure to \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to KQED Arts on YouTube\u003c/a> to watch our new season premiering Jan. 19–with new videos dropping every other Wednesday!\u003c/p>\n\u003ch2>House Dance Tutorial with Philly’s JustSole and Queen Dinita\u003c/h2>\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/aWkIGkPPfGs'\n title='//www.youtube.com/embed/aWkIGkPPfGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Learn four flowy house dance moves—the chase, the heel toe, the swirl and the jack—with dancers and choreographers Kyle and Dinita Clark, the founders of Just Sole! Street Dance Theater Company and Funky Sole Fundamentals in Philadelphia. As house culture took root in other cities, Philly’s scene was distinct from its harder-edged Chicago, Detroit and New York counterparts, and its dancers have always moved a little more soulfully.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://bit.ly/ICCDxPhiladelphia\" target=\"_blank\" rel=\"noopener noreferrer\">Philadelphia’s House Dancers Preserve the Soul of the Scene\u003c/a>.” Read more about \u003ca href=\"https://bit.ly/ICCDxPhilly\" target=\"_blank\" rel=\"noopener noreferrer\">Kyle and Dinita Clark\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>Hula How-To with Snowbird Bento\u003c/h2>\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/xCWhAwllo38'\n title='//www.youtube.com/embed/xCWhAwllo38'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this hula tutorial, Honolulu Kumu Hula (hula instructor) Snowbird Bento and the dancers from her hālau hula (hula school), Ka Pā Hula O Ka Lei Lehua, demonstrate wāwae (foot) and lima (hand) movements. They dance to the song “This is the Rain,” composed by Kumu Hula Johnny Lum Ho. Kumu Johnny passed it down to Kumu Snowbird, who now uses the song to teach the basics of hula ‘auana movements to kids and beginners.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"http://bit.ly/ICCDxHONO\" target=\"_blank\" rel=\"noopener noreferrer\">How Hula Dancers Connect Hawaii’s Past and Present\u003c/a>.” Read more about \u003ca href=\"https://www.kqed.org/arts/13897894/if-cities-could-dance-honolulu-hula\" target=\"_blank\" rel=\"noopener noreferrer\">Kumu Snowbird and the next generation\u003c/a> of hula dancers.\u003c/em>\u003c/p>\n\u003ch2>Learn 4 Roller Skating Dance Moves at Venice Beach\u003c/h2>\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/tsmX9VJ7YPY'\n title='//www.youtube.com/embed/tsmX9VJ7YPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Los Angeles pro roller skater Alicia Reason breaks down some classic jam skate moves, including the crazy legs, moonwalk, electric slide, and spread eagle, then puts them together in a dance routine for you to follow.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"http://bit.ly/ICCDxLA\" target=\"_blank\" rel=\"noopener noreferrer\">How Black Roller Skaters Are Carrying Forward LA’s Iconic Scene\u003c/a>.” Learn more about \u003ca href=\"http://bit.ly/ICCDxLosAngeles\" target=\"_blank\" rel=\"noopener noreferrer\">Alicia and other roller skaters\u003c/a> carrying forward the OG’s legacy.\u003c/em>\u003c/p>\n\u003ch2>Tap Dance How-To for Beginners\u003c/h2>\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/jtiD3lC1X88'\n title='//www.youtube.com/embed/jtiD3lC1X88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Learn a basic tap sequence with Vanessa Sanchez, a San Francisco dancer and founder of \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla\u003c/a>, a dance company made up of women tap and zapateado dancers. La Mezcla brings these two dance forms with African diasporic roots together in theatrical stage performances to tell stories about people of color and social justice.\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://youtu.be/U_vm9EU0YBU\" target=\"_blank\" rel=\"noopener noreferrer\">Chicana Dance Crew Blends Tap and Mexican Footwork\u003c/a>”. Learn more about how \u003ca href=\"https://bit.ly/ICCDxSF\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company uses dance and song\u003c/a> to tell stories of Chicana history, culture and resistance.\u003c/em>\u003c/p>\n\u003ch2>Learn How to Dance Bomba with Afro-Puerto Rican Dancer Mar Cruz\u003c/h2>\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/4nFyLdsyIgk'\n title='//www.youtube.com/embed/4nFyLdsyIgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the paseo to the marullo, learn a few basic steps of bomba with Afro-Puerto Rican dancer Mar Cruz in Loíza, Puerto Rico. Mar and her sister María represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Jump into el batey and move to the beat of the drums as Mar leads you through a few fundamental movements of seis corrido style bomba. ¡A bailar!\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://youtu.be/z0vzkGKEWX4\" target=\"_blank\" rel=\"noopener noreferrer\">Puerto Rico’s Bomba, A Dance of The African Diaspora\u003c/a>.” Learn more about \u003ca href=\"https://bit.ly/ICCDxPR\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a> and dive deep into the Afro-diasporic origins of Puerto Rican bomba.