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"content": "\u003cp>When award-winning dancer and choreographer \u003ca href=\"https://www.zaccho.org/?bios_staff-zdt\">Joanna Haigood\u003c/a> co-founded Zaccho Dance Theatre 45 years ago, she leaned into site-specific work using unique locations and creative choreography to move people, literally and figuratively.\u003c/p>\n\u003cp>By suspending dancers in air, dressing artists in eye-catching costumes and utilizing storytelling to illustrate the human spirit, she wanted to push audiences to reimagine our collective environment and reconsider how we interact with the world around us.\u003c/p>\n\u003cp>[aside postID='arts_13978071']Now, nearly a half-century later, she has choreographed performances at government buildings, defunct grain silos and public parks. She’s created pieces criticizing the death penalty, and others celebrating San Francisco’s diversity.\u003c/p>\n\u003cp>Most importantly, she says, she’s helped pave the way for the next generation by helping young folks believe in their own voices. Some of Haigood’s former students have become dancers and choreographers. Others are community leaders and city employees.\u003c/p>\n\u003cfigure id=\"attachment_13983552\" class=\"wp-caption aligncenter\" style=\"max-width: 1792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg\" alt=\"A woman with short hair poses for a photo with her left palm on her chin. \" width=\"1792\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg 1792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1075x1536.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1434x2048.jpg 1434w\" sizes=\"auto, (max-width: 1792px) 100vw, 1792px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Haigood, co-founder and executive artistic director of Zaccho Dance Theatre. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During those full-circle moments, when she crosses paths with former students, their children or grandchildren, Haigood says, “That’s kind of a testament to the good work. And the fact that we’re really aging.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Tuesday, Nov. 11, former students, teachers, dancers of Zaccho Dance Theatre will help celebrate the company’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary with a benefit concert\u003c/a>.\u003c/p>\n\u003cp>The show’s lineup includes renowned Bay Area musicians \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby,\u003c/a> \u003ca href=\"https://www.tiffanyaustin.com/\">Tiffany Austin\u003c/a>, and \u003ca href=\"https://www.instagram.com/martinluthermccoy/?hl=en\">Martin Luther McCoy\u003c/a>. They’ll be joined by circus artists \u003ca href=\"https://www.instagram.com/acrocannon/?hl=en\">Toni Cannon\u003c/a> and \u003ca href=\"https://www.ya-nc.org/index.php/artists/coventry-and-kaluza\">Natasha Kaluza\u003c/a>, as well as storyteller \u003ca href=\"http://www.dianeferlatte.com/dianestory.html\">Diane Ferlatte\u003c/a>, \u003ca href=\"https://www.joeythetiger.com/about\">aerialist \u003cspan class=\"color_45 wixui-rich-text__text\">Joey The Tiger, \u003c/span>\u003c/a>Grammy-award winning beatboxer and music educator \u003ca href=\"https://www.instagram.com/emceesoulati/?hl=en\">Tommy “Soulati” Shepherd\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_13983550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38%E2%80%AFPM.png\" alt=\"A handful of dancers perform on stage in front of a projected image of two African-American people on a wall. \" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-1536x1015.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Picture Bayview Hunters Point’ (2018), part of a trilogy of performances along with ‘Picture Red Hook’ (2002) and ‘Picture Powderhorn’ (2000) that highlights the dreams and ambitions of inner-city communities amid transition. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.zacchoevents.org/directors-note\">a director’s note\u003c/a> ahead of the event, Haigood writes, “Forty-five years is a long time to commit to anything, especially in the arts, where survival is a constant challenge.”\u003c/p>\n\u003cp>Despite this year’s widespread cuts to nonprofit funding and arts programs, which she says isn’t anything new (“we are always fighting for our survival”), Haigood believes artists will always figure out a way.\u003c/p>\n\u003cp>“Our urge to create is something that you can’t suppress,” Haigood attests. “There’ll always be artists.”