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"content": "\u003cp>When it comes to experimental dance and theater in San Francisco, few institutions have made as big an impact or sustained it for as long as CounterPulse. After more than \u003ca href=\"https://www.kqed.org/arts/13893062/celebrating-30-years-counterpulse-continues-to-shine-in-the-tenderloin\">three decades of championing the performing arts\u003c/a>, CounterPulse purchased its building in the heart of the Tenderloin’s Transgender Cultural District in 2023, securing a permanent home in a city where artists are routinely priced out.\u003c/p>\n\u003cp>But what promised to be a new era of stability has turned into a time of chaos at the nonprofit organization. In November, CounterPulse laid off four of its five unionized administrative staff, including key roles in communications and fundraising. Its interim executive director departed after just 10 days on the job. Former workers and CounterPulse’s board remain in an ongoing labor dispute stemming from complaints the union made to the National Labor Relations Board, accusing the organization of refusing to negotiate.\u003c/p>\n\u003cp>The turmoil is sending shockwaves through San Francisco’s community of performing artists, more than 100 of whom have signed an open letter and attended town halls to voice support for former workers and help the board find a path forward. [aside postid='arts_13985432']\u003c/p>\n\u003cp>“We have a 35-year history of serving this city, and an incredible legacy of audience and artists and community members who want to see it thrive, and a building that we own,” Board Chair Victor Cordon told KQED in an interview. “There are so many assets to work with, and so I think that’s going to be the place we really tap into as we navigate this and seek to stabilize and rebuild the organization.”\u003c/p>\n\u003ch2>Workers accuse CounterPulse of violating their bargaining rights\u003c/h2>\n\u003cp>Trouble at CounterPulse began when it incurred a $46,000 deficit in 2024, a year when operating expenses totaled $1.4 million, according to public records. An influx of funding that the nonprofit received during the pandemic ran dry; meanwhile, operating expenses had grown and CounterPulse depleted its reserves, Cordon said. When the board approved its new budget in June 2025, it included staffing cuts to mitigate a shortfall that currently stands at an estimated $130,000. In August, management began negotiations with CounterPulse Workers United, who are represented by Industrial Workers of the World.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>CounterPulse union staff showed KQED proposals they shared with management, which included taking unpaid furloughs and reducing their hours in hopes of avoiding layoffs. In November, CounterPulse sent the union a proposal to lay off four of its members.\u003c/p>\n\u003cp>The union attempted to counter, but CounterPulse management declared an impasse a week later — a move the workers said impeded on their rights to bargain as outlined in the National Labor Relations Act.\u003c/p>\n\u003cp>“That’s really where the illegal situation happened because that is just a refusal to bargain,” said Ach Kabal, CounterPulse’s former associate director of community engagement, who was among the laid-off union workers.\u003c/p>\n\u003cfigure id=\"attachment_13985513\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg\" alt='The exterior window of CounterPulse reads \"A space for art and community.\"' width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of CounterPulse on Jan. 13, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 24, 2025, the workers filed an unfair labor practice charge against CounterPulse, accusing the organization of unlawfully declaring a bargaining impasse and selecting workers for layoffs based on their support for the union. Julie Phelps, the former executive director, was unable to be reached by publication time, and Cordon declined to respond to specific questions about the allegations during our interview, but followed up with an email that said the board rejects them.\u003c/p>\n\u003cp>“We negotiated in good faith for months and were transparent that the underlying need to reduce expenses was a non-negotiable reality to ensure the organization’s survival,” Cordon wrote. “In an organization where nearly every eligible employee is a union member, a reduction in force will inevitably include union participants, but at no point was union activity a factor in these decisions. We remain confident that our actions were lawful, non-discriminatory, and necessary to preserve the organization.”\u003c/p>\n\u003ch2>A leadership transition goes wrong\u003c/h2>\n\u003cp>Making matters more challenging, the layoffs at CounterPulse took place amid a botched leadership transition. In 2025, the organization’s artistic and executive director \u003ca href=\"https://www.sfchronicle.com/entertainment/article/counterpulse-julie-phelps-departure-20818545.php\">Julie Phelps announced she was leaving CounterPulse\u003c/a> in November after 11 years. Suzanne Tan stepped in as interim executive director in late October, but left the role after just 10 days. The board informed the union of her departure a day before it sent its layoff proposal, meaning neither Tan nor Phelps could represent CounterPulse at the bargaining table.\u003c/p>\n\u003cp>CounterPulse board members Keith Hennessy (one of the organization’s original co-founders) and Abra Allan then formed an emergency leadership council, but it disbanded after two weeks. “I think, frankly, they were a bit emotionally tapped out,” Cordon said.\u003c/p>\n\u003cp>Cordon told KQED that CounterPulse will return to the bargaining table once a new executive leader is in place. It’s unclear when someone will be hired to fill that role, which has been vacant since mid-November. Meanwhile, the union argues that CounterPulse’s board has had a reasonable amount of time to designate another representative and continue negotiations, including the terms of their severance. [aside postid='arts_13985413']\u003c/p>\n\u003cp>“They have a full board, they have a board chair, they have a board treasurer. The remaining member of management is the director of finance administration. And this whole conversation is about finance administration,” said Kabal. “There are people who are able to bargain with us.”\u003c/p>\n\u003ch2>A path forward for CounterPulse\u003c/h2>\n\u003cp>Peekaboo Salinas, who was CounterPulse’s development and communications associate until Dec. 19, said they and the three other laid-off workers are lobbying to get their jobs back. The workers want to bargain for a recall clause, which would ensure that they’d be reinstated once the organization is in a better financial position.\u003c/p>\n\u003cp>“I feel committed to the artists,” Salinas said. “I feel committed to the Transgender Cultural District, to the Tenderloin.”\u003c/p>\n\u003cfigure id=\"attachment_13985538\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg\" alt=\"\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">CounterPulse Workers United. \u003ccite>(Courtesy of Peekaboo Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessi Barber, who remains at CounterPulse as an on-call technician and union member, said the turmoil at CounterPulse has larger implications for the health of the Bay Area’s performing arts ecosystem. In addition to commissioning new works through its artist residency program, CounterPulse fiscally sponsors several artists and organizations, and is one of the few low-cost rentable venues in San Francisco.\u003c/p>\n\u003cp>“I can say that I work freelance for other people, and I know from those other productions I’m working on that people are looking at dates at other places and trying to make a plan B,” said Barber. “There’s a lot of heartache about that.” [aside postid='arts_13984438']\u003c/p>\n\u003cp>In 2025, CounterPulse hosted 21 full productions, plus nearly a dozen workshops and other events. Its public-facing 2026 calendar is currently blank other than a San Francisco Youth Theatre production in February. Cordon said CounterPulse will continue to support its fiscally sponsored House Artists, and that the organization is currently assessing its capacity for other spring events and its ARC Performing Diaspora residency.\u003c/p>\n\u003cp>Amid the turmoil, more than 100 artists, audience members and former CounterPulse staff signed an open letter that included a set of recommendations to the board and an invitation to meet to discuss the organization’s future. Supporters crowdfunded $7,818 to support the four laid-off union workers.\u003c/p>\n\u003cp>The core group behind the letter is calling themselves Friends of CounterPulse. Melissa Lewis Wong, a former CounterPulse artist in residence, is hopeful that by coming in with an outside perspective, they can help the board and union find common ground with the shared goal of CounterPulse’s long-term survival.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think the community cares deeply for the future of CounterPulse, as does the board, as does unionized staff,” said Wong. “I have hope around that being a shared vision and aspiration.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>CounterPulse union staff showed KQED proposals they shared with management, which included taking unpaid furloughs and reducing their hours in hopes of avoiding layoffs. In November, CounterPulse sent the union a proposal to lay off four of its members.\u003c/p>\n\u003cp>The union attempted to counter, but CounterPulse management declared an impasse a week later — a move the workers said impeded on their rights to bargain as outlined in the National Labor Relations Act.\u003c/p>\n\u003cp>“That’s really where the illegal situation happened because that is just a refusal to bargain,” said Ach Kabal, CounterPulse’s former associate director of community engagement, who was among the laid-off union workers.\u003c/p>\n\u003cfigure id=\"attachment_13985513\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg\" alt='The exterior window of CounterPulse reads \"A space for art and community.\"' width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of CounterPulse on Jan. 13, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 24, 2025, the workers filed an unfair labor practice charge against CounterPulse, accusing the organization of unlawfully declaring a bargaining impasse and selecting workers for layoffs based on their support for the union. Julie Phelps, the former executive director, was unable to be reached by publication time, and Cordon declined to respond to specific questions about the allegations during our interview, but followed up with an email that said the board rejects them.\u003c/p>\n\u003cp>“We negotiated in good faith for months and were transparent that the underlying need to reduce expenses was a non-negotiable reality to ensure the organization’s survival,” Cordon wrote. “In an organization where nearly every eligible employee is a union member, a reduction in force will inevitably include union participants, but at no point was union activity a factor in these decisions. We remain confident that our actions were lawful, non-discriminatory, and necessary to preserve the organization.”\u003c/p>\n\u003ch2>A leadership transition goes wrong\u003c/h2>\n\u003cp>Making matters more challenging, the layoffs at CounterPulse took place amid a botched leadership transition. In 2025, the organization’s artistic and executive director \u003ca href=\"https://www.sfchronicle.com/entertainment/article/counterpulse-julie-phelps-departure-20818545.php\">Julie Phelps announced she was leaving CounterPulse\u003c/a> in November after 11 years. Suzanne Tan stepped in as interim executive director in late October, but left the role after just 10 days. The board informed the union of her departure a day before it sent its layoff proposal, meaning neither Tan nor Phelps could represent CounterPulse at the bargaining table.\u003c/p>\n\u003cp>CounterPulse board members Keith Hennessy (one of the organization’s original co-founders) and Abra Allan then formed an emergency leadership council, but it disbanded after two weeks. “I think, frankly, they were a bit emotionally tapped out,” Cordon said.\u003c/p>\n\u003cp>Cordon told KQED that CounterPulse will return to the bargaining table once a new executive leader is in place. It’s unclear when someone will be hired to fill that role, which has been vacant since mid-November. Meanwhile, the union argues that CounterPulse’s board has had a reasonable amount of time to designate another representative and continue negotiations, including the terms of their severance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They have a full board, they have a board chair, they have a board treasurer. The remaining member of management is the director of finance administration. And this whole conversation is about finance administration,” said Kabal. “There are people who are able to bargain with us.”\u003c/p>\n\u003ch2>A path forward for CounterPulse\u003c/h2>\n\u003cp>Peekaboo Salinas, who was CounterPulse’s development and communications associate until Dec. 19, said they and the three other laid-off workers are lobbying to get their jobs back. The workers want to bargain for a recall clause, which would ensure that they’d be reinstated once the organization is in a better financial position.\u003c/p>\n\u003cp>“I feel committed to the artists,” Salinas said. “I feel committed to the Transgender Cultural District, to the Tenderloin.”\u003c/p>\n\u003cfigure id=\"attachment_13985538\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg\" alt=\"\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">CounterPulse Workers United. \u003ccite>(Courtesy of Peekaboo Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessi Barber, who remains at CounterPulse as an on-call technician and union member, said the turmoil at CounterPulse has larger implications for the health of the Bay Area’s performing arts ecosystem. In addition to commissioning new works through its artist residency program, CounterPulse fiscally sponsors several artists and organizations, and is one of the few low-cost rentable venues in San Francisco.\u003c/p>\n\u003cp>“I can say that I work freelance for other people, and I know from those other productions I’m working on that people are looking at dates at other places and trying to make a plan B,” said Barber. “There’s a lot of heartache about that.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2025, CounterPulse hosted 21 full productions, plus nearly a dozen workshops and other events. Its public-facing 2026 calendar is currently blank other than a San Francisco Youth Theatre production in February. Cordon said CounterPulse will continue to support its fiscally sponsored House Artists, and that the organization is currently assessing its capacity for other spring events and its ARC Performing Diaspora residency.\u003c/p>\n\u003cp>Amid the turmoil, more than 100 artists, audience members and former CounterPulse staff signed an open letter that included a set of recommendations to the board and an invitation to meet to discuss the organization’s future. Supporters crowdfunded $7,818 to support the four laid-off union workers.\u003c/p>\n\u003cp>The core group behind the letter is calling themselves Friends of CounterPulse. Melissa Lewis Wong, a former CounterPulse artist in residence, is hopeful that by coming in with an outside perspective, they can help the board and union find common ground with the shared goal of CounterPulse’s long-term survival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think the community cares deeply for the future of CounterPulse, as does the board, as does unionized staff,” said Wong. “I have hope around that being a shared vision and aspiration.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\n\u003cp>https://vimeo.com/85962209\u003c/p>\n\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles",