\u003c/em>\u003c/p>\n\u003ch2>Learn How to Dance Beat Ya Feet to D.C.’s Go-Go Music\u003c/h2>\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/2dgZhWL-Vj8'\n title='//www.youtube.com/embed/2dgZhWL-Vj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Learn how to Beat Ya Feet in this dance tutorial with Kevin “Noodlez” Davis and Tierra “Poca” Parham. They, along with their mentor John “Crazy Legz” Pearson, are part of a movement to keep this unique part of Washington, D.C. culture alive. Beat Ya Feet, danced in the streets, backyards and go-go clubs of Black D.C., is making a comeback thanks to their motivated dance crew and \u003ca href=\"https://www.youtube.com/hashtag/dontmutedc\">#DontmuteDC\u003c/a>, the people-powered movement against gentrification. The dance is a bouncy, fast-moving tribute to the insurmountable spirit of the DMV (D.C.-Maryland-Virginia).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch the full episode “\u003ca href=\"https://youtu.be/m14kt5Nj9XQ\">Why Go-Go Music and Beat Ya Feet are 100% Washington, DC\u003c/a>.” Learn more about how \u003ca href=\"https://bit.ly/ICCDxDC\">go-go music inspired this street dance\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Dance Docs to Watch This Women’s History Month",
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"content": "\u003cp>Acknowledging women’s contributions to dance, Oakland’s Traci Bartlow says it best: “We got the funk. We got the bottom. We got the bass.” \u003ca href=\"https://www.youtube.com/user/tracibartlow1\" target=\"_blank\" rel=\"noopener noreferrer\">Bartlow\u003c/a>, a dance historian and OG practitioner of \u003ca href=\"https://www.youtube.com/watch?v=IUdS6kxw2aI\">funk boogaloo\u003c/a> and various Black dances, kicks off our \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> mixtape for Women’s History Month. This special release highlights women movement artists from across the country who are finding their power and asserting their voices through dance. From the girls and women helping revive \u003ca href=\"https://youtu.be/m14kt5Nj9XQ\" target=\"_blank\" rel=\"noopener noreferrer\">Washington, D.C.’s Beat Ya Feet culture\u003c/a> to San Francisco tap dancers creating space for a new Chicana aesthetic, watch how women are breaking barriers in dance and forging paths for future generations to follow. Together, their movement reminds us of what is possible when women, with our multitude of intersectional identities, collectively come together and demand to be seen, respected, and celebrated in our fullness.\u003c/p>\n\u003cp>Watch more remarkable women dancers in this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhC2-wWuqJ2iIjxKo1qW6N0\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Celebrates Women’s History Month playlist\u003c/a> with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003cp>Love what you see here? You’ll want to watch these next:\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\" target=\"_blank\" rel=\"noopener noreferrer\">This SF Dance Crew Channels Chicana Resistance\u003c/a>\u003c/h3>\n\u003cp>The women of La Mezcla call on the histories of tap and son jarocho to create their own rhythmically percussive dance style.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13857351/if-cities-could-dance-miami\" target=\"_blank\" rel=\"noopener noreferrer\">This Miami Dance Theater Company Shapes Feminist Messages into Sensual Moves\u003c/a>\u003c/h3>\n\u003cp>Watch members of the women-centered company dance on the city’s beaches through its art district and night clubs.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miami Dancers Find Empowerment Through Movement\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7a0Z9_TcFeA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/11074567/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene\" target=\"_blank\" rel=\"noopener noreferrer\">How Women Dancers Are Redefining Oakland’s Street Dancing Scene\u003c/a>\u003c/h3>\n\u003cp>Mixing hip-hop moves with breakdancing, house, samba, waacking, ballet, and jazz, the women of Mix’d Ingrdnts started their own dance.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Women Dancers Redefine Oakland's Street Dancing Scene | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/b_qXCcgwAn8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13829674/reclamation-in-detroit-with-dancer-erika-big-red-stowall\" target=\"_blank\" rel=\"noopener noreferrer\">A Detroit Dancer Creates a Gumbo of Movement to Reclaim Her Power and Safety\u003c/a>\u003c/h3>\n\u003cp>Dancer and choreographer Erika “Big Red” Stowall blends African and Caribbean traditions with contemporary and jazz dance to express her femininity, vulnerability, and power, and to reclaim her personal safety.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Detroit Dancer Reclaims Her Power and Safety | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NC77GKkeXhQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet sisters María and Mar Cruz who along with other Afro-Puerto Ricans are bringing back this dance of resistance to the streets of Puerto Rico.