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"title": "Joan Baez’s New Plan for Retirement? Joining the Circus",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/joan-baez\">Joan Baez\u003c/a>, who said goodbye to touring with her “Fare Thee Well” tour in 2019, has a new act planned for her retirement: joining the circus. \u003c/p>\n\u003cp>The decorated folk singer will perform under the big top as part of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13843964/jazz-mafia-soundtrack-the-soiled-doves-acrobatic-magic\">The Soiled Dove\u003c/a>\u003c/em>, a steampunky, Barbary Coast-themed circus that sets up shop from Sept. 5–Nov. 1 at Alameda Point in Alameda. Baez, who was recently portrayed by actress Monica Barbaro in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothe\">A Complete Unknown\u003c/a>\u003c/em>, has signed on to play the role of Paloma Blanca in a “special musical appearance.”\u003c/p>\n\u003cp>[aside postID='arts_13971571']\u003cem>The Soiled Dove\u003c/em> first came to Alameda eight years ago, and performed at both Alameda Point and in an empty lot adjacent to Oakland’s Fox Theater. This newly annnounced run marks the return for the dinner-and-circus show, set in 1890s rough-and-tumble San Francisco and once described by promoter Mike Gaines as “Cirque du Soleil in fishnets.”\u003c/p>\n\u003cp>Earlier this year, Baez performed at the Masonic in San Francisco for a benefit concert that doubled as \u003ca href=\"https://www.kqed.org/arts/13971571/joan-baez-review-masonic-san-francisco-sweet-relief\">a tribute to her activism and musical career\u003c/a>, surrounded by stars like Emmylou Harris, Bonnie Raitt, Roseanne Cash and Lucinda Williams. \u003c/p>\n\u003cp>Baez has also kept busy by \u003ca href=\"https://www.kqed.org/arts/13890909/joan-baezs-portraits-celebrate-anthony-fauci-kamala-harris-and-other-mischief-maker\">exhibiting her paintings\u003c/a> in Mill Valley, and releasing a book of autobiographical poetry, \u003ca href=\"https://www.goodreads.com/book/show/193390892-when-you-see-my-mother-ask-her-to-dance\">\u003cem>When You See My Mother, Ask Her to Dance\u003c/em>\u003c/a>. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Soiled Dove’ runs Sept. 5–Nov. 1 at Alameda Point in Alameda. Standing-room tickets are $81.16, while seated tickets range from $112.04 (no dinner) to $199.66–$230.53 (with dinner). \u003ca href=\"https://www.thesoileddove.com/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/joan-baez\">Joan Baez\u003c/a>, who said goodbye to touring with her “Fare Thee Well” tour in 2019, has a new act planned for her retirement: joining the circus. \u003c/p>\n\u003cp>The decorated folk singer will perform under the big top as part of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13843964/jazz-mafia-soundtrack-the-soiled-doves-acrobatic-magic\">The Soiled Dove\u003c/a>\u003c/em>, a steampunky, Barbary Coast-themed circus that sets up shop from Sept. 5–Nov. 1 at Alameda Point in Alameda. Baez, who was recently portrayed by actress Monica Barbaro in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothe\">A Complete Unknown\u003c/a>\u003c/em>, has signed on to play the role of Paloma Blanca in a “special musical appearance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Soiled Dove\u003c/em> first came to Alameda eight years ago, and performed at both Alameda Point and in an empty lot adjacent to Oakland’s Fox Theater. This newly annnounced run marks the return for the dinner-and-circus show, set in 1890s rough-and-tumble San Francisco and once described by promoter Mike Gaines as “Cirque du Soleil in fishnets.”\u003c/p>\n\u003cp>Earlier this year, Baez performed at the Masonic in San Francisco for a benefit concert that doubled as \u003ca href=\"https://www.kqed.org/arts/13971571/joan-baez-review-masonic-san-francisco-sweet-relief\">a tribute to her activism and musical career\u003c/a>, surrounded by stars like Emmylou Harris, Bonnie Raitt, Roseanne Cash and Lucinda Williams. \u003c/p>\n\u003cp>Baez has also kept busy by \u003ca href=\"https://www.kqed.org/arts/13890909/joan-baezs-portraits-celebrate-anthony-fauci-kamala-harris-and-other-mischief-maker\">exhibiting her paintings\u003c/a> in Mill Valley, and releasing a book of autobiographical poetry, \u003ca href=\"https://www.goodreads.com/book/show/193390892-when-you-see-my-mother-ask-her-to-dance\">\u003cem>When You See My Mother, Ask Her to Dance\u003c/em>\u003c/a>. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Soiled Dove’ runs Sept. 5–Nov. 1 at Alameda Point in Alameda. Standing-room tickets are $81.16, while seated tickets range from $112.04 (no dinner) to $199.66–$230.53 (with dinner). \u003ca href=\"https://www.thesoileddove.com/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\u003c/div>\u003c/p>",