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"content": "\u003cfigure id=\"attachment_13936003\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cornelius.SQ_.jpg\" alt=\"\" width=\"1667\" height=\"1667\" class=\"size-full wp-image-13936003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE!, whose drag extravaganza ‘The Show’ is part of this year’s CounterPulse Festival. \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young drag queen, \u003ca href=\"https://www.vivvys.com/\">VivvyAnne ForeverMORE!\u003c/a> spent many a night backstage, listening to her drag elders gossip and cackle under the glow of dressing room lights. Now, as a drag mother herself, she’s passed down wisdom to younger artists while gluing eyelashes and rhinestones.\u003c/p>\n\u003cp>This form of queer oral history — rarely documented or seen by the general public — is part of her upcoming drag extravaganza simply titled \u003ca href=\"https://www.theshow.rocks/\">\u003ci>The Show\u003c/i>\u003c/a>. The multi-venue event takes place on Oct. 14 as part of San Francisco’s CounterPulse Festival, and features an array of performances that invite audiences to partake in the otherwise private, behind-the-scenes rituals that make drag not just a form of entertainment, but a way to foster community and chosen family.\u003c/p>\n\u003cp>ForeverMORE! says that she and co-producer Julie Phelps, executive director of CounterPulse!, had the word “epic” in mind while designing the programming, which takes place in and around the Tenderloin, much of it free and outdoors. “I want these incidental moments of drag art on the street to be these moments of potential beauty for people,” says ForeverMORE!\u003c/p>\n\u003cp>Festivities kick off from 1–5 p.m. with “The Peepshow,” where 16 drag artists — including leading disability justice advocate Glamputee and Lisa Frankenstein, co-host of Oasis’ popular drag party Princess — take turns lip syncing behind the glass of CounterPulse’s lobby.\u003c/p>\n\u003cfigure id=\"attachment_13935934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg\" alt=\"A drag artist on crutches swings their ponytail. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Glamputee performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience is literally on Turk Street, which is a very active area,” ForeverMORE! says, noting the neighborhood’s poignant history: CounterPulse is just blocks from the former site of Compton’s Cafeteria, an all-night diner where trans women and drag queens rioted against police brutality in 1966.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For ForeverMORE!, the history of how LGBTQ+ identity was criminalized adds weight to \u003ci>The Show\u003c/i>’s glamorous and theatrical displays. “We didn’t just exist at nighttime, but we weren’t allowed to gather in public,” she says.\u003c/p>\n\u003cp>Celebrating gender-nonconformity in daylight is a core theme that runs through \u003ci>The Show\u003c/i> — and an important one as \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">anti-trans laws\u003c/a> continue to sweep the nation.\u003c/p>\n\u003cfigure id=\"attachment_13899332\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NickiJizz_COVER.jpg\" alt=\"\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Nicki Jizz hosts Reparations, a night of all-Black performers at Oasis. \u003ccite>(Courtesy of Nicki Jizz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 2–5 p.m. at The Strand Theater (a short walk from CounterPulse), eight drag artists will partake in one-on-one conversations on stage. Meant to replicate those aforementioned backstage kikis, “The Talks” pair \u003ca href=\"https://www.kqed.org/arts/tag/nicki-jizz\">Nicki Jizz\u003c/a>, creator of San Francisco’s only all-Black drag show \u003ci>Reparations\u003c/i>, for a conversation with KING LOTUS BOY, the 2023 San Francisco Drag King Contest winner and another formidable disability justice activist. Glamamore — VivvyAnne ForeverMORE!’s drag mother and \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">couture designer to the drag stars\u003c/a> — will be in conversation with drag artist, choreographer and author Fauxnique.\u003c/p>\n\u003cp>“I love backstage, not because it’s VIP, but because it’s funny and hilarious and full of jokes, you know?” ForeverMORE! says.\u003c/p>\n\u003cfigure id=\"attachment_13935941\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935941\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Churro Nomi performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a high-heeled hop and skip away from The Strand at Civic Center UN Plaza, “The Photoshoot” will feature street performances from VERA, Newonce, HELIXIR, Bindi Masala, Venus Superstar Bizarre, Mary Vice and Yves Saint Croissant. DJ aunteejoan will spin while Butter Rugged and Marcel Pardo Ariza snap pictures.\u003c/p>\n\u003cp>“Then we have drag artists walking to Civic Center from where they parked or from BART or whatever,” says ForeverMORE! of the atmosphere she hopes to cultivate. “Like maybe you’re visiting San Francisco and you just happened to be walking down Market and you pass by Newonce and you’re like, ‘Why is there a drag queen at 4 p.m.?’” [aside postid='arts_13934286']\u003c/p>\n\u003cp>All of the events are free except for “The Finale” and a VIP reception with food and drinks at the Line Hotel, where ForeverMORE! will announce a new arts initiative with her collaborators at the Stud Collective, the group of workers who plan to reopen their historic LGBTQ+ venue in a new location in 2024. And finally, \u003cem>The Show\u003c/em> will wrap with a performance at CounterPulse that includes live vocals and aerial dance, starring Dulce De Leche, Militia Scunt, Gina LaDivina, Pseuda, Churro Nomi and Major Hammy.\u003c/p>\n\u003cp>ForeverMORE! says she dreamt up \u003ci>The Show\u003c/i> to celebrate the dedicated drag artists who — through ingenuity, sacrifice and resourcefulness — created an intergenerational community that helps each other find the courage to flourish. “One of the coolest parts, particularly about Bay Area drag, is you can start here,” she says. “You can start off here and be encouraged pretty quickly. People will embrace you and pull you in and offer support.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Show’ takes place at CounterPulse and other San Francisco locations Oct. 14 1–8:30 p.m. “The Peepshow” will stream on \u003ca href=\"https://www.twitch.tv/counterpulsesf\">CounterPulse’s Twitch channel\u003c/a>, and “The Peepshow,” “The Talks” and “The Finale” offer ASL interpretation. \u003ca href=\"https://www.theshow.rocks/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936003\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cornelius.SQ_.jpg\" alt=\"\" width=\"1667\" height=\"1667\" class=\"size-full wp-image-13936003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE!, whose drag extravaganza ‘The Show’ is part of this year’s CounterPulse Festival. \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young drag queen, \u003ca href=\"https://www.vivvys.com/\">VivvyAnne ForeverMORE!\u003c/a> spent many a night backstage, listening to her drag elders gossip and cackle under the glow of dressing room lights. Now, as a drag mother herself, she’s passed down wisdom to younger artists while gluing eyelashes and rhinestones.\u003c/p>\n\u003cp>This form of queer oral history — rarely documented or seen by the general public — is part of her upcoming drag extravaganza simply titled \u003ca href=\"https://www.theshow.rocks/\">\u003ci>The Show\u003c/i>\u003c/a>. The multi-venue event takes place on Oct. 14 as part of San Francisco’s CounterPulse Festival, and features an array of performances that invite audiences to partake in the otherwise private, behind-the-scenes rituals that make drag not just a form of entertainment, but a way to foster community and chosen family.\u003c/p>\n\u003cp>ForeverMORE! says that she and co-producer Julie Phelps, executive director of CounterPulse!, had the word “epic” in mind while designing the programming, which takes place in and around the Tenderloin, much of it free and outdoors. “I want these incidental moments of drag art on the street to be these moments of potential beauty for people,” says ForeverMORE!\u003c/p>\n\u003cp>Festivities kick off from 1–5 p.m. with “The Peepshow,” where 16 drag artists — including leading disability justice advocate Glamputee and Lisa Frankenstein, co-host of Oasis’ popular drag party Princess — take turns lip syncing behind the glass of CounterPulse’s lobby.\u003c/p>\n\u003cfigure id=\"attachment_13935934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg\" alt=\"A drag artist on crutches swings their ponytail. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Glamputee performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience is literally on Turk Street, which is a very active area,” ForeverMORE! says, noting the neighborhood’s poignant history: CounterPulse is just blocks from the former site of Compton’s Cafeteria, an all-night diner where trans women and drag queens rioted against police brutality in 1966.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For ForeverMORE!, the history of how LGBTQ+ identity was criminalized adds weight to \u003ci>The Show\u003c/i>’s glamorous and theatrical displays. “We didn’t just exist at nighttime, but we weren’t allowed to gather in public,” she says.\u003c/p>\n\u003cp>Celebrating gender-nonconformity in daylight is a core theme that runs through \u003ci>The Show\u003c/i> — and an important one as \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">anti-trans laws\u003c/a> continue to sweep the nation.\u003c/p>\n\u003cfigure id=\"attachment_13899332\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NickiJizz_COVER.jpg\" alt=\"\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Nicki Jizz hosts Reparations, a night of all-Black performers at Oasis. \u003ccite>(Courtesy of Nicki Jizz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 2–5 p.m. at The Strand Theater (a short walk from CounterPulse), eight drag artists will partake in one-on-one conversations on stage. Meant to replicate those aforementioned backstage kikis, “The Talks” pair \u003ca href=\"https://www.kqed.org/arts/tag/nicki-jizz\">Nicki Jizz\u003c/a>, creator of San Francisco’s only all-Black drag show \u003ci>Reparations\u003c/i>, for a conversation with KING LOTUS BOY, the 2023 San Francisco Drag King Contest winner and another formidable disability justice activist. Glamamore — VivvyAnne ForeverMORE!’s drag mother and \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">couture designer to the drag stars\u003c/a> — will be in conversation with drag artist, choreographer and author Fauxnique.\u003c/p>\n\u003cp>“I love backstage, not because it’s VIP, but because it’s funny and hilarious and full of jokes, you know?” ForeverMORE! says.\u003c/p>\n\u003cfigure id=\"attachment_13935941\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935941\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Churro Nomi performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a high-heeled hop and skip away from The Strand at Civic Center UN Plaza, “The Photoshoot” will feature street performances from VERA, Newonce, HELIXIR, Bindi Masala, Venus Superstar Bizarre, Mary Vice and Yves Saint Croissant. DJ aunteejoan will spin while Butter Rugged and Marcel Pardo Ariza snap pictures.\u003c/p>\n\u003cp>“Then we have drag artists walking to Civic Center from where they parked or from BART or whatever,” says ForeverMORE! of the atmosphere she hopes to cultivate. “Like maybe you’re visiting San Francisco and you just happened to be walking down Market and you pass by Newonce and you’re like, ‘Why is there a drag queen at 4 p.m.?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the events are free except for “The Finale” and a VIP reception with food and drinks at the Line Hotel, where ForeverMORE! will announce a new arts initiative with her collaborators at the Stud Collective, the group of workers who plan to reopen their historic LGBTQ+ venue in a new location in 2024. And finally, \u003cem>The Show\u003c/em> will wrap with a performance at CounterPulse that includes live vocals and aerial dance, starring Dulce De Leche, Militia Scunt, Gina LaDivina, Pseuda, Churro Nomi and Major Hammy.\u003c/p>\n\u003cp>ForeverMORE! says she dreamt up \u003ci>The Show\u003c/i> to celebrate the dedicated drag artists who — through ingenuity, sacrifice and resourcefulness — created an intergenerational community that helps each other find the courage to flourish. “One of the coolest parts, particularly about Bay Area drag, is you can start here,” she says. “You can start off here and be encouraged pretty quickly. People will embrace you and pull you in and offer support.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Show’ takes place at CounterPulse and other San Francisco locations Oct. 14 1–8:30 p.m. “The Peepshow” will stream on \u003ca href=\"https://www.twitch.tv/counterpulsesf\">CounterPulse’s Twitch channel\u003c/a>, and “The Peepshow,” “The Talks” and “The Finale” offer ASL interpretation. \u003ca href=\"https://www.theshow.rocks/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Beloved EXIT Theatre Takes a Final Bow",
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"content": "\u003cp>My first offhand memory of EXIT Theatre doesn’t even take place there. It was at the Potrero Stage in 2018, when I was there to review a show, and I was approached by EXIT Theatre’s publicist. She’d read my reviews—something that always surprises me—and wanted to add me to EXIT’s press list. Having spent the last eight years frequenting the Tenderloin venue, I wasn’t about to refuse. To say the least, I was happy.\u003c/p>\n\u003cp>I had the exact opposite emotion last month, when I learned that EXIT founder Christina Augello is \u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">closing the Eddy Street venue for good\u003c/a>. I know that it’s neither the first nor last San Francisco business to close during this still-ongoing pandemic, but for frequent EXIT performers and patrons (I’ve been both), the news was an absolute gut-punch.\u003c/p>\n\u003cp>We all knew EXIT’s origins, and how Augello started performing in the lobby of a Tenderloin residential hotel in 1983. We journalists who reported on the venue knew to \u003ca href=\"https://web.archive.org/web/20191228190326/http:/theexit.org:80/press-room/\" target=\"_blank\" rel=\"noopener noreferrer\">always call it\u003c/a> “EXIT Theatre,” no “the.” We knew that the firefighter’s hat above the cafe was temporarily taken down when a firefighter took offense (it was put back up a month or two later). And, of course, we knew it was the one and only home of the San Francisco Fringe Festival.\u003c/p>\n\u003cfigure id=\"attachment_13807994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg\" alt='(L to R) Sabrina Wenske and Cara McClendon in \"You Fuckin Earned It\" at the SF Fringe Festival.' width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-960x545.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg 1049w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Sabrina Wenske and Cara McClendon in ‘You Fuckin Earned It’ at the San Francisco Fringe Festival at EXIT Theatre. \u003ccite>(Courtesy Shoot That Clown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What few outsiders knew was exactly why we regulars referred to it as “the heart of San Francisco’s indie theater scene.”\u003c/p>\n\u003cp>Its Eddy Street location puts EXIT just two blocks south of what’s considered the proper heart of San Francisco’s theater district, home to the Curran and Geary Theaters. That’s where you’ll find all the Geary Boulevard tourist traps: countless restaurants; an abundance of art galleries; and who knows how many hotels—all within walking distance of Union Square. It’s where people expect to see world-renowned shows and take a lot of photos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>EXIT, by contrast, is the place where I, as an actor, would hear about critics not seeing my show because they wouldn’t travel through the “gauntlet” of the Tenderloin. (EXIT’s the place where I once arrived for a show, left briefly to get a bite, and returned to find the front display window smashed.)\u003c/p>\n\u003cp>Keeping out the wealthy riff-raff was always part of its appeal. Everyone at EXIT was someone who wanted to be there.\u003c/p>\n\u003cfigure id=\"attachment_13919468\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg\" alt=\"a shuttered venue with a sign that reads 'EXIT Theatre'\" width=\"600\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-1020x1094.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-768x824.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg 1146w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The humble exterior of EXIT Theatre, seen shuttered in 2021. The venue’s location in the Tenderloin was part of what kept its spirit intact. \u003ccite>(Charles Lewis III)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its four stages—the main stage, the black box EXIT Stage Left, the smaller EXIT Studio, and EXIT Cafe cabaret stage—welcomed all the eccentrics and iconoclasts who had almost no chance of appearing on one of those fancier stages a few blocks north. A single night could feature a hard-hitting racial drama, a drag show, a magic act and “DIVA or Die” Burlesque, all under the same roof. Located within walking distance of the Powell BART station and boasting \u003ca href=\"https://web.archive.org/web/20200117065208/http:/www.theexit.org/rental-info/\">reasonably priced stage rentals\u003c/a>, it’s no mystery why broke artists flocked to the storefront fourplex, where paying audiences could absorb our work while consuming microwaved taquitos and sake cocktails, both often served by the wonderful Donna Fujita.\u003c/p>\n\u003cp>Eventually, one wound up at EXIT so frequently that they started working there in some capacity. Artistically, I’ve been there as an actor, producer, writer, director, set builder, and lighting operator. As a volunteer, I’ve been door greeter (with four stages, you soon find that patrons get lost even when you specify) and stage cleaner. And I did, well, \u003ca href=\"https://thethinkingmansidiot.wordpress.com/2014/09/22/theater-around-the-bay-first-time-a-fringin/\">whatever I could\u003c/a> at SF Fringe. While I remain critical of the “paying in experience” cliché, the sense of community inside that building was an experience that couldn’t be bought or found anywhere else, even in a city renowned for off-the-wall art.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in EXIT Theatre’s production of ‘Paradise Street’ by Clive Barker in 2016. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m sorry to say that I haven’t been inside the venue since the pandemic started. (Even though I’m COVID-cautious, I regret missing the final Fringe.) When \u003ca href=\"https://localnewsmatters.org/2020/09/30/the-price-of-survival-whats-the-future-of-san-franciscos-indie-performance-spaces/\">I interviewed Christina in late 2020\u003c/a>, while all theaters were closed, I was inspired by her statement that theater would soon “rise from the ashes,” bringing back the sense of community we’d lost to cancellations and closures. Yet I wound up \u003ca href=\"https://localnewsmatters.org/2021/08/18/berkeley-rep-exit-and-other-theaters-halt-reopening-plans-in-response-to-covid-surge/\">reporting about more EXIT shutdowns\u003c/a>.\u003c/p>\n\u003cp>This one is the last. And it hurts.\u003c/p>\n\u003cp>Yes, Christina suggests EXIT (with a satellite venue in Arcata) will continue as a “\u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">nomadic\u003c/a>” company, but that’s little comfort for those of us who always knew where to go. Companies like Lorraine Hansberry Theatre, Impact Theatre, Ubuntu Theatre (now Oakland Theater Project) and Ragged Wing Ensemble all vacated their longtime venues when prices got too high. Sure, it’s great to see PianoFight and CounterPulse trying to buy their buildings, but that doesn’t make the loss of EXIT hurt any less. In an increasingly expensive Bay Area, it’s one less go-to venue for eccentric and non-conforming art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m hopeful EXIT Theatre will rise from the ashes in a new location. I just hate not knowing where—or if—it’ll be.