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Acknowledging women’s contributions to dance, Oakland’s Traci Bartlow says it best: “We got the funk. We got the bottom. We got the bass.” \u003ca href=\"https://www.youtube.com/user/tracibartlow1\" target=\"_blank\" rel=\"noopener noreferrer\">Bartlow\u003c/a>, a dance historian and OG practitioner of \u003ca href=\"https://www.youtube.com/watch?v=IUdS6kxw2aI\">funk boogaloo\u003c/a> and various Black dances, kicks off our \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> mixtape for Women’s History Month. This special release highlights women movement artists from across the country who are finding their power and asserting their voices through dance. From the girls and women helping revive \u003ca href=\"https://youtu.be/m14kt5Nj9XQ\" target=\"_blank\" rel=\"noopener noreferrer\">Washington, D.C.’s Beat Ya Feet culture\u003c/a> to San Francisco tap dancers creating space for a new Chicana aesthetic, watch how women are breaking barriers in dance and forging paths for future generations to follow. Together, their movement reminds us of what is possible when women, with our multitude of intersectional identities, collectively come together and demand to be seen, respected, and celebrated in our fullness.\u003c/p>\n\u003cp>Watch more remarkable women dancers in this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhC2-wWuqJ2iIjxKo1qW6N0\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Celebrates Women’s History Month playlist\u003c/a> with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003cp>Love what you see here? You’ll want to watch these next:\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\" target=\"_blank\" rel=\"noopener noreferrer\">This SF Dance Crew Channels Chicana Resistance\u003c/a>\u003c/h3>\n\u003cp>The women of La Mezcla call on the histories of tap and son jarocho to create their own rhythmically percussive dance style.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13857351/if-cities-could-dance-miami\" target=\"_blank\" rel=\"noopener noreferrer\">This Miami Dance Theater Company Shapes Feminist Messages into Sensual Moves\u003c/a>\u003c/h3>\n\u003cp>Watch members of the women-centered company dance on the city’s beaches through its art district and night clubs.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miami Dancers Find Empowerment Through Movement\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7a0Z9_TcFeA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/11074567/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene\" target=\"_blank\" rel=\"noopener noreferrer\">How Women Dancers Are Redefining Oakland’s Street Dancing Scene\u003c/a>\u003c/h3>\n\u003cp>Mixing hip-hop moves with breakdancing, house, samba, waacking, ballet, and jazz, the women of Mix’d Ingrdnts started their own dance.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Women Dancers Redefine Oakland's Street Dancing Scene | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/b_qXCcgwAn8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13829674/reclamation-in-detroit-with-dancer-erika-big-red-stowall\" target=\"_blank\" rel=\"noopener noreferrer\">A Detroit Dancer Creates a Gumbo of Movement to Reclaim Her Power and Safety\u003c/a>\u003c/h3>\n\u003cp>Dancer and choreographer Erika “Big Red” Stowall blends African and Caribbean traditions with contemporary and jazz dance to express her femininity, vulnerability, and power, and to reclaim her personal safety.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Detroit Dancer Reclaims Her Power and Safety | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NC77GKkeXhQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet sisters María and Mar Cruz who along with other Afro-Puerto Ricans are bringing back this dance of resistance to the streets of Puerto Rico.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "black-joy-dance",
"title": "Black Dancers Carry Joy Across the Diaspora",
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"headTitle": "Black Dancers Carry Joy Across the Diaspora | KQED",
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"content": "\u003cp>Black Joy is revolutionary, and it shows up in all these small, simple but emphatic ways—like dance. Whether it’s a shoulder bop or a fully choreographed routine, the joy in dance is about freely owning your movements, and it’s an integral part of the Black experience. Black dances are always evolving. Across the country, each region has its own signature style, but each style stays true to the instinctual need to be expressive and jubilant. This Black History Month, \u003ca href=\"https://www.kqed.org/if-cities-could-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> celebrates a few dance traditions and styles of the Black diaspora in this mixtape video (embedded above). From the bateys in Puerto Rico to train cars in the Bay Area, if the spirit moves, Black dance happens anywhere and everywhere.\u003c/p>\n\u003cp>We also created this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhUX2blSApVB_aqILHiPB6R\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Black History playlist \u003c/a>with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13900185/if-cities-could-dance-philadelphia-house\" target=\"_blank\" rel=\"noopener noreferrer\">Philadelphia’s House Dancers Preserve the Soul of the Scene\u003c/a>\u003c/h3>\n\u003cp>A tight-knit, intergenerational community revives Philly’s soulful and inclusive house scene.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">Katherine Dunham and the Dances of the African Diaspora Changing Lives\u003c/a>\u003c/h3>\n\u003cp>The international dance icon brought dances from the African diaspora to stages around the world, then made a home in East St. Louis.