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"title": "‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco",
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"content": "\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\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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"title": "'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone",
"headTitle": "‘Dear San Francisco’ at Club Fugazi is a Love Letter Written for Everyone | KQED",
"content": "\u003cp>If you wrote a love letter to San Francisco, what would you put in it? Would you extol the virtues of its burritos? Wax rhapsodic about its many subcultures and radical movements nurtured over the years in a seven-square-mile proximity? Maybe you would even write about yourself—how you changed while you lived here, how living here changed you?\u003c/p>\n\u003cp>If you’ve already written such a letter—responding to a recent call by circus collective the 7 Fingers—there’s a chance you’ll hear it read onstage during the open-ended run of \u003cem>Dear San Francisco\u003c/em> at Club Fugazi.\u003c/p>\n\u003cp>Formerly the artistic home of the long-running \u003cem>Beach Blanket Babylon\u003c/em>, Club Fugazi has been given a welcome makeover (comfortable chairs, updated lighting), but the aims of its new show remain similar: to provide San Francisco-centered entertainment that riffs on familiar enough tropes that locals and out-of-towners alike can find something to hold onto. (And, likewise, to serve as a North Beach destination bringing welcome foot traffic to its restaurants, bars and bookstores.)\u003c/p>\n\u003cfigure id=\"attachment_13904756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Dear San Francisco\u003c/em>, a vibrant group of circus acrobats fills the diminutive stage with whimsy and heart. They soar to the literal rafters thanks to the addition of two Chinese poles and a static trapeze. They are windblown and earthquake-rattled. They read actual newspapers and talk on actual payphones. They recite beat poetry and read love letters. They strum guitars and banjos, and play accordion while perched aloft on a pair of strong hands. They drop “acid” and spin up and down the poles like tops as psychedelic projections spill across the stage and a druggy remixed song by The Doors spirals outward.\u003c/p>\n\u003cfigure id=\"attachment_13904753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Patterson plays accordion while perched in Melvin Diggs’ hands as Ruben Ingwersen looks on in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many circus shows, the core of the performance lies squarely on the trained shoulders of its cast. A multicultural troupe with San Francisco lineage and a permanent artistic home in the well-known circus center of Montreal, 7 Fingers brings \u003cem>Dear San Francisco\u003c/em>‘s kaleidoscopic series of vignettes to life with friendly synergy. Even during their most dangerous-seeming feats—divebombing the stage headfirst from the top of their poles, leaping two stories into the air on a giant teeterboard—each performer exudes delighted bonhomie. They slap each other on the back and clasp hands over a stunt well-executed. At times they lock eyes and caress each other’s faces in affection. A trapeze act becomes a pansexual orgy of longing. A phone booth becomes a miniature dance club.\u003c/p>\n\u003cfigure id=\"attachment_13904755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_J%C3%A9r%C3%A9miLevesque_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen and Jérémi Levesque soar on their teeterboard in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each performer gets to demonstrate a specialty talent or two. Enmeng Song dazzles on the diabolo. Ruben Ingwersen surprises with his madcap unicycle skills. Isabella Diaz plays multiple instruments and sings with sweet confidence. Natasha Patterson contact-juggles a series of “mysterious orbs” as she dances ferociously to a fractured remix of dialogue from \u003cem>The Maltese Falcon\u003c/em>. Junru Wang performs an expressive hand-balancing act as her fellow performers write affirmations on her body with thick slashes of marker ink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At times, in their ebullience, the performers threaten to tumble off the stage into the audience’s laps, and at times the action does spill over into the aisles and balconies, even occasionally onto the new, narrow tabletops. Amping up every act is a clubby, electro-heavy soundscape composed by Colin Gagné, with Alexander V. Nichols filling in the spaces with video projections and textural lighting.