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My first offhand memory of EXIT Theatre doesn’t even take place there. It was at the Potrero Stage in 2018, when I was there to review a show, and I was approached by EXIT Theatre’s publicist. She’d read my reviews—something that always surprises me—and wanted to add me to EXIT’s press list. Having spent the last eight years frequenting the Tenderloin venue, I wasn’t about to refuse. To say the least, I was happy.\u003c/p>\n\u003cp>I had the exact opposite emotion last month, when I learned that EXIT founder Christina Augello is \u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">closing the Eddy Street venue for good\u003c/a>. I know that it’s neither the first nor last San Francisco business to close during this still-ongoing pandemic, but for frequent EXIT performers and patrons (I’ve been both), the news was an absolute gut-punch.\u003c/p>\n\u003cp>We all knew EXIT’s origins, and how Augello started performing in the lobby of a Tenderloin residential hotel in 1983. We journalists who reported on the venue knew to \u003ca href=\"https://web.archive.org/web/20191228190326/http:/theexit.org:80/press-room/\" target=\"_blank\" rel=\"noopener noreferrer\">always call it\u003c/a> “EXIT Theatre,” no “the.” We knew that the firefighter’s hat above the cafe was temporarily taken down when a firefighter took offense (it was put back up a month or two later). And, of course, we knew it was the one and only home of the San Francisco Fringe Festival.\u003c/p>\n\u003cfigure id=\"attachment_13807994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg\" alt='(L to R) Sabrina Wenske and Cara McClendon in \"You Fuckin Earned It\" at the SF Fringe Festival.' width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-960x545.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg 1049w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Sabrina Wenske and Cara McClendon in ‘You Fuckin Earned It’ at the San Francisco Fringe Festival at EXIT Theatre. \u003ccite>(Courtesy Shoot That Clown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What few outsiders knew was exactly why we regulars referred to it as “the heart of San Francisco’s indie theater scene.”\u003c/p>\n\u003cp>Its Eddy Street location puts EXIT just two blocks south of what’s considered the proper heart of San Francisco’s theater district, home to the Curran and Geary Theaters. That’s where you’ll find all the Geary Boulevard tourist traps: countless restaurants; an abundance of art galleries; and who knows how many hotels—all within walking distance of Union Square. It’s where people expect to see world-renowned shows and take a lot of photos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>EXIT, by contrast, is the place where I, as an actor, would hear about critics not seeing my show because they wouldn’t travel through the “gauntlet” of the Tenderloin. (EXIT’s the place where I once arrived for a show, left briefly to get a bite, and returned to find the front display window smashed.)\u003c/p>\n\u003cp>Keeping out the wealthy riff-raff was always part of its appeal. Everyone at EXIT was someone who wanted to be there.\u003c/p>\n\u003cfigure id=\"attachment_13919468\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg\" alt=\"a shuttered venue with a sign that reads 'EXIT Theatre'\" width=\"600\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-1020x1094.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-768x824.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg 1146w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The humble exterior of EXIT Theatre, seen shuttered in 2021. The venue’s location in the Tenderloin was part of what kept its spirit intact. \u003ccite>(Charles Lewis III)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its four stages—the main stage, the black box EXIT Stage Left, the smaller EXIT Studio, and EXIT Cafe cabaret stage—welcomed all the eccentrics and iconoclasts who had almost no chance of appearing on one of those fancier stages a few blocks north. A single night could feature a hard-hitting racial drama, a drag show, a magic act and “DIVA or Die” Burlesque, all under the same roof. Located within walking distance of the Powell BART station and boasting \u003ca href=\"https://web.archive.org/web/20200117065208/http:/www.theexit.org/rental-info/\">reasonably priced stage rentals\u003c/a>, it’s no mystery why broke artists flocked to the storefront fourplex, where paying audiences could absorb our work while consuming microwaved taquitos and sake cocktails, both often served by the wonderful Donna Fujita.\u003c/p>\n\u003cp>Eventually, one wound up at EXIT so frequently that they started working there in some capacity. Artistically, I’ve been there as an actor, producer, writer, director, set builder, and lighting operator. As a volunteer, I’ve been door greeter (with four stages, you soon find that patrons get lost even when you specify) and stage cleaner. And I did, well, \u003ca href=\"https://thethinkingmansidiot.wordpress.com/2014/09/22/theater-around-the-bay-first-time-a-fringin/\">whatever I could\u003c/a> at SF Fringe. While I remain critical of the “paying in experience” cliché, the sense of community inside that building was an experience that couldn’t be bought or found anywhere else, even in a city renowned for off-the-wall art.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in EXIT Theatre’s production of ‘Paradise Street’ by Clive Barker in 2016. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m sorry to say that I haven’t been inside the venue since the pandemic started. (Even though I’m COVID-cautious, I regret missing the final Fringe.) When \u003ca href=\"https://localnewsmatters.org/2020/09/30/the-price-of-survival-whats-the-future-of-san-franciscos-indie-performance-spaces/\">I interviewed Christina in late 2020\u003c/a>, while all theaters were closed, I was inspired by her statement that theater would soon “rise from the ashes,” bringing back the sense of community we’d lost to cancellations and closures. Yet I wound up \u003ca href=\"https://localnewsmatters.org/2021/08/18/berkeley-rep-exit-and-other-theaters-halt-reopening-plans-in-response-to-covid-surge/\">reporting about more EXIT shutdowns\u003c/a>.\u003c/p>\n\u003cp>This one is the last. And it hurts.\u003c/p>\n\u003cp>Yes, Christina suggests EXIT (with a satellite venue in Arcata) will continue as a “\u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">nomadic\u003c/a>” company, but that’s little comfort for those of us who always knew where to go. Companies like Lorraine Hansberry Theatre, Impact Theatre, Ubuntu Theatre (now Oakland Theater Project) and Ragged Wing Ensemble all vacated their longtime venues when prices got too high. Sure, it’s great to see PianoFight and CounterPulse trying to buy their buildings, but that doesn’t make the loss of EXIT hurt any less. In an increasingly expensive Bay Area, it’s one less go-to venue for eccentric and non-conforming art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m hopeful EXIT Theatre will rise from the ashes in a new location. I just hate not knowing where—or if—it’ll be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At CounterPulse, Keith Hennessy's 'Back' Is a Contemplative, 'Gentler' Work",
"headTitle": "At CounterPulse, Keith Hennessy’s ‘Back’ Is a Contemplative, ‘Gentler’ Work | KQED",
"content": "\u003cp>In the contemporary dance world, a new solo by Keith Hennessy would normally open with some ballyhoo, and on a weekend evening, around 8pm. That’s not happening this time.\u003c/p>\n\u003cp>For all the forthrightness of its title, \u003cem>Back (all I wanna do is dance and fuck and swim with you)\u003c/em> is presented modestly and almost furtively, over a cluster of six odd days (one purposefully not listed but only advertised by word-of-mouth), at off hours, and for a ticket price that starts at a judgment-free zero.\u003c/p>\n\u003cp>The audience that shows up, amid \u003cem>Back\u003c/em>’s low-key promotion and off-kilter schedule, will huddle on the floor of the CounterPulse stage for an hour, in the semi-round, before the mostly naked, mostly silent sixty-something dancer-choreographer.\u003c/p>\n\u003cp>The near-silence will be the most conspicuous detail for admirers of Hennessy’s work, which frequently features dazzling torrents of words, whether as monologue, rhyme, lecture or screed. He is a master of the extended curtain speech, a form of audience ambuscade few besides Hennessy can really get away with. (This time, he says, he’s limiting himself to five minutes.)\u003c/p>\n\u003cp>Almost nothing about Hennessy’s new work is typical. Frantic, screaming, dizzying and doomy times like these, he seems to be suggesting, call for something altogether softer, subtler, and bare. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted it to be this thing that’s outside the grid a little bit,” he says.\u003c/p>\n\u003ch2>Nature’s Sensuality\u003c/h2>\n\u003cp>The piece—created for Oslo’s LATERNA Festival, where it premiered in June—comes out of an exceptional set of circumstances, not least the pandemic. Covid upended or stalled everything on Hennessy’s professional calendar for 12 months. Hennessy channeled his energies accordingly.\u003c/p>\n\u003cp>“There were a whole bunch of [photo- and video-based] experiments I did of dancing naked outdoors during Covid,” he explains during a recent visit to his Mission District flat.\u003c/p>\n\u003cp>“First by myself, then with Nathaniel Moore, and one little project with Nathaniel and Brontez Purnell. Those pieces were, in a way, thinking through what it means to be outside because we can’t be inside. Being outside puts you into a relationship with nature and the urban environment, colliding realities that overlap. \u003c/p>\n\u003cp>[aside postID='arts_13917757']“What’s touch? What’s the erotic body? There started to become almost an eco-sexual aspect to it, rolling in sand and being in the ocean, the sensuality of being outside, on the rocks of the Yuba River.”\u003c/p>\n\u003cp>Meanwhile, Hennessy says turning 60 spurred self-reflection and exploration, including an express re-acquaintance with his libido. Then Covid pushed him for the first time onto apps like SCRUFF and Grindr. \u003c/p>\n\u003cp>“It hadn’t been my thing,” he explains. “I meet people through my work, through my politics, through social life, and I’d been partnered for many years. All of a sudden I was single, horny, trying to pick up my sex life, and going online. I now entered this world of visual porn through the naked selfie that you share with other people.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, worlds started to merge.\u003c/p>\n\u003ch2>Always Moving\u003c/h2>\n\u003cp>\u003cem>Back\u003c/em> represents the confluence of many rivers, the Yuba being the most literal. In the front room of his apartment, Hennessy lays out some of the costumes and properties for the show, explaining that most are intentionally recycled from past works. \u003c/p>\n\u003cp>There are, for instance, pieces from 2016’s \u003cem>Sara (the smuggler)\u003c/em> and 2015’s \u003cem>Bear/Skin\u003c/em>, and a costume of plastic shopping bags used just last year in his choreography for Latvian dancers at the Homo Novus festival in Riga.\u003c/p>\n\u003cp>There’s also an original piece by costumer and longtime collaborator Jack Davis that repurposes sections of the wedding dresses doused in pink house paint for \u003cem>The Pink Party\u003c/em> (2001-2002), ingeniously weaving the salvaged pieces together to form a toreador jacket. \u003c/p>\n\u003cp>\u003cem>Back\u003c/em> even includes repurposed music—a piece by Joel St. Julien that Hennessy danced to in Larry Arrington and Alexa Burrell’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview\" rel=\"noopener noreferrer\" target=\"_blank\">w o w m o m\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13872290']That work, which capped dancer-choreographer Arrington’s residency at ODC in April, featured the normally kinetic Hennessy seated in a chair against a giant video projection and rivetingly moving sideways through a glacial Butohesque arc.\u003c/p>\n\u003cp>Arrington—who was an ensemble member in Hennessy’s monumental and continually self-destructing \u003cem>Turbulence (a dance about the economy)\u003c/em>, which shook the rafters at YBCA in 2012—has seen \u003cem>Back\u003c/em> in rehearsal and registers a purity in it.\u003c/p>\n\u003cp>“I sometimes think dance can be really cynical,” she says, “especially if you think about nonprofits and funding and grants. It’s always about what ‘impact’ can dance make. Dance is always this method for something else. Keith is someone who believes that dance-ing is enough in a way. \u003c/p>\n\u003cp>“I think that’s part of what this piece is. In the midst of what feels like overwhelming crisis, he’s said, ‘Ok, so then I have to dance.’ A lot of people said, ‘I have to stop for a while,’ at least in the beginning of Covid. That’s not the case with him.”\u003c/p>\n\u003cp>At his core, Arrington sees Hennessy “as a dance person, a body person, a movement person. I think it’s extraordinarily difficult, especially under late-stage Covid-era capitalism,” she adds, “but Keith has never let alienation become a force that stops him from moving towards things.” \u003c/p>\n\u003ch2>A Short, Guided Dance Trip\u003c/h2>\n\u003cp>“In making a piece contemplative of the erotic body,” says Hennessy, there follows the question, “How do we think through the mental instability of the world? The increasing anxiety and depression that have one hundred percent intensified because of the neoliberal impact on the psyche as well as the psychological professions?” \u003c/p>\n\u003cp>Instead, Hennessy decided to make something without thinking. “I’ve ended up making this piece that’s gentler on my body, gentler on the mind. It’s not without its subtle provocations, but it’s a gentler work than I’ve made before.”\u003c/p>\n\u003cp>[aside postID='arts_13916333']The music, Hennessy says, is “very ambient and dreamscape-y. There’s a bit more space to feel. Things aren’t just coming at you quickly.” \u003c/p>\n\u003cp>Amid the mayhem of the moment, \u003cem>Back\u003c/em> is a short, guided dance trip, then, a measure of art medicine for a microdosing age. The gesture feels exactly right. The sense will be in the unfolding, for audience and artist alike.\u003c/p>\n\u003cp>“I didn’t make the piece to mean something,“ Hennessy makes clear. “I made the work, and now I’m learning what it means.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Back (all I wanna do is dance and fuck and swim with you)’ runs Sept. 14–24 at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/back/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the contemporary dance world, a new solo by Keith Hennessy would normally open with some ballyhoo, and on a weekend evening, around 8pm. That’s not happening this time.\u003c/p>\n\u003cp>For all the forthrightness of its title, \u003cem>Back (all I wanna do is dance and fuck and swim with you)\u003c/em> is presented modestly and almost furtively, over a cluster of six odd days (one purposefully not listed but only advertised by word-of-mouth), at off hours, and for a ticket price that starts at a judgment-free zero.\u003c/p>\n\u003cp>The audience that shows up, amid \u003cem>Back\u003c/em>’s low-key promotion and off-kilter schedule, will huddle on the floor of the CounterPulse stage for an hour, in the semi-round, before the mostly naked, mostly silent sixty-something dancer-choreographer.\u003c/p>\n\u003cp>The near-silence will be the most conspicuous detail for admirers of Hennessy’s work, which frequently features dazzling torrents of words, whether as monologue, rhyme, lecture or screed. He is a master of the extended curtain speech, a form of audience ambuscade few besides Hennessy can really get away with. (This time, he says, he’s limiting himself to five minutes.)\u003c/p>\n\u003cp>Almost nothing about Hennessy’s new work is typical. Frantic, screaming, dizzying and doomy times like these, he seems to be suggesting, call for something altogether softer, subtler, and bare. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted it to be this thing that’s outside the grid a little bit,” he says.\u003c/p>\n\u003ch2>Nature’s Sensuality\u003c/h2>\n\u003cp>The piece—created for Oslo’s LATERNA Festival, where it premiered in June—comes out of an exceptional set of circumstances, not least the pandemic. Covid upended or stalled everything on Hennessy’s professional calendar for 12 months. Hennessy channeled his energies accordingly.\u003c/p>\n\u003cp>“There were a whole bunch of [photo- and video-based] experiments I did of dancing naked outdoors during Covid,” he explains during a recent visit to his Mission District flat.\u003c/p>\n\u003cp>“First by myself, then with Nathaniel Moore, and one little project with Nathaniel and Brontez Purnell. Those pieces were, in a way, thinking through what it means to be outside because we can’t be inside. Being outside puts you into a relationship with nature and the urban environment, colliding realities that overlap. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What’s touch? What’s the erotic body? There started to become almost an eco-sexual aspect to it, rolling in sand and being in the ocean, the sensuality of being outside, on the rocks of the Yuba River.”\u003c/p>\n\u003cp>Meanwhile, Hennessy says turning 60 spurred self-reflection and exploration, including an express re-acquaintance with his libido. Then Covid pushed him for the first time onto apps like SCRUFF and Grindr. \u003c/p>\n\u003cp>“It hadn’t been my thing,” he explains. “I meet people through my work, through my politics, through social life, and I’d been partnered for many years. All of a sudden I was single, horny, trying to pick up my sex life, and going online. I now entered this world of visual porn through the naked selfie that you share with other people.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, worlds started to merge.