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Katherine Dunham and Dance from the African Diaspora Change Lives | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7k7SLEaTh7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13896487/if-cities-could-dance-jam-skating\" target=\"_blank\" rel=\"noopener noreferrer\">How Black Roller Skaters Are Carrying Forward LA’s Iconic Scene\u003c/a>\u003c/h3>\n\u003cp>Today’s jam skaters draw from a community built over generations at Venice Beach and rinks across the city.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Black Roller Skaters Are Carrying Forward LA's Iconic Scene | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WSnfuU_80iE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13885940/if-cities-could-dance-atlanta\" target=\"_blank\" rel=\"noopener noreferrer\">J-Setting: The Acrobatic Dance That Traveled From Southern HBCUs to the Clubs of Atlanta\u003c/a>\u003c/h3>\n\u003cp>The Dance Champz of Atlanta are evolving this dance beyond its roots in HBCUs and LGBTQ+ club battles.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"J-Setting: The Acrobatic Dance Energizing Atlanta's Dance Floors and Beyond | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/sc8DeElgwGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13883253/if-cities-could-dance-houston-zydeco\" target=\"_blank\" rel=\"noopener noreferrer\">Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots\u003c/a>\u003c/h3>\n\u003cp>Waves of migration brought southwest Louisiana’s Creole culture to Houston’s Frenchtown, where zydeco now draws crowds of dancers young and old.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/mgv8tQ-15MA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13891300/reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture\u003c/a>\u003c/h3>\n\u003cp>Originators of the 1970s art form are passing its funk-driven, freestyle moves to a new generation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Oakland Boogaloo: The Funk Freestyle Dance that Defined the Town’s Culture | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/IUdS6kxw2aI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13879679/dont-mute-dc-how-go-go-music-inspires-the-beat-ya-feet-dance-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Mute DC: How Go-Go Music Inspires the Beat Ya Feet Dance Movement\u003c/a>\u003c/h3>\n\u003cp>A new generation of dancers are bringing Beat Ya Feet back to the streets of D.C. in celebration of the city’s rich black history. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why Go-Go Music and Beat Ya Feet are 100% Washington, DC\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/m14kt5Nj9XQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Once marginalized and near-forgotten, bomba is experiencing a resurgence in popularity and relevance with younger dancers.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13856811/if-cities-could-dance-memphis\" target=\"_blank\" rel=\"noopener noreferrer\">Memphis Jookin: A Ballet for the Streets\u003c/a>\u003c/h3>\n\u003cp>Watch jookin legends and emerging stars in the scene slide, ankle break and spin through their city. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Memphis Jookin: A Ballet for the Streets\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/KmDbwZWmU7o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13854195/if-cities-could-dance-chicago\" target=\"_blank\" rel=\"noopener noreferrer\">Chicago Footwork: A Lightning-Fast Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet some of Chicago’s footworkers who challenge the city’s legacy of segregation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicago Footwork: A Lightning-Fast Dance of Resistance | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0iQYF7QvAdY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Dancers from If Cities Could Dance series remind us that Black dance happens anywhere and everywhere.",
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"title": "A Dance Through Black History Across the African Diaspora | KQED",
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"headline": "Black Dancers Carry Joy Across the Diaspora",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black Joy is revolutionary, and it shows up in all these small, simple but emphatic ways—like dance. Whether it’s a shoulder bop or a fully choreographed routine, the joy in dance is about freely owning your movements, and it’s an integral part of the Black experience. Black dances are always evolving. Across the country, each region has its own signature style, but each style stays true to the instinctual need to be expressive and jubilant. This Black History Month, \u003ca href=\"https://www.kqed.org/if-cities-could-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> celebrates a few dance traditions and styles of the Black diaspora in this mixtape video (embedded above). From the bateys in Puerto Rico to train cars in the Bay Area, if the spirit moves, Black dance happens anywhere and everywhere.\u003c/p>\n\u003cp>We also created this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhUX2blSApVB_aqILHiPB6R\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Black History playlist \u003c/a>with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13900185/if-cities-could-dance-philadelphia-house\" target=\"_blank\" rel=\"noopener noreferrer\">Philadelphia’s House Dancers Preserve the Soul of the Scene\u003c/a>\u003c/h3>\n\u003cp>A tight-knit, intergenerational community revives Philly’s soulful and inclusive house scene.