\u003c/p>\n\u003cfigure id=\"attachment_13904757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen on unicycle with the ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, \u003cem>Dear San Francisco \u003c/em>is an exercise in nostalgia as performed by a generation some years removed from the key events depicted—the poetry readings once held by the Beats at Club Fugazi, the Merry Prankster acid tests, the “hardboiled” noir of Dashiell Hammett. Even in its more harrowing moments—ones depicting high winds, ruinous earthquakes, raging fires, and even, briefly, the infamous “orange skies” of 2020—\u003cem>Dear San Francisco \u003c/em>keeps it light. This is no history lesson, and it’s not designed to be. This is a celebration of survival, albeit at times an anachronistic one.\u003c/p>\n\u003cp>What it did bring up for me was a letter of my own. The reasons I love San Francisco, despite and sometimes because of its flaws. The quality of light on an autumn afternoon. The insularity of its hilltops. The expansive views from its shorelines. The poetry and the pupusas. And most especially the artists, who against all odds continue to craft new ways to amaze and inspire.\u003c/p>\n\u003cp>\u003cem>Dear San Francisco\u003c/em> is one of a million letters that could be written about this storied city. What makes it special is that we can experience it together.\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>‘Dear San Francisco’ is in ongoing residence at Club Fugazi in San Francisco. \u003ca href=\"https://www.clubfugazisf.com/dear-san-francisco\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The former 'Beach Blanket Babylon' venue hosts a new circus show dedicated to the city by the bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you wrote a love letter to San Francisco, what would you put in it? Would you extol the virtues of its burritos? Wax rhapsodic about its many subcultures and radical movements nurtured over the years in a seven-square-mile proximity? Maybe you would even write about yourself—how you changed while you lived here, how living here changed you?\u003c/p>\n\u003cp>If you’ve already written such a letter—responding to a recent call by circus collective the 7 Fingers—there’s a chance you’ll hear it read onstage during the open-ended run of \u003cem>Dear San Francisco\u003c/em> at Club Fugazi.\u003c/p>\n\u003cp>Formerly the artistic home of the long-running \u003cem>Beach Blanket Babylon\u003c/em>, Club Fugazi has been given a welcome makeover (comfortable chairs, updated lighting), but the aims of its new show remain similar: to provide San Francisco-centered entertainment that riffs on familiar enough tropes that locals and out-of-towners alike can find something to hold onto. (And, likewise, to serve as a North Beach destination bringing welcome foot traffic to its restaurants, bars and bookstores.)\u003c/p>\n\u003cfigure id=\"attachment_13904756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Dear San Francisco\u003c/em>, a vibrant group of circus acrobats fills the diminutive stage with whimsy and heart. They soar to the literal rafters thanks to the addition of two Chinese poles and a static trapeze. They are windblown and earthquake-rattled. They read actual newspapers and talk on actual payphones. They recite beat poetry and read love letters. They strum guitars and banjos, and play accordion while perched aloft on a pair of strong hands. They drop “acid” and spin up and down the poles like tops as psychedelic projections spill across the stage and a druggy remixed song by The Doors spirals outward.\u003c/p>\n\u003cfigure id=\"attachment_13904753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Patterson plays accordion while perched in Melvin Diggs’ hands as Ruben Ingwersen looks on in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many circus shows, the core of the performance lies squarely on the trained shoulders of its cast. A multicultural troupe with San Francisco lineage and a permanent artistic home in the well-known circus center of Montreal, 7 Fingers brings \u003cem>Dear San Francisco\u003c/em>‘s kaleidoscopic series of vignettes to life with friendly synergy. Even during their most dangerous-seeming feats—divebombing the stage headfirst from the top of their poles, leaping two stories into the air on a giant teeterboard—each performer exudes delighted bonhomie. They slap each other on the back and clasp hands over a stunt well-executed. At times they lock eyes and caress each other’s faces in affection. A trapeze act becomes a pansexual orgy of longing. A phone booth becomes a miniature dance club.