\u003c/p>\n\u003ch2>Always Moving\u003c/h2>\n\u003cp>\u003cem>Back\u003c/em> represents the confluence of many rivers, the Yuba being the most literal. In the front room of his apartment, Hennessy lays out some of the costumes and properties for the show, explaining that most are intentionally recycled from past works. \u003c/p>\n\u003cp>There are, for instance, pieces from 2016’s \u003cem>Sara (the smuggler)\u003c/em> and 2015’s \u003cem>Bear/Skin\u003c/em>, and a costume of plastic shopping bags used just last year in his choreography for Latvian dancers at the Homo Novus festival in Riga.\u003c/p>\n\u003cp>There’s also an original piece by costumer and longtime collaborator Jack Davis that repurposes sections of the wedding dresses doused in pink house paint for \u003cem>The Pink Party\u003c/em> (2001-2002), ingeniously weaving the salvaged pieces together to form a toreador jacket. \u003c/p>\n\u003cp>\u003cem>Back\u003c/em> even includes repurposed music—a piece by Joel St. Julien that Hennessy danced to in Larry Arrington and Alexa Burrell’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview\" rel=\"noopener noreferrer\" target=\"_blank\">w o w m o m\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That work, which capped dancer-choreographer Arrington’s residency at ODC in April, featured the normally kinetic Hennessy seated in a chair against a giant video projection and rivetingly moving sideways through a glacial Butohesque arc.\u003c/p>\n\u003cp>Arrington—who was an ensemble member in Hennessy’s monumental and continually self-destructing \u003cem>Turbulence (a dance about the economy)\u003c/em>, which shook the rafters at YBCA in 2012—has seen \u003cem>Back\u003c/em> in rehearsal and registers a purity in it.\u003c/p>\n\u003cp>“I sometimes think dance can be really cynical,” she says, “especially if you think about nonprofits and funding and grants. It’s always about what ‘impact’ can dance make. Dance is always this method for something else. Keith is someone who believes that dance-ing is enough in a way. \u003c/p>\n\u003cp>“I think that’s part of what this piece is. In the midst of what feels like overwhelming crisis, he’s said, ‘Ok, so then I have to dance.’ A lot of people said, ‘I have to stop for a while,’ at least in the beginning of Covid. That’s not the case with him.”\u003c/p>\n\u003cp>At his core, Arrington sees Hennessy “as a dance person, a body person, a movement person. I think it’s extraordinarily difficult, especially under late-stage Covid-era capitalism,” she adds, “but Keith has never let alienation become a force that stops him from moving towards things.” \u003c/p>\n\u003ch2>A Short, Guided Dance Trip\u003c/h2>\n\u003cp>“In making a piece contemplative of the erotic body,” says Hennessy, there follows the question, “How do we think through the mental instability of the world? The increasing anxiety and depression that have one hundred percent intensified because of the neoliberal impact on the psyche as well as the psychological professions?” \u003c/p>\n\u003cp>Instead, Hennessy decided to make something without thinking. “I’ve ended up making this piece that’s gentler on my body, gentler on the mind. It’s not without its subtle provocations, but it’s a gentler work than I’ve made before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The music, Hennessy says, is “very ambient and dreamscape-y. There’s a bit more space to feel. Things aren’t just coming at you quickly.” \u003c/p>\n\u003cp>Amid the mayhem of the moment, \u003cem>Back\u003c/em> is a short, guided dance trip, then, a measure of art medicine for a microdosing age. The gesture feels exactly right. The sense will be in the unfolding, for audience and artist alike.\u003c/p>\n\u003cp>“I didn’t make the piece to mean something,“ Hennessy makes clear. “I made the work, and now I’m learning what it means.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back (all I wanna do is dance and fuck and swim with you)’ runs Sept. 14–24 at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/back/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Look Around You This Fall for These Bay Area Dance Events",
"headTitle": "Look Around You This Fall for These Bay Area Dance Events | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The most compelling dance performances challenge the audience experience, whether with atypical stages or by blurring lines between genres. All the better if the performance carries an urgent story. The Bay Area dance events selected in this year’s fall preview extend beyond the black box theater, whether by activating waterways or scaling building facades. Many of these events also weave today’s pressing social issues into their choreography. It’s the Bay Area, after all, and today’s local dancers and choreographers proudly carry the torch of the region’s legacy in art as activism.\u003c/p>\n\u003cfigure id=\"attachment_13917765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg\" alt=\"a man in red dances inside a dimly lit building, against a white wall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen of Lenora Lee Dance, which premieres ‘In the Movement’ Sept. 1-11 at ODC in San Francisco. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://odc.secure.force.com/ticket/?_ga=2.241490244.713335932.1660175872-1110366481.1660175872#/events/a0S5b00000CTNJYEA5\">‘In the Movement’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>ODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 1-11, 2022\u003c/em>\u003c/p>\n\u003cp>How can dance embody the separation of families caused by incarceration and mass detention of immigrants? Lenora Lee Dance’s world premiere of \u003cem>In the Movement\u003c/em>, produced in collaboration with Asian Improv aRTs and the API Cultural Center, ventures to choreograph these topics. The work incorporates recorded interviews with currently or formerly incarcerated individuals and advocates, as well as recorded music, live vocals and video filmed on Alcatraz Island. In responding to this source material, \u003cem>In the Movement\u003c/em> employs dance to illustrate systemic cycles of oppression.\u003c/p>\n\u003cfigure id=\"attachment_13917767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg\" alt=\"a bright gold rose sculpture in Golden Gate Park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Slow Show’ takes place Sept. 15 take place at the ‘La Rose des Vents’ sculpture in the Conservatory of Flowers in Golden Gate Park. \u003ccite>(Courtesy of the SF Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://836m.org/la-rose-des-vents/\">‘Slow Show’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Conservatory of Flowers, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15, 2022\u003c/em>\u003c/p>\n\u003cp>Choreographer Dimitri Chamblas wants to slow down. He describes his internationally touring work, \u003cem>Slow Show\u003c/em>, as an “intensive and agitated” practice of stretching time through micro-movements that adapt to the dancer’s location—previously, a frozen lake in Minneapolis, or an outdoor amphitheater in Ouagadougou. In San Francisco, the work will take place at the “La Rose des Vents” sculpture in the Conservatory of Flowers in Golden Gate Park. The site-specific performance and dedication to the gilded kinetic sculpture, created by French artist Jean-Michel Othoniel, will feature an ensemble of 50 dancers who respond to the site through a series of “intense, concentrated and trance-like operations.”\u003c/p>\n\u003cfigure id=\"attachment_13917766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Hewett and \u003cspan style=\"font-weight: 400\">brontë \u003c/span>velez in ‘SPIN,’ part of Joe Goode Performance Group’s Gush Festival running Sept. 15-18 in San Francisco. \u003ccite>(Jade Begay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://joegoode.org/event/gush-2022/\">Gush Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Joe Goode Performance Group, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-18, 2022\u003c/em>\u003c/p>\n\u003cp>Joe Goode Performance Group’s second bi-annual GUSH Festival explores queer intergenerational interconnection and ancestral cultural identity. brontë velez’s SPIN promises to use aerial dance to illustrate “the ways Black folks spin and get spun out,” and Gizeh Muñiz Vengel & Ernesto Peart Falcón’s dance duet ‘islas breves’ questions a blurred ancestral lineage. The festival also welcomes three longtime Joe Goode artists—Gabriele Christian, Molly Katzman and Joe Goode himself—for a duet that choreographs each collaborator’s partnership with a queer guest elder or youth performer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13917768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg\" alt=\"an aerial dancer in red performs against a black and white backdrop\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-2048x1338.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jhia Jackson in ‘Apparatus of Repair,’ which takes place around UC Hastings’ Tenderloin campus Sept. 15-25. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://flyawayproductions.com/upcoming-events/\">‘Apparatus of Repair’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Hastings College of the Law, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-25, 2022\u003c/em>\u003c/p>\n\u003cp>It’s only fitting that a performance about the prison industrial complex takes place at a law school. Flyaway Productions’ \u003cem>Apparatus of Repair\u003c/em> is the final installment of \u003cem>The Decarceration Trilogy: Dismantling the Prison Industrial Complex One Dance at a Time\u003c/em>. The site-specific aerial dance performance activates vertical surfaces of UC Hastings’ buildings as a means to explore the devastating effects of mass incarceration and the healing process of restorative justice. \u003cem>Apparatus of Repair\u003c/em> can be viewed from several vantage points surrounding UC Hastings’ Tenderloin campus. Just don’t forget to look up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CtcwfJdPvsY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.santacruzmah.org/commonground\">CommonGround Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, Santa Cruz County\u003cbr>\nSept. 16-25, 2022\u003c/em>\u003c/p>\n\u003cp>Some of the most exciting performance “stages” aren’t actually stages at all. The biennial 10-day CommonGround Festival is hosted in outdoor locations throughout Santa Cruz County, aiming to connect audiences with the region’s natural and built environments through installation art and site-specific performance. Oakland’s aerial arts company BANDALOOP will present \u003cem>LOOM:FIELD\u003c/em>, a vertical dance work that weaves climbing tech with ecological stewardship to transform the facade of the Santa Cruz Museum of Art & History into a giant loom. Other locations include a raft on Soquel Creek, the Evergreen Cemetery and the Davenport Jail.\u003c/p>\n\u003cfigure id=\"attachment_13917770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917770 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg\" alt=\"a blurry image of a group of dancers standing in front of the ocean\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-1020x691.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-768x520.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438.jpeg 1455w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Farallonites will perform at Fort Mason Center for the Arts in San Francisco Sept. 16-18. \u003ccite>(Piro Patten)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://danalawtondances.org/\">‘The Farallonites’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Fort Mason Center for the Arts, San Francisco\u003cbr>\nSept. 16-18, 2022\u003c/em>\u003c/p>\n\u003cp>“Fortitude and resilience.” That’s how the multidisciplinary performance group Dana Lawton Dances describe the lives of the lighthouse keepers and their families who lived on the Farallon Islands from the mid-1850s to the early 1900s. The work weaves dance with an original musical score, spoken word and visual art to build a world of “harsh physical conditions, repetitive hard labor and near total isolation.” If you’ve never considered the human spirit of lighthouse keepers and their loved ones, this performance is sure to make you think the next time you hear San Francisco’s fog horns.\u003c/p>\n\u003cfigure id=\"attachment_13917762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kanyon (Cayote Woman) Sayers-Roods in ‘‘sii agua sí.’ \u003ccite>(Fernando Gallegos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/flacc-2022-sii-agua-si-tickets-396312520417\">‘sii agua sí’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Between Dolores St. & Church St., San Francisco\u003cbr>\nOct. 1, 2022\u003c/em>\u003c/p>\n\u003cp>Did you know Dolores Park is a Native American heritage site? (To be clear, \u003ca href=\"https://www.kqed.org/arts/13916457/youre-on-native-land-the-cultural-district-honoring-urban-native-history\">all of San Francisco is on Native land\u003c/a>.) Dance Mission has partnered with the Festival of Latin American Contemporary Choreographers, Ohlone leaders, local artists, Mission High School and the American Indian Cultural District to honor Yelamu’s Inidigenous history. The free ritual performance intervention, sii agua sí, will memorialize the Indigenous ancestors buried in the Mission Dolores cemetery during early colonization. The event will include water prayers, traditional dance, a guided tour around the park and an “Ask a Native” session in an educational, Ohlone-led space.\u003c/p>\n\u003cfigure id=\"attachment_13917760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg\" alt=\"a woman with closed eyes against a backdrop of knotted rope\" width=\"800\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-1020x1226.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-160x192.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-768x923.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Gorospe Cole in ‘Quake.’ \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/quake/\">‘Quake’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 13-15, 2022\u003c/em>\u003c/p>\n\u003cp>The stigma about mental health has begun to erode in the past few years, and Asian American celebrities are \u003ca href=\"https://www.kqed.org/arts/13916258/constance-wus-reveal-speaks-to-the-profound-pressure-asian-american-women-face\">speaking out about the profound pressure\u003c/a> they face from the media and public. But often missing from the conversation are stories about Asian-American communities’ resilience and healing practices. Kat Gorospe Cole & Jeffrey Yip’s multidisciplinary project \u003cem>Quake\u003c/em> provides a lens into the alternative mental health practices of some of these communities by immersing audiences in an audio installation that replicates a form of sound healing known as Vibroacoustic Therapy.\u003c/p>\n\u003cfigure id=\"attachment_13917771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-768x384.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Summer Dance Music Series offers free, family-friendly dance events at San Francisco’s Union Square on Saturdays through Sept. 24. \u003ccite>(Courtesy of Union Square Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/summer-dance-music-series-tickets-289832515857\">Summer Dance Music Series\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Union Square Park, San Francisco\u003cbr>\nSaturdays, Aug. 12-Sept. 24, 2022\u003c/em>\u003c/p>\n\u003cp>Many of the Bay Area’s dance events this fall dig into some heavy—and worthy—topics. But there are also options for those hoping to simply catch some free, lighthearted outdoor performances. Union Square Alliance’s Summer Dance Music Series brings live music and dance to San Francisco’s Union Square every Saturday through Sept. 24 for some family-friendly relaxation. The Bay Area dance scene can be heavy; it’s OK to take a breather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The season's most exciting dance offerings respond to pressing social issues—and challenge their audiences' notions of the stage. ",