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">Katherine Dunham and the Dances of the African Diaspora Changing Lives\u003c/a>\u003c/h3>\n\u003cp>The international dance icon brought dances from the African diaspora to stages around the world, then made a home in East St. Louis.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Katherine Dunham and Dance from the African Diaspora Change Lives | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7k7SLEaTh7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13896487/if-cities-could-dance-jam-skating\" target=\"_blank\" rel=\"noopener noreferrer\">How Black Roller Skaters Are Carrying Forward LA’s Iconic Scene\u003c/a>\u003c/h3>\n\u003cp>Today’s jam skaters draw from a community built over generations at Venice Beach and rinks across the city.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Black Roller Skaters Are Carrying Forward LA's Iconic Scene | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WSnfuU_80iE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13885940/if-cities-could-dance-atlanta\" target=\"_blank\" rel=\"noopener noreferrer\">J-Setting: The Acrobatic Dance That Traveled From Southern HBCUs to the Clubs of Atlanta\u003c/a>\u003c/h3>\n\u003cp>The Dance Champz of Atlanta are evolving this dance beyond its roots in HBCUs and LGBTQ+ club battles.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"J-Setting: The Acrobatic Dance Energizing Atlanta's Dance Floors and Beyond | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/sc8DeElgwGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13883253/if-cities-could-dance-houston-zydeco\" target=\"_blank\" rel=\"noopener noreferrer\">Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots\u003c/a>\u003c/h3>\n\u003cp>Waves of migration brought southwest Louisiana’s Creole culture to Houston’s Frenchtown, where zydeco now draws crowds of dancers young and old.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/mgv8tQ-15MA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13891300/reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture\u003c/a>\u003c/h3>\n\u003cp>Originators of the 1970s art form are passing its funk-driven, freestyle moves to a new generation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Oakland Boogaloo: The Funk Freestyle Dance that Defined the Town’s Culture | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/IUdS6kxw2aI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13879679/dont-mute-dc-how-go-go-music-inspires-the-beat-ya-feet-dance-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Mute DC: How Go-Go Music Inspires the Beat Ya Feet Dance Movement\u003c/a>\u003c/h3>\n\u003cp>A new generation of dancers are bringing Beat Ya Feet back to the streets of D.C. in celebration of the city’s rich black history. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why Go-Go Music and Beat Ya Feet are 100% Washington, DC\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/m14kt5Nj9XQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Once marginalized and near-forgotten, bomba is experiencing a resurgence in popularity and relevance with younger dancers.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13856811/if-cities-could-dance-memphis\" target=\"_blank\" rel=\"noopener noreferrer\">Memphis Jookin: A Ballet for the Streets\u003c/a>\u003c/h3>\n\u003cp>Watch jookin legends and emerging stars in the scene slide, ankle break and spin through their city. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Memphis Jookin: A Ballet for the Streets\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/KmDbwZWmU7o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13854195/if-cities-could-dance-chicago\" target=\"_blank\" rel=\"noopener noreferrer\">Chicago Footwork: A Lightning-Fast Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet some of Chicago’s footworkers who challenge the city’s legacy of segregation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicago Footwork: A Lightning-Fast Dance of Resistance | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0iQYF7QvAdY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance",
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"headTitle": "For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance | KQED",
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"content": "\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance \u003c/a>is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_English_Captions_English.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Spanish_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Spanish Transcript. \u003c/a>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Content_Description.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mar Cruz, an Afro-Puerto Rican dancer, was 22 years old when a West African ancestor visited her in a dream, put his hand on her chest and prayed in a Yoruba dialect. “When he finished his prayer I suddenly began hearing a drum beating inside of me, inside of my body, and it was so strong that it shook me,” she says. Days later she heard the exact same rhythms while walking in town, beckoning her to the free community program where she would begin to study bomba.