\u003c/p>\n\u003cfigure id=\"attachment_13904755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_J%C3%A9r%C3%A9miLevesque_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen and Jérémi Levesque soar on their teeterboard in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each performer gets to demonstrate a specialty talent or two. Enmeng Song dazzles on the diabolo. Ruben Ingwersen surprises with his madcap unicycle skills. Isabella Diaz plays multiple instruments and sings with sweet confidence. Natasha Patterson contact-juggles a series of “mysterious orbs” as she dances ferociously to a fractured remix of dialogue from \u003cem>The Maltese Falcon\u003c/em>. Junru Wang performs an expressive hand-balancing act as her fellow performers write affirmations on her body with thick slashes of marker ink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At times, in their ebullience, the performers threaten to tumble off the stage into the audience’s laps, and at times the action does spill over into the aisles and balconies, even occasionally onto the new, narrow tabletops. Amping up every act is a clubby, electro-heavy soundscape composed by Colin Gagné, with Alexander V. Nichols filling in the spaces with video projections and textural lighting.\u003c/p>\n\u003cfigure id=\"attachment_13904757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen on unicycle with the ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, \u003cem>Dear San Francisco \u003c/em>is an exercise in nostalgia as performed by a generation some years removed from the key events depicted—the poetry readings once held by the Beats at Club Fugazi, the Merry Prankster acid tests, the “hardboiled” noir of Dashiell Hammett. Even in its more harrowing moments—ones depicting high winds, ruinous earthquakes, raging fires, and even, briefly, the infamous “orange skies” of 2020—\u003cem>Dear San Francisco \u003c/em>keeps it light. This is no history lesson, and it’s not designed to be. This is a celebration of survival, albeit at times an anachronistic one.\u003c/p>\n\u003cp>What it did bring up for me was a letter of my own. The reasons I love San Francisco, despite and sometimes because of its flaws. The quality of light on an autumn afternoon. The insularity of its hilltops. The expansive views from its shorelines. The poetry and the pupusas. And most especially the artists, who against all odds continue to craft new ways to amaze and inspire.\u003c/p>\n\u003cp>\u003cem>Dear San Francisco\u003c/em> is one of a million letters that could be written about this storied city. What makes it special is that we can experience it together.\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>‘Dear San Francisco’ is in ongoing residence at Club Fugazi in San Francisco. \u003ca href=\"https://www.clubfugazisf.com/dear-san-francisco\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here’s How Performing Artists Stay Afloat Six Months into the Pandemic",
"headTitle": "Here’s How Performing Artists Stay Afloat Six Months into the Pandemic | KQED",
"content": "\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. [aside postid='arts_13886812']\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "This week, we're talking about The Jacka, 'The 39 Steps,' Godspeed You Black Emperor, the Festival of Infinite Imagination and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "High Thrills, Bonkers Aesthetics at Cirque du Soleil's 'Volta'",
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"content": "\u003cp>You know the circus, or you think you know the circus: lion tamers, tightrope acts, trapeze. You spend your $8 for the traveling Mexican family circus, or your $18 for the burlesque steampunk circus. Perhaps you are a parent whose kids cannot get enough of \u003cem>The Greatest Showman\u003c/em>, a hit movie about the Ringling Bros. and Barnum & Bailey circus that is \u003ca href=\"https://www.usatoday.com/story/news/nation/2017/01/14/ringling-bros-circus-close-after-146-years/96606820/\" rel=\"noopener\" target=\"_blank\">no longer a circus\u003c/a>.\u003c/p>\n\u003cp>Whatever “the circus” means today with its many incarnations, Cirque du Soleil has been doing it eye-poppingly since 1984, when its vibrant neon spasms first thrilled a well-to-do patron under the big top. Running through Feb. 3 in San Francisco inside a climate-controlled tent adjacent to the Giants ballpark, Cirque du Soleil’s new show \u003cem>\u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Volta\u003c/a>\u003c/em> ($54–$165) is a procession of skits, fantasy, acrobatics, skill, and insanely ridiculous outfits even your grandmother would not be caught dead wearing.\u003c/p>\n\u003cfigure id=\"attachment_13846026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13846026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Volta\u003c/em> hints at a vague sort of story, involving uniformed human drones addicted to their cell phones and a blue-haired dreamer among them who dares to be different. This, of course, is immaterial: you’re invested in the show for the two-story trampoline act; the strongman hoisting a woman aloft, one-handed, while riding a unicycle; the double-dutch routine fast enough to power a small city; and the unbelievable aerial routine by the woman affixed to a hanging rope \u003cem>by her hair alone\u003c/em>.