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"title": "Look Around You This Fall for These Bay Area Dance Events | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The most compelling dance performances challenge the audience experience, whether with atypical stages or by blurring lines between genres. All the better if the performance carries an urgent story. The Bay Area dance events selected in this year’s fall preview extend beyond the black box theater, whether by activating waterways or scaling building facades. Many of these events also weave today’s pressing social issues into their choreography. It’s the Bay Area, after all, and today’s local dancers and choreographers proudly carry the torch of the region’s legacy in art as activism.\u003c/p>\n\u003cfigure id=\"attachment_13917765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg\" alt=\"a man in red dances inside a dimly lit building, against a white wall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen of Lenora Lee Dance, which premieres ‘In the Movement’ Sept. 1-11 at ODC in San Francisco. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://odc.secure.force.com/ticket/?_ga=2.241490244.713335932.1660175872-1110366481.1660175872#/events/a0S5b00000CTNJYEA5\">‘In the Movement’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>ODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 1-11, 2022\u003c/em>\u003c/p>\n\u003cp>How can dance embody the separation of families caused by incarceration and mass detention of immigrants? Lenora Lee Dance’s world premiere of \u003cem>In the Movement\u003c/em>, produced in collaboration with Asian Improv aRTs and the API Cultural Center, ventures to choreograph these topics. The work incorporates recorded interviews with currently or formerly incarcerated individuals and advocates, as well as recorded music, live vocals and video filmed on Alcatraz Island. In responding to this source material, \u003cem>In the Movement\u003c/em> employs dance to illustrate systemic cycles of oppression.\u003c/p>\n\u003cfigure id=\"attachment_13917767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg\" alt=\"a bright gold rose sculpture in Golden Gate Park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Slow Show’ takes place Sept. 15 take place at the ‘La Rose des Vents’ sculpture in the Conservatory of Flowers in Golden Gate Park. \u003ccite>(Courtesy of the SF Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://836m.org/la-rose-des-vents/\">‘Slow Show’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Conservatory of Flowers, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15, 2022\u003c/em>\u003c/p>\n\u003cp>Choreographer Dimitri Chamblas wants to slow down. He describes his internationally touring work, \u003cem>Slow Show\u003c/em>, as an “intensive and agitated” practice of stretching time through micro-movements that adapt to the dancer’s location—previously, a frozen lake in Minneapolis, or an outdoor amphitheater in Ouagadougou. In San Francisco, the work will take place at the “La Rose des Vents” sculpture in the Conservatory of Flowers in Golden Gate Park. The site-specific performance and dedication to the gilded kinetic sculpture, created by French artist Jean-Michel Othoniel, will feature an ensemble of 50 dancers who respond to the site through a series of “intense, concentrated and trance-like operations.”\u003c/p>\n\u003cfigure id=\"attachment_13917766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Hewett and \u003cspan style=\"font-weight: 400\">brontë \u003c/span>velez in ‘SPIN,’ part of Joe Goode Performance Group’s Gush Festival running Sept. 15-18 in San Francisco. \u003ccite>(Jade Begay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://joegoode.org/event/gush-2022/\">Gush Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Joe Goode Performance Group, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-18, 2022\u003c/em>\u003c/p>\n\u003cp>Joe Goode Performance Group’s second bi-annual GUSH Festival explores queer intergenerational interconnection and ancestral cultural identity. brontë velez’s SPIN promises to use aerial dance to illustrate “the ways Black folks spin and get spun out,” and Gizeh Muñiz Vengel & Ernesto Peart Falcón’s dance duet ‘islas breves’ questions a blurred ancestral lineage. The festival also welcomes three longtime Joe Goode artists—Gabriele Christian, Molly Katzman and Joe Goode himself—for a duet that choreographs each collaborator’s partnership with a queer guest elder or youth performer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13917768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg\" alt=\"an aerial dancer in red performs against a black and white backdrop\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-2048x1338.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jhia Jackson in ‘Apparatus of Repair,’ which takes place around UC Hastings’ Tenderloin campus Sept. 15-25. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://flyawayproductions.com/upcoming-events/\">‘Apparatus of Repair’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Hastings College of the Law, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-25, 2022\u003c/em>\u003c/p>\n\u003cp>It’s only fitting that a performance about the prison industrial complex takes place at a law school. Flyaway Productions’ \u003cem>Apparatus of Repair\u003c/em> is the final installment of \u003cem>The Decarceration Trilogy: Dismantling the Prison Industrial Complex One Dance at a Time\u003c/em>. The site-specific aerial dance performance activates vertical surfaces of UC Hastings’ buildings as a means to explore the devastating effects of mass incarceration and the healing process of restorative justice. \u003cem>Apparatus of Repair\u003c/em> can be viewed from several vantage points surrounding UC Hastings’ Tenderloin campus. Just don’t forget to look up.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CtcwfJdPvsY'\n title='//www.youtube.com/embed/CtcwfJdPvsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.santacruzmah.org/commonground\">CommonGround Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, Santa Cruz County\u003cbr>\nSept. 16-25, 2022\u003c/em>\u003c/p>\n\u003cp>Some of the most exciting performance “stages” aren’t actually stages at all. The biennial 10-day CommonGround Festival is hosted in outdoor locations throughout Santa Cruz County, aiming to connect audiences with the region’s natural and built environments through installation art and site-specific performance. Oakland’s aerial arts company BANDALOOP will present \u003cem>LOOM:FIELD\u003c/em>, a vertical dance work that weaves climbing tech with ecological stewardship to transform the facade of the Santa Cruz Museum of Art & History into a giant loom. Other locations include a raft on Soquel Creek, the Evergreen Cemetery and the Davenport Jail.\u003c/p>\n\u003cfigure id=\"attachment_13917770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917770 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg\" alt=\"a blurry image of a group of dancers standing in front of the ocean\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-1020x691.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-768x520.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438.jpeg 1455w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Farallonites will perform at Fort Mason Center for the Arts in San Francisco Sept. 16-18. \u003ccite>(Piro Patten)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://danalawtondances.org/\">‘The Farallonites’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Fort Mason Center for the Arts, San Francisco\u003cbr>\nSept. 16-18, 2022\u003c/em>\u003c/p>\n\u003cp>“Fortitude and resilience.” That’s how the multidisciplinary performance group Dana Lawton Dances describe the lives of the lighthouse keepers and their families who lived on the Farallon Islands from the mid-1850s to the early 1900s. The work weaves dance with an original musical score, spoken word and visual art to build a world of “harsh physical conditions, repetitive hard labor and near total isolation.” If you’ve never considered the human spirit of lighthouse keepers and their loved ones, this performance is sure to make you think the next time you hear San Francisco’s fog horns.\u003c/p>\n\u003cfigure id=\"attachment_13917762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kanyon (Cayote Woman) Sayers-Roods in ‘‘sii agua sí.’ \u003ccite>(Fernando Gallegos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/flacc-2022-sii-agua-si-tickets-396312520417\">‘sii agua sí’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Between Dolores St. & Church St., San Francisco\u003cbr>\nOct. 1, 2022\u003c/em>\u003c/p>\n\u003cp>Did you know Dolores Park is a Native American heritage site? (To be clear, \u003ca href=\"https://www.kqed.org/arts/13916457/youre-on-native-land-the-cultural-district-honoring-urban-native-history\">all of San Francisco is on Native land\u003c/a>.) Dance Mission has partnered with the Festival of Latin American Contemporary Choreographers, Ohlone leaders, local artists, Mission High School and the American Indian Cultural District to honor Yelamu’s Inidigenous history. The free ritual performance intervention, sii agua sí, will memorialize the Indigenous ancestors buried in the Mission Dolores cemetery during early colonization. The event will include water prayers, traditional dance, a guided tour around the park and an “Ask a Native” session in an educational, Ohlone-led space.\u003c/p>\n\u003cfigure id=\"attachment_13917760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg\" alt=\"a woman with closed eyes against a backdrop of knotted rope\" width=\"800\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-1020x1226.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-160x192.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-768x923.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Gorospe Cole in ‘Quake.’ \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/quake/\">‘Quake’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 13-15, 2022\u003c/em>\u003c/p>\n\u003cp>The stigma about mental health has begun to erode in the past few years, and Asian American celebrities are \u003ca href=\"https://www.kqed.org/arts/13916258/constance-wus-reveal-speaks-to-the-profound-pressure-asian-american-women-face\">speaking out about the profound pressure\u003c/a> they face from the media and public. But often missing from the conversation are stories about Asian-American communities’ resilience and healing practices. Kat Gorospe Cole & Jeffrey Yip’s multidisciplinary project \u003cem>Quake\u003c/em> provides a lens into the alternative mental health practices of some of these communities by immersing audiences in an audio installation that replicates a form of sound healing known as Vibroacoustic Therapy.\u003c/p>\n\u003cfigure id=\"attachment_13917771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-768x384.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Summer Dance Music Series offers free, family-friendly dance events at San Francisco’s Union Square on Saturdays through Sept. 24. \u003ccite>(Courtesy of Union Square Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/summer-dance-music-series-tickets-289832515857\">Summer Dance Music Series\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Union Square Park, San Francisco\u003cbr>\nSaturdays, Aug. 12-Sept. 24, 2022\u003c/em>\u003c/p>\n\u003cp>Many of the Bay Area’s dance events this fall dig into some heavy—and worthy—topics. But there are also options for those hoping to simply catch some free, lighthearted outdoor performances. Union Square Alliance’s Summer Dance Music Series brings live music and dance to San Francisco’s Union Square every Saturday through Sept. 24 for some family-friendly relaxation. The Bay Area dance scene can be heavy; it’s OK to take a breather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "Highlights of Bay Area Theatre and Dance to See This Fall",
"headTitle": "Highlights of Bay Area Theatre and Dance to See This Fall | KQED",
"content": "\u003cp>When the first wave of COVID-19 closures hit in March 2020, nobody could predict exactly when (or indeed, if) arts spaces would be able to open their doors again to in-person performance. Initially it seemed as if reopening might happen within three weeks. Then another month. Then another. And here we are, seventeen months later, when a large number of venues are still dark or operating at limited capacity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>With the rise of the delta variant, performing arts spaces have had to navigate this year’s reopening with an abundance of caution and maximum flexibility. In practical terms, this has meant fluctuating performance dates, last-minute cancellations and postponements, and the understanding on both sides of the stage that things could change at any moment.\u003c/p>\n\u003cp>Despite this, the artistic imperative to create, communicate, and connect remains strong in the Bay Area. With the caveat that dates, locations, and COVID-19 protocols might change between now and showtime, here’s a roundup of essential fall performances to put on your calendar.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13901821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble from a 2019 production of ‘I Too Sing America.’ \u003ccite>(Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">New Roots Theatre Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Brava Theater Center, San Francisco\u003cbr>\nOct. 16 and 17\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not content to welcome audiences back with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cfigure id=\"attachment_13901819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers for ‘Radius’ at the CounterPulse Festival. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/festival2021/\" rel=\"noopener noreferrer\" target=\"_blank\">The CounterPulse Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues; also online\u003cbr>\nSept. 9–18\u003c/em>\u003c/p>\n\u003cp>The rescheduled CounterPulse Festival—featuring performances, panels, poetry, film, and workshops—comes to both physical and virtual space in San Francisco, Oakland, and even the Santa Cruz Mountains. As an artistic home to many of the Bay Area’s most imaginative multidisciplinary performers, CounterPulse’s focus on embodied liberation and communal arts practice lends itself to festival mode. \u003c/p>\n\u003cp>Some standouts include new work from FACT/SF, a facilitated conversation between Bay Area-based “Queeratorial collectives” entitled “Fuck the System,” an embodied divination workshop with Amara Tabor Smith, and a film series inspired by the writings of Jean Genet and Sufi mystic Ibn Arabi, instigated by Zulfikar Ali Bhutto and partially narrated by his alter ego Faluda Islam. The weeklong festival culminates with \u003cem>Radius\u003c/em>, an improvisational outdoor performance exploring power dynamics and collaborative energies, featuring dance artists, experimental electronic musicians, and CounterPulse’s artistic and executive director Julie Phelps. Pre-registration is required, and proof of vaccination and masks are required for indoor events.\u003c/p>\n\u003cfigure id=\"attachment_13901824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Displaced’ stars Troy Rockett and Jordan Don. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.crowdedfire.org/displaced/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Displaced’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003cbr>\nSept. 9–Oct. 2\u003c/em>\u003c/p>\n\u003cp>Another play postponed by the pandemic, \u003cem>The Displaced\u003c/em> by Isaac Gómez is a two-hander horror story with a solid reputation for inspiring unease. When artistic couple Marísa and Lev move into their new apartment, their quotidian squabbling can’t distract from a series of unexplainable events unfolding around them. But are they being haunted by their own fragmented dysfunction, or by a tormented spirit with cause to linger? \u003c/p>\n\u003cp>Recently rewritten with a pair of alternate endings, Gómez’ nervy script gradually reveals itself to be about much more than a few flying tchotchkes; it also addresses gentrification, generational wealth, racial inequity, and displacement. Featuring Jordan Don and Troy Rockett as the troubled protagonists—with direction by Mina Morita and Karina Gutiérrez, and special effects design by Devon LaBelle—Crowded Fire’s production of \u003cem>The Displaced\u003c/em> offers both a savvy indictment of our time, and a seasonally appropriate scary story. Masks and proof of vaccination are required, while select shows allow a proof of negative COVID test instead (check website for dates).\u003c/p>\n\u003cfigure id=\"attachment_13901820\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg\" alt=\"\" width=\"640\" height=\"524\" class=\"size-large wp-image-13901820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abbey Lee in ‘Galatea.’ \u003ccite>(Jennifer Griego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ci.rohnert-park.ca.us/city_hall/departments/spreckels_performing_arts_center\" rel=\"noopener noreferrer\" target=\"_blank\">‘Galatea’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Spreckels Performing Arts Center, Rohnert Park\u003cbr>\nSept. 3–19\u003c/em>\u003c/p>\n\u003cp>One of the many shows forced to postpone in March 2020 was \u003cem>Galatea\u003c/em>, a science fiction play by North Bay playwright David Templeton. Set in the year 2167, the play follows the revival and reintegration process of an android traveler known as Seventy-One. The only survivor from the Galatea, a long-destroyed space shuttle, Seventy-One is encouraged by a pair of amiable doctors to remember the events that led them to escaping the fate that befell the rest of their crewmates. Nothing is quite what it seems, and several key plot twists stretch the narrative in unexpected directions.\u003c/p>\n\u003cp>At the heart of the play is a thoughtful examination of what it means to be human in an era where synthetic lifeforms predominate. What are the characteristics that can be shared with our AI comrades, and what will always be the sole provenance of “organics?” Templeton’s smartly constructed fantasy won an honorable mention from the Will Glickman Award panel (of which I am a member) in 2020, and is finally receiving its well-deserved stage premiere. Proof of vaccination or recent negative COVID test, and masking, is required.\u003c/p>\n\u003cfigure id=\"attachment_13901825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Immortal Reckoning’ with Peaches Christ (center) and ensemble members. \u003ccite>(Jose A. Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Immortal Reckoning’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Old Mint, San Francisco\u003cbr>\nSept. 23–Oct. 31\u003c/em>\u003c/p>\n\u003cp>As fans of horror movies can attest, sometimes the best way to escape the stresses of real-life horror (such as, say, a raging pandemic and an overheated planet) is through a good old-fashioned haunting. When longtime horror aficionado Joshua Grannell a.k.a. Peaches Christ first debuted their collaborative brainchild \u003cem>The Terror Vault\u003c/em> in 2018, it ushered in a new standard of haunted attraction for the Bay Area. It’s a standard certain to be upheld in this year’s production: \u003cem>The Immortal Reckoning\u003c/em>.\u003c/p>\n\u003cp>Using the imposing architectural features of the old San Francisco Mint—stone walls, vaulted ceilings, dusty chandeliers, and a subterranean warren of interconnected rooms—costumed characters will guide audiences through a rare collection of supernatural artifacts, rumored to be conduits to an “immortal” realm. Levels of interactivity can be opted into (and out of, should you change your mind) and limits are thankfully respected. Still, expect to be menaced, mocked, questioned, sniffed and startled by all manner of homicidal creatures while jostling your way through a disorienting maze designed by the diabolically talented David Flower. Masks and proof of vaccination are required, with no exceptions or refunds.