\u003c/span>\u003c/p>\n\u003cp>The movement and sound of bomba originates in the practices of West Africans brought to the Caribbean island by European colonizers as slaves in the 17th century, and over time absorbed influences from the Spanish as well as the region’s indigenous Taíno people. Slavery fueled sugar production and many other industries, and continued until 1873, when a law creating a gradual ban went into effect. Like other Afro-Caribbean cultural forms, bomba provided a source of political and spiritual expression for people who’d been forcibly uprooted from their homes, at times catalyzing rebellions.\u003c/p>\n\u003cp>“When we have something to say to protest, we go out there and play bomba,” says Mar. “It is our way of saying ‘we are here.’”\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/HowToBomba\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Follow Mar Cruz in this how-to tutorial as she explains the foundations of bomba dance and goes over some basic steps or “piquetes”.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Puerto Rico’s center of black culture, Loíza, \u003ca href=\"https://remezcla.com/culture/puerto-rico-protests-loiza-george-floyd-black-lives-matter/\" target=\"_blank\" rel=\"noopener noreferrer\">bomba is at the heart of protests\u003c/a>. Since the killing of George Floyd in Minneapolis, groups like \u003ca href=\"https://www.instagram.com/colectivoile/\" target=\"_blank\" rel=\"noopener noreferrer\">Colectivo Ilé\u003c/a> have shared their grief through the dance. “That death didn’t only affect the African American community but also \u003ca href=\"https://youtu.be/lUuvPF_r6jg\" target=\"_blank\" rel=\"noopener noreferrer\">the Afro-Puerto Rican community\u003c/a>,” says Mar. “People have always been racist towards us. They are finally willing to say, ‘That was a tragedy!’ But they are racist too. There used to be lynchings here too.”\u003c/p>\n\u003cp>A new movement to assert black pride and to acknowledge the island’s complex history of racism is part of the resurgence of bomba, providing \u003ca href=\"https://www.instagram.com/sebailabomba/\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and her sister María\u003c/a>, along with many more Afro-Puerto Rican performers in both Puerto Rico and diaspora communities, a creative outlet to celebrate their oft-suppressed cultural heritage. “I’m representing my ancestors,” says María. “Those black slaves who danced in the past, that was their only method of self-expression.”\u003c/p>\n\u003cfigure id=\"attachment_13884446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884446 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg\" alt=\"Afro-Puerto Rican sisters Mar and María Cruz stand on a picturesque beach with palm trees near San Juan, Puerto Rico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sisters Mar and María Cruz. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This episode of \u003cem>If Cities Could Dance\u003c/em> highlights the artists and communities committed to bomba in its many forms, inviting new meanings and political significance in the 21st century. It brings viewers performances from San Juan, Santurce and Loíza, important sites of Afro-Puerto Rican culture. Wearing traditional long, ruffled skirts, the Cruz sisters dance in the streets of San Juan, the island’s historic port city; in front of a cave near Loíza that is believed to have sheltered black people who’d escaped their captors, and at one of Puerto Rico’s traditional chinchorros—a casual place to eat and drink—to the rhythms of the popular local act \u003ca href=\"https://www.facebook.com/Tendencias787/\" target=\"_blank\" rel=\"noopener noreferrer\">Tendencias\u003c/a>. “Anyone can join the dance,” María says of the venue’s nightly bomba events. “No one is going to judge you.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bomba Dance Tutorial with Afro-Puerto Rican Dancer Mar Cruz | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4nFyLdsyIgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>A bomba percussion ensemble generally comprises a few barriles, hand drums originally made from rum barrels, with differing pitches determining musical roles; a cuá, or barrel drum played with sticks; and a time-keeping maraca, often played by a singer. Although there are archetypical rhythmic patterns, prominently holandés, yuba and sica, the life of bomba is in the improvisational interplay between dancer and the primo barril—with the dancer taking the lead.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/28QfTGjY8j1hUfDVhmd4Hy\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Leading the drummer is one of the elements that attracts Mar to bomba. It’s different from learning the steps in what she considers more “academic” dances such as salsa, merengue or bachata in that the bomba dancer creates the rhythm spontaneously, challenging the drummers to follow. “You’re making the music with your body and on top of that it’s improvised,” she says. “Everything you freestyle becomes a communication between the dancer and the drummer.”\u003c/p>\n\u003cp>Yet if not for the efforts of families such as the Cepedas of Santurce \u003cspan style=\"font-weight: 400\">(captured in the remarkable documentary \u003c/span>\u003ca href=\"https://vimeo.com/198901090\">\u003ci>\u003cspan style=\"font-weight: 400\">Bomba: Dancing the Drum\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by Searchlight Films)\u003c/span>, bomba might’ve been lost to time. In the early- and mid-20th century, as other styles grew popular among Puerto Ricans and the newly-installed colonial regime of the United States, Rafael Cepeda Atiles drew international profile as a \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/rafael-cepeda\" target=\"_blank\" rel=\"noopener noreferrer\">bomba ambassador\u003c/a>, kickstarting a resurgence that continues today.