\u003c/p>\n\u003cp>All of these acts elicit real-life oohs and aahs from the crowd like circuses of old, but they’re performed \u003cem>elegantly\u003c/em> and \u003cem>with purpose\u003c/em>, Cirque du Soleil seems to want you to know. The violin player can’t just be a violin player—she must play an electric aqua-blue violin shaped like a swordfish. The clown can’t just be a clown—he must be fabulous diva, with cheekbones that could slice a turkey, who dances with petulant laundry machines. The soundtrack sounds like what happens when Sting tries to do “ethnic” music. Nobody has anything resembling a normal hairstyle.\u003c/p>\n\u003cfigure id=\"attachment_13846025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though this be madness, yet there is merriment in ‘t. \u003cem>Volta\u003c/em> ends with a synchronized heavy metal BMX bike routine, suddenly transforming the circus into the X-Games. But when I looked around to the people in the stands last week, every one of them—ladies and gentlemen, boys and girls, children of all ages—had the same look of dazzled wonder in their eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The circus may change, but humans’ capacity to blow each other’s minds is eternal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>Cirque du Soiliel’s ‘Volta’ runs through Feb. 3 at the AT&T Park parking lot in San Francisco before heading to San Jose. \u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the circus, or you think you know the circus: lion tamers, tightrope acts, trapeze. You spend your $8 for the traveling Mexican family circus, or your $18 for the burlesque steampunk circus. Perhaps you are a parent whose kids cannot get enough of \u003cem>The Greatest Showman\u003c/em>, a hit movie about the Ringling Bros. and Barnum & Bailey circus that is \u003ca href=\"https://www.usatoday.com/story/news/nation/2017/01/14/ringling-bros-circus-close-after-146-years/96606820/\" rel=\"noopener\" target=\"_blank\">no longer a circus\u003c/a>.\u003c/p>\n\u003cp>Whatever “the circus” means today with its many incarnations, Cirque du Soleil has been doing it eye-poppingly since 1984, when its vibrant neon spasms first thrilled a well-to-do patron under the big top. Running through Feb. 3 in San Francisco inside a climate-controlled tent adjacent to the Giants ballpark, Cirque du Soleil’s new show \u003cem>\u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Volta\u003c/a>\u003c/em> ($54–$165) is a procession of skits, fantasy, acrobatics, skill, and insanely ridiculous outfits even your grandmother would not be caught dead wearing.\u003c/p>\n\u003cfigure id=\"attachment_13846026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13846026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Volta\u003c/em> hints at a vague sort of story, involving uniformed human drones addicted to their cell phones and a blue-haired dreamer among them who dares to be different. This, of course, is immaterial: you’re invested in the show for the two-story trampoline act; the strongman hoisting a woman aloft, one-handed, while riding a unicycle; the double-dutch routine fast enough to power a small city; and the unbelievable aerial routine by the woman affixed to a hanging rope \u003cem>by her hair alone\u003c/em>.\u003c/p>\n\u003cp>All of these acts elicit real-life oohs and aahs from the crowd like circuses of old, but they’re performed \u003cem>elegantly\u003c/em> and \u003cem>with purpose\u003c/em>, Cirque du Soleil seems to want you to know. The violin player can’t just be a violin player—she must play an electric aqua-blue violin shaped like a swordfish. The clown can’t just be a clown—he must be fabulous diva, with cheekbones that could slice a turkey, who dances with petulant laundry machines. The soundtrack sounds like what happens when Sting tries to do “ethnic” music. Nobody has anything resembling a normal hairstyle.\u003c/p>\n\u003cfigure id=\"attachment_13846025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though this be madness, yet there is merriment in ‘t. \u003cem>Volta\u003c/em> ends with a synchronized heavy metal BMX bike routine, suddenly transforming the circus into the X-Games. But when I looked around to the people in the stands last week, every one of them—ladies and gentlemen, boys and girls, children of all ages—had the same look of dazzled wonder in their eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\u003c/p>\n\u003cp>https://youtu.be/M0V0bNdJT-4\u003c/p>\n\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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