\u003c/p>\n\u003cfigure id=\"attachment_13901826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruns Ampitheater. \u003ccite>(Zhanara Baisalova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calshakes.org/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Winter’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Bruns Ampitheater, Orinda\u003cbr>\nSept. 1–26\u003c/em>\u003c/p>\n\u003cp>Nestled in the Orinda hills and open to the darkening sky and emerging stars, the Bruns Amphitheater provides a stellar setting for Shakespearean fare—and for audiences wary about returning to indoor theater. A romance wrapped in a tale of abandonment and loss, \u003cem>The Winter’s Tale\u003c/em> was last performed at the Bruns in 2013. Emphasizing renewal, redemption and hope, this fresh adaptation from artistic director Eric Ting and dramaturg Phillipa Kelly should provide a welcome escape and a pertinent reflection. Proof of vaccination is not required; masks are required for unvaccinated audience members and all other patrons when not “actively eating or drinking.”\u003c/p>\n\u003cfigure id=\"attachment_13901823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13901823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirsten Millan and Vanessa Sanchez from La Mezcla. \u003ccite>(Amani Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance it Out\u003c/h2>\n\u003cp>Accustomed to creating site-responsive works to suit a variety of (often) non-traditional spaces and occasions, Bay Area choreographers have demonstrated their innate resiliency time and time again. This ability to adapt and innovate has allowed many artists in the dance community to find ways to create together, even during the darkest days of the pandemic. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/event/mercy/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Meet Us Quickly With Your Mercy’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 14–17\u003c/em>\u003c/p>\n\u003cp>In Flyaway Productions’ \u003cem>Meet Us Quickly With Your Mercy\u003c/em>, artistic director Jo Kreiter grapples with the historical throughline of slavery leading to the present-day mass incarceration of Black Americans, as well as with a new rise in trans-Atlantic anti-Jewish sentiment and white nationalism. Using aerial apparatus fashioned to resemble cages suspended above the ground, and music composed by the late Jewlia Eisenberg, Flyaway Productions performs this second part of their ongoing Decarceration Trilogy with the walls of CounterPulse’s Tenderloin building as their backdrop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.hopemohr.org/bacchae\" rel=\"noopener noreferrer\" target=\"_blank\">‘Bacchae Before’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Joe Goode Annex, San Francisco; also online\u003cbr>\nLive performance Sept. 28–Oct. 2; online Oct. 2\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Bacchae Before\u003c/em>, Hope Mohr Dance ties together the tragedy of Euripides’ \u003cem>The Baccae\u003c/em> (via Anne Carson’s notable translation) with the modern-day violence of gender reveal parties. Performed by Belinda He, Wiley Naman Strasser, Karla Quintero, and Silk Worm—with puppetry by C. Michael Chin, and additional text and co-direction provided by Maxe Crandall—\u003cem>Bacchae Before\u003c/em> distills and refracts a classical text of frenzy and filicide through a trans-centered, gender-affirming perspective. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://epiphanydance.org/san-francisco-trolley-dances\" rel=\"noopener noreferrer\" target=\"_blank\">Trolley Dances\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Throughout San Francisco\u003cbr>\nOct. 16–17\u003c/em>\u003c/p>\n\u003cp>With the welcome return of Trolley Dances, curated by Kim Epifano’s Epiphany Dance Theater, audiences will ride the K and L lines from the Castro to the East Cut, encountering short vignettes from Babatunji & Charmaine, Epiphany Dance Theater, Joe Landini & Dancers, La Mezcla, Parangal Dance Company, and Rising Rhythm. More than a celebration of public transportation, Trolley Dances is a transformative interrogation of public space and the porous boundaries between performer and spectator. \u003c/p>\n\u003cfigure id=\"attachment_13901818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13901818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers from Circus Bella. \u003ccite>(Ron Scherl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Circus Freeks\u003c/h2>\n\u003cp>Need something to take the kids to? Maybe just in need of a little whimsy? Catch these circus performances—one outdoors, one indoors. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.circusbella.org/humorous\" rel=\"noopener noreferrer\" target=\"_blank\">Circus Bella\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Various locations\u003cbr>\nAug. 26-Oct. 3\u003c/em>\u003c/p>\n\u003cp>Having kicked off at Oakland’s DeFremery Park on Aug. 26, Circus Bella’s \u003cem>Humorous\u003c/em> will embark on a free, 12-performance tour of parks and public spaces through Oct. 3. A one-ring, people-powered circus, Circus Bella eschews circus animals in favor of mainstays such as aerialists, acrobats, and clowns. Directed by company founder Abigail Munn, \u003cem>Humorous\u003c/em> features some of the Bay Area’s most prolific circus performers: creative clowning duo Jamie Coventry and Natasha Kaluza, queer circus icon Toni Cannon, and aerialist Dwoira Galilia. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.clubfugazisf.com\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dear San Francisco’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Club Fugazi, San Francisco\u003cbr>\nOngoing starting Sept. 22\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For those ready to brave the great indoors, Club Fugazi in North Beach hosts the circus-y love-letter-to-the-city \u003cem>Dear San Francisco\u003c/em>. At the longtime home of the now-shuttered Beach Blanket Babylon, the circus collective 7 Fingers boasts SF-raised founders, an immensely talented international cast, and some of the Bay Area’s best designers—including Jake Rodriguez, Alexander V. Nichols, and Keiko Shimosato Carreiro. Masks and proof of vaccination with ID required for all patrons. Unvaccinated children 5-11 may attend with vaccinated adult(s). \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the first wave of COVID-19 closures hit in March 2020, nobody could predict exactly when (or indeed, if) arts spaces would be able to open their doors again to in-person performance. Initially it seemed as if reopening might happen within three weeks. Then another month. Then another. And here we are, seventeen months later, when a large number of venues are still dark or operating at limited capacity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>With the rise of the delta variant, performing arts spaces have had to navigate this year’s reopening with an abundance of caution and maximum flexibility. In practical terms, this has meant fluctuating performance dates, last-minute cancellations and postponements, and the understanding on both sides of the stage that things could change at any moment.\u003c/p>\n\u003cp>Despite this, the artistic imperative to create, communicate, and connect remains strong in the Bay Area. With the caveat that dates, locations, and COVID-19 protocols might change between now and showtime, here’s a roundup of essential fall performances to put on your calendar.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13901821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble from a 2019 production of ‘I Too Sing America.’ \u003ccite>(Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">New Roots Theatre Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Brava Theater Center, San Francisco\u003cbr>\nOct. 16 and 17\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not content to welcome audiences back with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cfigure id=\"attachment_13901819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers for ‘Radius’ at the CounterPulse Festival. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/festival2021/\" rel=\"noopener noreferrer\" target=\"_blank\">The CounterPulse Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues; also online\u003cbr>\nSept. 9–18\u003c/em>\u003c/p>\n\u003cp>The rescheduled CounterPulse Festival—featuring performances, panels, poetry, film, and workshops—comes to both physical and virtual space in San Francisco, Oakland, and even the Santa Cruz Mountains. As an artistic home to many of the Bay Area’s most imaginative multidisciplinary performers, CounterPulse’s focus on embodied liberation and communal arts practice lends itself to festival mode. \u003c/p>\n\u003cp>Some standouts include new work from FACT/SF, a facilitated conversation between Bay Area-based “Queeratorial collectives” entitled “Fuck the System,” an embodied divination workshop with Amara Tabor Smith, and a film series inspired by the writings of Jean Genet and Sufi mystic Ibn Arabi, instigated by Zulfikar Ali Bhutto and partially narrated by his alter ego Faluda Islam. The weeklong festival culminates with \u003cem>Radius\u003c/em>, an improvisational outdoor performance exploring power dynamics and collaborative energies, featuring dance artists, experimental electronic musicians, and CounterPulse’s artistic and executive director Julie Phelps. Pre-registration is required, and proof of vaccination and masks are required for indoor events.\u003c/p>\n\u003cfigure id=\"attachment_13901824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Displaced’ stars Troy Rockett and Jordan Don. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.crowdedfire.org/displaced/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Displaced’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003cbr>\nSept. 9–Oct. 2\u003c/em>\u003c/p>\n\u003cp>Another play postponed by the pandemic, \u003cem>The Displaced\u003c/em> by Isaac Gómez is a two-hander horror story with a solid reputation for inspiring unease. When artistic couple Marísa and Lev move into their new apartment, their quotidian squabbling can’t distract from a series of unexplainable events unfolding around them. But are they being haunted by their own fragmented dysfunction, or by a tormented spirit with cause to linger? \u003c/p>\n\u003cp>Recently rewritten with a pair of alternate endings, Gómez’ nervy script gradually reveals itself to be about much more than a few flying tchotchkes; it also addresses gentrification, generational wealth, racial inequity, and displacement. Featuring Jordan Don and Troy Rockett as the troubled protagonists—with direction by Mina Morita and Karina Gutiérrez, and special effects design by Devon LaBelle—Crowded Fire’s production of \u003cem>The Displaced\u003c/em> offers both a savvy indictment of our time, and a seasonally appropriate scary story. Masks and proof of vaccination are required, while select shows allow a proof of negative COVID test instead (check website for dates).\u003c/p>\n\u003cfigure id=\"attachment_13901820\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg\" alt=\"\" width=\"640\" height=\"524\" class=\"size-large wp-image-13901820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abbey Lee in ‘Galatea.’ \u003ccite>(Jennifer Griego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ci.rohnert-park.ca.us/city_hall/departments/spreckels_performing_arts_center\" rel=\"noopener noreferrer\" target=\"_blank\">‘Galatea’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Spreckels Performing Arts Center, Rohnert Park\u003cbr>\nSept. 3–19\u003c/em>\u003c/p>\n\u003cp>One of the many shows forced to postpone in March 2020 was \u003cem>Galatea\u003c/em>, a science fiction play by North Bay playwright David Templeton. Set in the year 2167, the play follows the revival and reintegration process of an android traveler known as Seventy-One. The only survivor from the Galatea, a long-destroyed space shuttle, Seventy-One is encouraged by a pair of amiable doctors to remember the events that led them to escaping the fate that befell the rest of their crewmates. Nothing is quite what it seems, and several key plot twists stretch the narrative in unexpected directions.\u003c/p>\n\u003cp>At the heart of the play is a thoughtful examination of what it means to be human in an era where synthetic lifeforms predominate. What are the characteristics that can be shared with our AI comrades, and what will always be the sole provenance of “organics?” Templeton’s smartly constructed fantasy won an honorable mention from the Will Glickman Award panel (of which I am a member) in 2020, and is finally receiving its well-deserved stage premiere. Proof of vaccination or recent negative COVID test, and masking, is required.\u003c/p>\n\u003cfigure id=\"attachment_13901825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Immortal Reckoning’ with Peaches Christ (center) and ensemble members. \u003ccite>(Jose A. Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Immortal Reckoning’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Old Mint, San Francisco\u003cbr>\nSept. 23–Oct. 31\u003c/em>\u003c/p>\n\u003cp>As fans of horror movies can attest, sometimes the best way to escape the stresses of real-life horror (such as, say, a raging pandemic and an overheated planet) is through a good old-fashioned haunting. When longtime horror aficionado Joshua Grannell a.k.a. Peaches Christ first debuted their collaborative brainchild \u003cem>The Terror Vault\u003c/em> in 2018, it ushered in a new standard of haunted attraction for the Bay Area. It’s a standard certain to be upheld in this year’s production: \u003cem>The Immortal Reckoning\u003c/em>.\u003c/p>\n\u003cp>Using the imposing architectural features of the old San Francisco Mint—stone walls, vaulted ceilings, dusty chandeliers, and a subterranean warren of interconnected rooms—costumed characters will guide audiences through a rare collection of supernatural artifacts, rumored to be conduits to an “immortal” realm. Levels of interactivity can be opted into (and out of, should you change your mind) and limits are thankfully respected. Still, expect to be menaced, mocked, questioned, sniffed and startled by all manner of homicidal creatures while jostling your way through a disorienting maze designed by the diabolically talented David Flower. Masks and proof of vaccination are required, with no exceptions or refunds.\u003c/p>\n\u003cfigure id=\"attachment_13901826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruns Ampitheater. \u003ccite>(Zhanara Baisalova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calshakes.org/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Winter’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Bruns Ampitheater, Orinda\u003cbr>\nSept. 1–26\u003c/em>\u003c/p>\n\u003cp>Nestled in the Orinda hills and open to the darkening sky and emerging stars, the Bruns Amphitheater provides a stellar setting for Shakespearean fare—and for audiences wary about returning to indoor theater. A romance wrapped in a tale of abandonment and loss, \u003cem>The Winter’s Tale\u003c/em> was last performed at the Bruns in 2013. Emphasizing renewal, redemption and hope, this fresh adaptation from artistic director Eric Ting and dramaturg Phillipa Kelly should provide a welcome escape and a pertinent reflection. Proof of vaccination is not required; masks are required for unvaccinated audience members and all other patrons when not “actively eating or drinking.”\u003c/p>\n\u003cfigure id=\"attachment_13901823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13901823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirsten Millan and Vanessa Sanchez from La Mezcla. \u003ccite>(Amani Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance it Out\u003c/h2>\n\u003cp>Accustomed to creating site-responsive works to suit a variety of (often) non-traditional spaces and occasions, Bay Area choreographers have demonstrated their innate resiliency time and time again. This ability to adapt and innovate has allowed many artists in the dance community to find ways to create together, even during the darkest days of the pandemic. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/event/mercy/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Meet Us Quickly With Your Mercy’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 14–17\u003c/em>\u003c/p>\n\u003cp>In Flyaway Productions’ \u003cem>Meet Us Quickly With Your Mercy\u003c/em>, artistic director Jo Kreiter grapples with the historical throughline of slavery leading to the present-day mass incarceration of Black Americans, as well as with a new rise in trans-Atlantic anti-Jewish sentiment and white nationalism. Using aerial apparatus fashioned to resemble cages suspended above the ground, and music composed by the late Jewlia Eisenberg, Flyaway Productions performs this second part of their ongoing Decarceration Trilogy with the walls of CounterPulse’s Tenderloin building as their backdrop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.hopemohr.org/bacchae\" rel=\"noopener noreferrer\" target=\"_blank\">‘Bacchae Before’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Joe Goode Annex, San Francisco; also online\u003cbr>\nLive performance Sept. 28–Oct. 2; online Oct. 2\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Bacchae Before\u003c/em>, Hope Mohr Dance ties together the tragedy of Euripides’ \u003cem>The Baccae\u003c/em> (via Anne Carson’s notable translation) with the modern-day violence of gender reveal parties. Performed by Belinda He, Wiley Naman Strasser, Karla Quintero, and Silk Worm—with puppetry by C. Michael Chin, and additional text and co-direction provided by Maxe Crandall—\u003cem>Bacchae Before\u003c/em> distills and refracts a classical text of frenzy and filicide through a trans-centered, gender-affirming perspective. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://epiphanydance.org/san-francisco-trolley-dances\" rel=\"noopener noreferrer\" target=\"_blank\">Trolley Dances\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Throughout San Francisco\u003cbr>\nOct. 16–17\u003c/em>\u003c/p>\n\u003cp>With the welcome return of Trolley Dances, curated by Kim Epifano’s Epiphany Dance Theater, audiences will ride the K and L lines from the Castro to the East Cut, encountering short vignettes from Babatunji & Charmaine, Epiphany Dance Theater, Joe Landini & Dancers, La Mezcla, Parangal Dance Company, and Rising Rhythm. More than a celebration of public transportation, Trolley Dances is a transformative interrogation of public space and the porous boundaries between performer and spectator. \u003c/p>\n\u003cfigure id=\"attachment_13901818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13901818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers from Circus Bella. \u003ccite>(Ron Scherl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Circus Freeks\u003c/h2>\n\u003cp>Need something to take the kids to? Maybe just in need of a little whimsy? Catch these circus performances—one outdoors, one indoors. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.circusbella.org/humorous\" rel=\"noopener noreferrer\" target=\"_blank\">Circus Bella\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Various locations\u003cbr>\nAug. 26-Oct. 3\u003c/em>\u003c/p>\n\u003cp>Having kicked off at Oakland’s DeFremery Park on Aug. 26, Circus Bella’s \u003cem>Humorous\u003c/em> will embark on a free, 12-performance tour of parks and public spaces through Oct. 3. A one-ring, people-powered circus, Circus Bella eschews circus animals in favor of mainstays such as aerialists, acrobats, and clowns. Directed by company founder Abigail Munn, \u003cem>Humorous\u003c/em> features some of the Bay Area’s most prolific circus performers: creative clowning duo Jamie Coventry and Natasha Kaluza, queer circus icon Toni Cannon, and aerialist Dwoira Galilia. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.clubfugazisf.com\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dear San Francisco’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Club Fugazi, San Francisco\u003cbr>\nOngoing starting Sept. 22\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those ready to brave the great indoors, Club Fugazi in North Beach hosts the circus-y love-letter-to-the-city \u003cem>Dear San Francisco\u003c/em>. At the longtime home of the now-shuttered Beach Blanket Babylon, the circus collective 7 Fingers boasts SF-raised founders, an immensely talented international cast, and some of the Bay Area’s best designers—including Jake Rodriguez, Alexander V. Nichols, and Keiko Shimosato Carreiro. Masks and proof of vaccination with ID required for all patrons. Unvaccinated children 5-11 may attend with vaccinated adult(s). \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrating 30 Years, CounterPulse Continues to Shine in the Tenderloin",
"headTitle": "Celebrating 30 Years, CounterPulse Continues to Shine in the Tenderloin | KQED",
"content": "\u003cp>In 1991, three friends—Keith Hennessey, Michael “Med-O” Whitson, and Todd Eugene—co-founded an underground performance venue on Divisadero Street known as 848 Community Space. A hub for body-based art and activism, including dance, pagan sex rituals, and performance art, 848 was a place where queer and sex-positive San Francisco could gather, perform, and create among allies. Born during a time when AIDS was still a full-blown public health crisis—a portent of pandemics to come—848 provided a safe haven of radical access and acceptance to its artists and audiences alike.\u003c/p>\n\u003cp>“One of the powerful aspects of 848 was that people lived there,” recalls Rick Darnell, CounterPulse’s current Associate Director of Neighborhood Arts, who performed at 848 in the early years with his own dance company—the High Risk Group. “People waking, making art, sleeping, and loving there really blessed the space…truly epic, authentic, vision-grade stuff.”\u003c/p>\n\u003cp>Now, 30 years, three spaces, and a name change later, CounterPulse may have lost some of its original outsider shine, but it’s gained an expansive constellation of resident artists, fiscal sponsees and co-presenters whose points of inquiry remain both the body and transformative experiences. Now located in the heart of the Tenderloin’s \u003ca href=\"https://en.wikipedia.org/wiki/Compton%27s_Transgender_Cultural_District\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Transgender Cultural District\u003c/a>, CounterPulse continues to expand its vision even as COVID-19 has contracted its in-person programming.\u003c/p>\n\u003cfigure id=\"attachment_13893067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity and Performing Diaspora performer Chibueze Crouch on the streets of the Tenderloin. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While planning any season comes with myriad challenges, planning an anniversary season in the middle of a global pandemic is definitely next-level hard. Hedging their bets, CounterPulse—like many other performing arts companies around the Bay—released their Spring season schedule just weeks ago, mostly without set dates. This precaution, Artistic and Executive Director Julie Phelps points out, was prescient, as several announced presentations, including their Spring Festival, have already been quietly withdrawn and pushed to the fall.\u003c/p>\n\u003cp>“Postponement has become a whole new feature of programming, and it feels less like ‘postponed’ and more like we’re ‘ongoing trying to find a place to situate this thing that we’re going to do,’” Phelps says. “When they made the announcement about the potential that the entire Bay Area would be vaccinated potentially as soon as August… I don’t know if we can have hope in that…or how we can expect that to change audience behavior, or what staff will feel comfortable with.” (Indeed, just days after we spoke, CounterPulse announced that this month’s Gravity Dance performance, scheduled as a virtual presentation, had also been postponed.)\u003c/p>\n\u003cfigure id=\"attachment_13893068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien.jpg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity performer and founder of Topsy-Turvy Queer Circus India Sky Davis in ‘Wavelength.’ \u003ccite>(Kali Ma Julien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One performance that’s still scheduled to go on as planned—though the granular details of the presentation format are in ongoing conversation—is April’s Combustible residency, with StratoFyzika and Pseuda. Rescheduled from 2020, this double bill features two companies devising at the intersections of dance and technology. For their piece \u003cem>Human/ID,\u003c/em> Europe’s StratoFyzika draws inspiration from the laws of physics and the inner workings of the human mind, and the Bay Area’s Pseuda presents work combining the immersive qualities of an installation piece with the isolating effects of screens and “rapidly evolving” technologies. The aspect of isolation is leavened somewhat, creator Nicholas Navarro adds, by the evolving realization that in the pandemic, virtual connection also provides “beauty and importance and power…in terms of visibility, representation, community and mobilizing people.”\u003c/p>\n\u003cfigure id=\"attachment_13893063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893063 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pseuda rehearsal on CounterPulse mainstage with Kim Ip and Taurin Barrera. \u003ccite>(Nicholas Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The pandemic started out as a speed bump in our path to enjoying in-person dance rehearsals and viewing our process through the lens of IRL rehearsal,” Navarro’s collaborator and choreographer Kim Ip reflects. “(But) once Nick and I realized our piece pertains to the social dilemma of socializing on screens, we understood that rehearsing online was the safest and most apropos—to the concept—option.” Now meeting and filming in small groups at CounterPulse in anticipation of their presentation, they look forward to sharing the results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evolving role of technology has also manifested in CounterPulse’s neighborhood arts programming facilitated by Darnell, though with its own unique set of challenges. Designed to engage directly with the Tenderloin neighborhood—of which Darnell is a resident—TenderArts has included block parties, mural painting, workshops, skill-shares, open mics and other in-person performance opportunities. By partnering with community-based service organizations and inviting SRO residents and other Tenderloin-dwellers to participate in creative work, TenderArts had grown into a highly visible component of the CounterPulse calendar.\u003c/p>\n\u003cp>“The Tenderloin has really allowed CounterPulse to stretch our social justice muscle in ways that are authentic, loving, and community-centered,” Darnell asserts. Some of that has been through computer donations to low-income SRO residents in the neighborhood, and offering stipends to participants for upcoming workshops. But, Darnell readily admits, it’s impossible to keep the engagement with his neighborhood with the same frequency virtually as in-person.\u003c/p>\n\u003cp>“It’s actually painful to not be engaged in activities at the level of we were at…We’ll get back to the level of engagement we once enjoyed in about another year, I think.”\u003c/p>\n\u003cfigure id=\"attachment_13893065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TenderArts workshop at CounterPulse on planting seedlings hosted by Associate Director of Neighborhood Arts, Rick Darnell. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges, an event currently in the works is TenderFest (scheduled for March 11), a large-scale collaboration with Larkin Street Youth Services, the Tenderloin Museum and Skywatchers, a Tenderloin-based performance company. Focused on devised works and own voices, Skywatchers has performed several times at CounterPulse, and their shared commitments to the Tenderloin arts scene makes them ideal collaborators. In fact, Malia Byrne, Skywatchers’ Associate co-Artistic Director, mentions, the idea for TenderFest happened early on in the pandemic: a conversation between arts organizations working together to support each other and share their creative resources.\u003c/p>\n\u003cp>“Art is \u003cem>thriving\u003c/em> in the Tenderloin,” emphasizes Byrne. “and…coming together and sharing is what provides abundance. That’s something that Skywatchers’ work really centers around and…that is sort of what we’re sort of centralizing this event around.” By foregrounding a creative response to the pandemic year, Skywatchers’ festival offering will be video-oriented, with clips of past works and footage of Zoom rehearsals—an inquiry and a document of a unique time in history.\u003c/p>\n\u003cfigure id=\"attachment_13893093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg\" alt=\"Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers' 'Came Here to Live' at CounterPulse (2019).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers’ ‘Came Here to Live’ at CounterPulse (2019). \u003ccite>(Dierdre Visser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working remotely has been a much slower process than creating together in a room might be, according to Skywatchers ensemble member Shavonne Allen, it’s still been a generative one. Through facilitated two-hour Zoom meetings where ideas are brainstormed and workshopped, and time spent alone developing the ideas into moments of movement, music, and spoken text, Skywatchers continues to create together from a physical—but not a social—distance.\u003c/p>\n\u003cp>Sometimes the work even takes the form of visual art, such as the ongoing Opulence project, a collaborative series of portraits of Tenderloin residents channeling their inner power, which will hopefully live in the kiosks along Market Street sometime in the next year.\u003c/p>\n\u003cp>“The idea is to envision yourself as your highest self,” explains Allen. “Something that you want to own and possess something within you. The idea is to claim the heroes that we see in our community and to post them up so that we can have an opportunity to see each other. And also for the rest of the city, our neighbors, to see us…in a different light.”\u003c/p>\n\u003cp>By helping to amplify that light, CounterPulse continues to be a safe haven in a dark time, while building towards a still-emergent future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch for CounterPulse’s 30-year Anniversary programming all year\u003ca href=\"https://www.counterpulse.org\"> here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "CounterPulse's programming—with transformative experiences at its core—is rooted in the neighborhood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1991, three friends—Keith Hennessey, Michael “Med-O” Whitson, and Todd Eugene—co-founded an underground performance venue on Divisadero Street known as 848 Community Space. A hub for body-based art and activism, including dance, pagan sex rituals, and performance art, 848 was a place where queer and sex-positive San Francisco could gather, perform, and create among allies. Born during a time when AIDS was still a full-blown public health crisis—a portent of pandemics to come—848 provided a safe haven of radical access and acceptance to its artists and audiences alike.\u003c/p>\n\u003cp>“One of the powerful aspects of 848 was that people lived there,” recalls Rick Darnell, CounterPulse’s current Associate Director of Neighborhood Arts, who performed at 848 in the early years with his own dance company—the High Risk Group. “People waking, making art, sleeping, and loving there really blessed the space…truly epic, authentic, vision-grade stuff.”\u003c/p>\n\u003cp>Now, 30 years, three spaces, and a name change later, CounterPulse may have lost some of its original outsider shine, but it’s gained an expansive constellation of resident artists, fiscal sponsees and co-presenters whose points of inquiry remain both the body and transformative experiences. Now located in the heart of the Tenderloin’s \u003ca href=\"https://en.wikipedia.org/wiki/Compton%27s_Transgender_Cultural_District\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Transgender Cultural District\u003c/a>, CounterPulse continues to expand its vision even as COVID-19 has contracted its in-person programming.\u003c/p>\n\u003cfigure id=\"attachment_13893067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity and Performing Diaspora performer Chibueze Crouch on the streets of the Tenderloin. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While planning any season comes with myriad challenges, planning an anniversary season in the middle of a global pandemic is definitely next-level hard. Hedging their bets, CounterPulse—like many other performing arts companies around the Bay—released their Spring season schedule just weeks ago, mostly without set dates. This precaution, Artistic and Executive Director Julie Phelps points out, was prescient, as several announced presentations, including their Spring Festival, have already been quietly withdrawn and pushed to the fall.\u003c/p>\n\u003cp>“Postponement has become a whole new feature of programming, and it feels less like ‘postponed’ and more like we’re ‘ongoing trying to find a place to situate this thing that we’re going to do,’” Phelps says. “When they made the announcement about the potential that the entire Bay Area would be vaccinated potentially as soon as August… I don’t know if we can have hope in that…or how we can expect that to change audience behavior, or what staff will feel comfortable with.” (Indeed, just days after we spoke, CounterPulse announced that this month’s Gravity Dance performance, scheduled as a virtual presentation, had also been postponed.)\u003c/p>\n\u003cfigure id=\"attachment_13893068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien.jpg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity performer and founder of Topsy-Turvy Queer Circus India Sky Davis in ‘Wavelength.’ \u003ccite>(Kali Ma Julien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One performance that’s still scheduled to go on as planned—though the granular details of the presentation format are in ongoing conversation—is April’s Combustible residency, with StratoFyzika and Pseuda. Rescheduled from 2020, this double bill features two companies devising at the intersections of dance and technology. For their piece \u003cem>Human/ID,\u003c/em> Europe’s StratoFyzika draws inspiration from the laws of physics and the inner workings of the human mind, and the Bay Area’s Pseuda presents work combining the immersive qualities of an installation piece with the isolating effects of screens and “rapidly evolving” technologies. The aspect of isolation is leavened somewhat, creator Nicholas Navarro adds, by the evolving realization that in the pandemic, virtual connection also provides “beauty and importance and power…in terms of visibility, representation, community and mobilizing people.”\u003c/p>\n\u003cfigure id=\"attachment_13893063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893063 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pseuda rehearsal on CounterPulse mainstage with Kim Ip and Taurin Barrera. \u003ccite>(Nicholas Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The pandemic started out as a speed bump in our path to enjoying in-person dance rehearsals and viewing our process through the lens of IRL rehearsal,” Navarro’s collaborator and choreographer Kim Ip reflects. “(But) once Nick and I realized our piece pertains to the social dilemma of socializing on screens, we understood that rehearsing online was the safest and most apropos—to the concept—option.” Now meeting and filming in small groups at CounterPulse in anticipation of their presentation, they look forward to sharing the results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The evolving role of technology has also manifested in CounterPulse’s neighborhood arts programming facilitated by Darnell, though with its own unique set of challenges. Designed to engage directly with the Tenderloin neighborhood—of which Darnell is a resident—TenderArts has included block parties, mural painting, workshops, skill-shares, open mics and other in-person performance opportunities. By partnering with community-based service organizations and inviting SRO residents and other Tenderloin-dwellers to participate in creative work, TenderArts had grown into a highly visible component of the CounterPulse calendar.