\u003c/p>\n\u003cp>“[Bomba] had been marginalized and forgotten, simply because it was black music,” says Jesús Cepeda, son of Rafael Cepeda, who continues stewarding the culture through the \u003ca href=\"https://www.facebook.com/cepedaofc/\" target=\"_blank\" rel=\"noopener noreferrer\">Fundación Rafael Cepeda & Grupo Folklórico Hermanos Cepeda\u003c/a>. “That’s something that not only he, but all of us endured collectively. Our music was stereotyped as a … byproduct of black slum culture, as music of the uneducated.”\u003c/p>\n\u003cfigure id=\"attachment_13884435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg\" alt=\"Men in an open-air room groove to the beat as Jesús Cepeda, who appears more prominently on the right side of the photo, plays a large barrel drum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jesús Cepeda, son of Rafael Cepeda and master drummer at the Don Rafael Cepeda School of Bomba and Plena. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, though\u003cspan style=\"font-weight: 400\">,\u003c/span> Jesús is pleased to find a new generation embracing the cause of his family. And he thinks bomba culture can continue to play a role in the United States territory’s struggle for dignity and independence. “Papi always said that when Puerto Rico finally reaches a point where it recognizes the value of its folklore, it will fight to defend its honor,” Jesús says. \u003cem>—\u003c/em> \u003cem>Text by Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Visit the vibrant old town of San Juan and some of Puerto Rico’s oldest black neighborhoods to see the Afro-Latino diasporic dance tradition of Bomba with our interactive story map. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-san-juan-puerto-rico/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance \u003c/a>is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_English_Captions_English.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Spanish_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Spanish Transcript. \u003c/a>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD302_San_Juan_Content_Description.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mar Cruz, an Afro-Puerto Rican dancer, was 22 years old when a West African ancestor visited her in a dream, put his hand on her chest and prayed in a Yoruba dialect. “When he finished his prayer I suddenly began hearing a drum beating inside of me, inside of my body, and it was so strong that it shook me,” she says. Days later she heard the exact same rhythms while walking in town, beckoning her to the free community program where she would begin to study bomba.\u003c/span>\u003c/p>\n\u003cp>The movement and sound of bomba originates in the practices of West Africans brought to the Caribbean island by European colonizers as slaves in the 17th century, and over time absorbed influences from the Spanish as well as the region’s indigenous Taíno people. Slavery fueled sugar production and many other industries, and continued until 1873, when a law creating a gradual ban went into effect. Like other Afro-Caribbean cultural forms, bomba provided a source of political and spiritual expression for people who’d been forcibly uprooted from their homes, at times catalyzing rebellions.\u003c/p>\n\u003cp>“When we have something to say to protest, we go out there and play bomba,” says Mar. “It is our way of saying ‘we are here.’”\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/HowToBomba\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Follow Mar Cruz in this how-to tutorial as she explains the foundations of bomba dance and goes over some basic steps or “piquetes”.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Puerto Rico’s center of black culture, Loíza, \u003ca href=\"https://remezcla.com/culture/puerto-rico-protests-loiza-george-floyd-black-lives-matter/\" target=\"_blank\" rel=\"noopener noreferrer\">bomba is at the heart of protests\u003c/a>. Since the killing of George Floyd in Minneapolis, groups like \u003ca href=\"https://www.instagram.com/colectivoile/\" target=\"_blank\" rel=\"noopener noreferrer\">Colectivo Ilé\u003c/a> have shared their grief through the dance. “That death didn’t only affect the African American community but also \u003ca href=\"https://youtu.be/lUuvPF_r6jg\" target=\"_blank\" rel=\"noopener noreferrer\">the Afro-Puerto Rican community\u003c/a>,” says Mar. “People have always been racist towards us. They are finally willing to say, ‘That was a tragedy!’ But they are racist too. There used to be lynchings here too.”\u003c/p>\n\u003cp>A new movement to assert black pride and to acknowledge the island’s complex history of racism is part of the resurgence of bomba, providing \u003ca href=\"https://www.instagram.com/sebailabomba/\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and her sister María\u003c/a>, along with many more Afro-Puerto Rican performers in both Puerto Rico and diaspora communities, a creative outlet to celebrate their oft-suppressed cultural heritage. “I’m representing my ancestors,” says María. “Those black slaves who danced in the past, that was their only method of self-expression.”