\u003c/p>\n\u003cp>“The Tenderloin has really allowed CounterPulse to stretch our social justice muscle in ways that are authentic, loving, and community-centered,” Darnell asserts. Some of that has been through computer donations to low-income SRO residents in the neighborhood, and offering stipends to participants for upcoming workshops. But, Darnell readily admits, it’s impossible to keep the engagement with his neighborhood with the same frequency virtually as in-person.\u003c/p>\n\u003cp>“It’s actually painful to not be engaged in activities at the level of we were at…We’ll get back to the level of engagement we once enjoyed in about another year, I think.”\u003c/p>\n\u003cfigure id=\"attachment_13893065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TenderArts workshop at CounterPulse on planting seedlings hosted by Associate Director of Neighborhood Arts, Rick Darnell. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges, an event currently in the works is TenderFest (scheduled for March 11), a large-scale collaboration with Larkin Street Youth Services, the Tenderloin Museum and Skywatchers, a Tenderloin-based performance company. Focused on devised works and own voices, Skywatchers has performed several times at CounterPulse, and their shared commitments to the Tenderloin arts scene makes them ideal collaborators. In fact, Malia Byrne, Skywatchers’ Associate co-Artistic Director, mentions, the idea for TenderFest happened early on in the pandemic: a conversation between arts organizations working together to support each other and share their creative resources.\u003c/p>\n\u003cp>“Art is \u003cem>thriving\u003c/em> in the Tenderloin,” emphasizes Byrne. “and…coming together and sharing is what provides abundance. That’s something that Skywatchers’ work really centers around and…that is sort of what we’re sort of centralizing this event around.” By foregrounding a creative response to the pandemic year, Skywatchers’ festival offering will be video-oriented, with clips of past works and footage of Zoom rehearsals—an inquiry and a document of a unique time in history.\u003c/p>\n\u003cfigure id=\"attachment_13893093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg\" alt=\"Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers' 'Came Here to Live' at CounterPulse (2019).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers’ ‘Came Here to Live’ at CounterPulse (2019). \u003ccite>(Dierdre Visser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working remotely has been a much slower process than creating together in a room might be, according to Skywatchers ensemble member Shavonne Allen, it’s still been a generative one. Through facilitated two-hour Zoom meetings where ideas are brainstormed and workshopped, and time spent alone developing the ideas into moments of movement, music, and spoken text, Skywatchers continues to create together from a physical—but not a social—distance.\u003c/p>\n\u003cp>Sometimes the work even takes the form of visual art, such as the ongoing Opulence project, a collaborative series of portraits of Tenderloin residents channeling their inner power, which will hopefully live in the kiosks along Market Street sometime in the next year.\u003c/p>\n\u003cp>“The idea is to envision yourself as your highest self,” explains Allen. “Something that you want to own and possess something within you. The idea is to claim the heroes that we see in our community and to post them up so that we can have an opportunity to see each other. And also for the rest of the city, our neighbors, to see us…in a different light.”\u003c/p>\n\u003cp>By helping to amplify that light, CounterPulse continues to be a safe haven in a dark time, while building towards a still-emergent future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch for CounterPulse’s 30-year Anniversary programming all year\u003ca href=\"https://www.counterpulse.org\"> here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space",
"headTitle": "At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first sound you hear when you enter Southern Exposure’s \u003cem>Where do you want ghosts to reside?\u003c/em> is slow but steady dripping, a watery metronome calibrating the audience for the reality that awaits. Curated by multimedia artists \u003ca href=\"http://www.azinseraj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Azin Seraj\u003c/a> and \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a>, the show and corresponding performance thrust viewers into myths and memories as interpreted by six artists from South Asian, Southwest Asian and North African diasporas. The common thread of the show is the Muslim world—though it’s a loose thread, mapped virtually across Egypt, Pakistan, India and Iran, all countries of origin or significance to the participating artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Inside the dark and cavernous gallery, \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Morehshin Allahyari\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anum Awan\u003c/a>, \u003ca href=\"https://arshiahaq.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arshia Fatima Haq\u003c/a> and \u003ca href=\"http://www.umbermajeed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Umber Majeed\u003c/a>’s pieces flicker and chatter, inviting attention and interaction to their respective corners. Awan’s corner offers a gamified interactive video installation from Pakistan Television Network’s archives. Steps away, Majeed lays out a mathematical feminist speculative imagining of Pakistan’s nuclear force. At the same time, Allahyari’s 3D-modelled jinns absorb current political and personal disruptions into their force fields.\u003c/p>\n\u003cfigure id=\"attachment_13874933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Majeed_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Umber Majeed, ‘Untitled,’ 2019–20; digital publication interactive installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably, the curators made a deliberate choice to minimally contextualize the show. There’s no extensive writing on the wall about each country’s geo-political history or relationship to the United States’ current administration. (For the latter, one need only follow the news generated by this country’s mercurial president.) Instead, gallery-goers are thrust inside thousand-year-old myths about Islamic spiritual figures and the artists’ modern interpretations of them. It’s an approach that reframes where a story can start, instead of centering itself on the knowledge, or lack thereof, of American audiences.\u003c/p>\n\u003cp>The title of the show, \u003cem>Where do you want ghosts to reside?\u003c/em>, is borrowed from the first stanza of Lebanese poet and artist Etel Adnan’s short and explosive war elegy, “\u003ca href=\"https://www.poetryfoundation.org/poems/53855/xliv-from-the-arab-apocalypse\" target=\"_blank\" rel=\"noopener noreferrer\">XLIV\u003c/a>” from \u003cem>The Arab Apocalypse\u003c/em>. Adnan’s poem speaks of a scattered diaspora whose fate is precarious. The exhibition’s answer to the poem’s question appears to be, in part, a borderless digital space. The heavy use of technological mediums in the show is evidence of how virtual space serves as a safe host for cultural artifacts and memories. Virtual space circumvents geographical borders that have proven dangerous; it encompasses ideas of home that are too slippery to hold.\u003c/p>\n\u003cfigure id=\"attachment_13874934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Awan_1200.jpg\" alt=\"\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-1020x714.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anum Awan, ‘PTV,’ 2020; interactive video installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13874591,arts_13859794,arts_13873186' label='Related Coverage']The evening of Feb. 7 at CounterPulse, Seraj and Bhutto introduced \u003cem>Breaching Towards Other Futures\u003c/em>, a performance extension of the exhibition. Featuring Allahyari and \u003ca href=\"https://shirinfahimi.com/work\" target=\"_blank\" rel=\"noopener noreferrer\">Shirin Fahimi\u003c/a>, the performance expanded on Aisha Qandisha, a female jinn the former artist introduced at Southern Exposure through a short film. Aisha, one of the most honored and fearsome jinn, is known as “the opener.” She doesn’t take over her hosts but rather opens them up to “an outside storm of incoming jinn and demons; making them a traffic zone of cosmodromic data.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance\" target=\"_blank\" rel=\"noopener noreferrer\">Denied entry\u003c/a> into the United States just days ahead of the show, Fahimi took the CounterPulse stage via Skype from a gallery in Toronto. The Iranian-Canadian citizen had previously traveled without issue to the U.S. but ahead of her collaboration with Allahyari, U.S. immigration officials in Toronto barred her from boarding her plane. Projected on a fluttering sheet along the back of the stage, she performed the piece in coordination with Allahyari; Seraj stepped in as her physical proxy. The audience’s eyes followed the seamless flow between the three performers: Seraj’s cues and Fahimi’s reactions both underscored Allahyari’s narration. “Catastrophe is political and uneven,” read Allahyari. “Survival is then similarly political and uneven.”\u003c/p>\n\u003cp>Back in the gallery, that pace-setting metronomic drip comes from Haq’s video installation, made in collaboration with Los Angeles artist Cassils. In the video, Haq gilds a melting ice sculpture of the Buraq, a winged Islamic figure symbolizing physical and spiritual journeys. Haq’s attempt to preserve, and understand, a dissolving form speaks to the millennia-deep examinations threaded throughout \u003cem>Where do you want ghosts to reside?\u003c/em> With new technologies—and despite shifting political ground—the artists extend the lives of the ghosts who inhabit myths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Where do you want ghosts to reside?’ is on view at Southern Exposure through March 14, 2020. \u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The curators of 'Where do you want ghosts to reside?' reframe where stories can start, immersing audiences in millennia-old stories from the Muslim world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first sound you hear when you enter Southern Exposure’s \u003cem>Where do you want ghosts to reside?\u003c/em> is slow but steady dripping, a watery metronome calibrating the audience for the reality that awaits. Curated by multimedia artists \u003ca href=\"http://www.azinseraj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Azin Seraj\u003c/a> and \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a>, the show and corresponding performance thrust viewers into myths and memories as interpreted by six artists from South Asian, Southwest Asian and North African diasporas. The common thread of the show is the Muslim world—though it’s a loose thread, mapped virtually across Egypt, Pakistan, India and Iran, all countries of origin or significance to the participating artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Inside the dark and cavernous gallery, \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Morehshin Allahyari\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anum Awan\u003c/a>, \u003ca href=\"https://arshiahaq.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arshia Fatima Haq\u003c/a> and \u003ca href=\"http://www.umbermajeed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Umber Majeed\u003c/a>’s pieces flicker and chatter, inviting attention and interaction to their respective corners. Awan’s corner offers a gamified interactive video installation from Pakistan Television Network’s archives. Steps away, Majeed lays out a mathematical feminist speculative imagining of Pakistan’s nuclear force. At the same time, Allahyari’s 3D-modelled jinns absorb current political and personal disruptions into their force fields.\u003c/p>\n\u003cfigure id=\"attachment_13874933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Majeed_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Umber Majeed, ‘Untitled,’ 2019–20; digital publication interactive installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably, the curators made a deliberate choice to minimally contextualize the show. There’s no extensive writing on the wall about each country’s geo-political history or relationship to the United States’ current administration. (For the latter, one need only follow the news generated by this country’s mercurial president.) Instead, gallery-goers are thrust inside thousand-year-old myths about Islamic spiritual figures and the artists’ modern interpretations of them. It’s an approach that reframes where a story can start, instead of centering itself on the knowledge, or lack thereof, of American audiences.\u003c/p>\n\u003cp>The title of the show, \u003cem>Where do you want ghosts to reside?\u003c/em>, is borrowed from the first stanza of Lebanese poet and artist Etel Adnan’s short and explosive war elegy, “\u003ca href=\"https://www.poetryfoundation.org/poems/53855/xliv-from-the-arab-apocalypse\" target=\"_blank\" rel=\"noopener noreferrer\">XLIV\u003c/a>” from \u003cem>The Arab Apocalypse\u003c/em>. Adnan’s poem speaks of a scattered diaspora whose fate is precarious. The exhibition’s answer to the poem’s question appears to be, in part, a borderless digital space. The heavy use of technological mediums in the show is evidence of how virtual space serves as a safe host for cultural artifacts and memories. Virtual space circumvents geographical borders that have proven dangerous; it encompasses ideas of home that are too slippery to hold.\u003c/p>\n\u003cfigure id=\"attachment_13874934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Awan_1200.jpg\" alt=\"\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-1020x714.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anum Awan, ‘PTV,’ 2020; interactive video installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The evening of Feb. 7 at CounterPulse, Seraj and Bhutto introduced \u003cem>Breaching Towards Other Futures\u003c/em>, a performance extension of the exhibition. Featuring Allahyari and \u003ca href=\"https://shirinfahimi.com/work\" target=\"_blank\" rel=\"noopener noreferrer\">Shirin Fahimi\u003c/a>, the performance expanded on Aisha Qandisha, a female jinn the former artist introduced at Southern Exposure through a short film. Aisha, one of the most honored and fearsome jinn, is known as “the opener.” She doesn’t take over her hosts but rather opens them up to “an outside storm of incoming jinn and demons; making them a traffic zone of cosmodromic data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance\" target=\"_blank\" rel=\"noopener noreferrer\">Denied entry\u003c/a> into the United States just days ahead of the show, Fahimi took the CounterPulse stage via Skype from a gallery in Toronto. The Iranian-Canadian citizen had previously traveled without issue to the U.S. but ahead of her collaboration with Allahyari, U.S. immigration officials in Toronto barred her from boarding her plane. Projected on a fluttering sheet along the back of the stage, she performed the piece in coordination with Allahyari; Seraj stepped in as her physical proxy. The audience’s eyes followed the seamless flow between the three performers: Seraj’s cues and Fahimi’s reactions both underscored Allahyari’s narration. “Catastrophe is political and uneven,” read Allahyari. “Survival is then similarly political and uneven.”\u003c/p>\n\u003cp>Back in the gallery, that pace-setting metronomic drip comes from Haq’s video installation, made in collaboration with Los Angeles artist Cassils. In the video, Haq gilds a melting ice sculpture of the Buraq, a winged Islamic figure symbolizing physical and spiritual journeys. Haq’s attempt to preserve, and understand, a dissolving form speaks to the millennia-deep examinations threaded throughout \u003cem>Where do you want ghosts to reside?\u003c/em> With new technologies—and despite shifting political ground—the artists extend the lives of the ghosts who inhabit myths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Where do you want ghosts to reside?’ is on view at Southern Exposure through March 14, 2020. \u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance",
"title": "Iranian-Canadian Artist Denied Entry to US for San Francisco Performance",
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"content": "\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local arts organizations have noted a rise in both the \u003ca href=\"https://www.kqed.org/arts/13859794/trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say\" rel=\"noopener noreferrer\" target=\"_blank\">delay and denial of artist visas\u003c/a> in recent years, coinciding with President Trump’s policy of “extreme vetting,” but Fahimi’s situation is different—no paperwork is necessary for Canadian citizens to travel to the United States. Yet, \u003ca href=\"https://www.cnn.com/2020/01/30/politics/memo-border-officers-iran-soleimani/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">an internal memo\u003c/a> recently obtained by CNN suggests that Customs and Border Protection (CBP) officers working in Canadian ports of entry were directed to detain and question travelers of Iranian descent in early January, following the death of Iranian Maj. Gen. Qassem Soleimani.[aside postID='arts_13874154,arts_13873186,arts_13859794' label='Related Coverage']\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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"masters-of-scale": {
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"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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