\u003c/p>\n\u003cfigure id=\"attachment_13884446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884446 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg\" alt=\"Afro-Puerto Rican sisters Mar and María Cruz stand on a picturesque beach with palm trees near San Juan, Puerto Rico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sisters Mar and María Cruz. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This episode of \u003cem>If Cities Could Dance\u003c/em> highlights the artists and communities committed to bomba in its many forms, inviting new meanings and political significance in the 21st century. It brings viewers performances from San Juan, Santurce and Loíza, important sites of Afro-Puerto Rican culture. Wearing traditional long, ruffled skirts, the Cruz sisters dance in the streets of San Juan, the island’s historic port city; in front of a cave near Loíza that is believed to have sheltered black people who’d escaped their captors, and at one of Puerto Rico’s traditional chinchorros—a casual place to eat and drink—to the rhythms of the popular local act \u003ca href=\"https://www.facebook.com/Tendencias787/\" target=\"_blank\" rel=\"noopener noreferrer\">Tendencias\u003c/a>. “Anyone can join the dance,” María says of the venue’s nightly bomba events. “No one is going to judge you.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bomba Dance Tutorial with Afro-Puerto Rican Dancer Mar Cruz | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4nFyLdsyIgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>A bomba percussion ensemble generally comprises a few barriles, hand drums originally made from rum barrels, with differing pitches determining musical roles; a cuá, or barrel drum played with sticks; and a time-keeping maraca, often played by a singer. Although there are archetypical rhythmic patterns, prominently holandés, yuba and sica, the life of bomba is in the improvisational interplay between dancer and the primo barril—with the dancer taking the lead.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/28QfTGjY8j1hUfDVhmd4Hy\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Leading the drummer is one of the elements that attracts Mar to bomba. It’s different from learning the steps in what she considers more “academic” dances such as salsa, merengue or bachata in that the bomba dancer creates the rhythm spontaneously, challenging the drummers to follow. “You’re making the music with your body and on top of that it’s improvised,” she says. “Everything you freestyle becomes a communication between the dancer and the drummer.”\u003c/p>\n\u003cp>Yet if not for the efforts of families such as the Cepedas of Santurce \u003cspan style=\"font-weight: 400\">(captured in the remarkable documentary \u003c/span>\u003ca href=\"https://vimeo.com/198901090\">\u003ci>\u003cspan style=\"font-weight: 400\">Bomba: Dancing the Drum\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by Searchlight Films)\u003c/span>, bomba might’ve been lost to time. In the early- and mid-20th century, as other styles grew popular among Puerto Ricans and the newly-installed colonial regime of the United States, Rafael Cepeda Atiles drew international profile as a \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/rafael-cepeda\" target=\"_blank\" rel=\"noopener noreferrer\">bomba ambassador\u003c/a>, kickstarting a resurgence that continues today.\u003c/p>\n\u003cp>“[Bomba] had been marginalized and forgotten, simply because it was black music,” says Jesús Cepeda, son of Rafael Cepeda, who continues stewarding the culture through the \u003ca href=\"https://www.facebook.com/cepedaofc/\" target=\"_blank\" rel=\"noopener noreferrer\">Fundación Rafael Cepeda & Grupo Folklórico Hermanos Cepeda\u003c/a>. “That’s something that not only he, but all of us endured collectively. Our music was stereotyped as a … byproduct of black slum culture, as music of the uneducated.”\u003c/p>\n\u003cfigure id=\"attachment_13884435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg\" alt=\"Men in an open-air room groove to the beat as Jesús Cepeda, who appears more prominently on the right side of the photo, plays a large barrel drum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Jesus_Cepeda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jesús Cepeda, son of Rafael Cepeda and master drummer at the Don Rafael Cepeda School of Bomba and Plena. \u003ccite>(Photo by Armando Aparicio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, though\u003cspan style=\"font-weight: 400\">,\u003c/span> Jesús is pleased to find a new generation embracing the cause of his family. And he thinks bomba culture can continue to play a role in the United States territory’s struggle for dignity and independence. “Papi always said that when Puerto Rico finally reaches a point where it recognizes the value of its folklore, it will fight to defend its honor,” Jesús says. \u003cem>—\u003c/em> \u003cem>Text by Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Visit the vibrant old town of San Juan and some of Puerto Rico’s oldest black neighborhoods to see the Afro-Latino diasporic dance tradition of Bomba with our interactive story map. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-san-juan-puerto-rico/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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