\u003c/p>\n\u003cfigure id=\"attachment_13983565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48%E2%80%AFAM.png\" alt=\"Dancers use harnesses to suspend themselves atop the clocktower at San Francisco's Ferry Building. \" width=\"2000\" height=\"2998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1366x2048.png 1366w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaccho Dance Theatre artists use harnesses to suspend themselves atop the clock tower at San Francisco’s Ferry Building as a part of the performance piece ‘NOON.’ \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From Hunters Point to State Parks\u003c/h2>\n\u003cp>Raised in New York, Haigood attended \u003ca href=\"https://www.bard.edu/news/bard-alumna-joanna-haigood-79-honored-with-2024-dance-magazine-award-2024-10-22\">Bard College\u003c/a>, where as a senior she was inspired by the Puccini opera \u003cem>Gianni Schicchi\u003c/em>. Working with a group of friends, she created a dance piece for her final project that, after graduating, they took on tour in Europe.\u003c/p>\n\u003cp>“Which,” she says, “was a remarkable feat for young people.” The collective included a small chamber orchestra, a group of dancers and a big production team. That experience gave her a glimpse into her career path. “My future in dance,” says Haigood, “was to be a choreographer.”\u003c/p>\n\u003cp>As the calendar flipped from 1979 to 1980, Haigood moved to the Bay Area and co-founded Zaccho Dance Theatre with Lynda Riemann, who left the company a few years later.\u003c/p>\n\u003cp>One of Zaccho’s earliest performances was \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_trees-from-the-backyard\">Trees From the Backyard\u003c/a>\u003c/em>, part of the 1983 San Francisco International Theater Festival held at Buena Vista Park in San Francisco and Samuel P. Taylor State Park in Marin County.\u003c/p>\n\u003cfigure id=\"attachment_13983554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46%E2%80%AFPM.png\" alt=\"A person suspended in air by a harness connected to a tree, wearing a bird mask. \" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-1536x1028.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Trees from the Backyard,’ a 1983 environmental performance at the San Francisco International Theater Festival. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was living in a forest,” says Haigood matter-of-factly, explaining that she’d become fascinated by trees and their larger ecosystems; she even took up a gig working in a state park.\u003c/p>\n\u003cp>While working in nature, she thought: “Well, if I’m spending all this time here, maybe I can find some way to enter from my creative side.” The result was a performance where humans dressed as birds perched in trees and audience members followed the flute of a pied piper through a park.\u003c/p>\n\u003cp>Six years later, Zaccho Dance Theatre moved into a former Serta mattress warehouse-factory in Bayview-Hunters Point. Aware of the neighborhood’s issues with over-policing and the influence of crack cocaine, as well as community members’ longstanding ability to organize and advocate for themselves, Haigood wanted to be involved.\u003c/p>\n\u003cp>“That’s part of the motivation for starting our youth program,” she says, crediting team members who helped establish the program, including \u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Jo Kreiter\u003c/a>, who would go on to found Flyaway Productions, and the late \u003ca href=\"https://www.instagram.com/p/DMbOgUpTjuU/?img_index=2\">Shakiri\u003c/a>.\u003c/p>\n\u003cp>Zaccho Dance Theatre has since added an Artist in Residency program and the San Francisco Aerial Arts Festival into their fold, as well as a Hip-Hop Artist Residency & Training Program and a Black Futures Fellowship.\u003c/p>\n\u003cfigure id=\"attachment_13983586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Matthew Wickett, Rashad Pridgen and Antoine Hunter in Joanna Haigood’s ‘Dying While Black and Brown’ (2011). \u003ccite>(Kegan Marlingo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reflecting San Francisco’s ‘True Diversity’\u003c/h2>\n\u003cp>While constantly expanding the organization and sinking deeper into community, Haigood maintained her own practice.\u003c/p>\n\u003cp>At the turn of the millennium, she debuted the first piece in her \u003cem>Pictured Trilogy\u003c/em>, with \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_picture-powderhorn\">Picture Powderhorn\u003c/a>\u003c/em>. The performance, based in the Minneapolis neighborhood where George Floyd was later murdered, included large images projected on a grain silo while dancers, suspended in air, performed above the audience below. The aim of the work was to bring attention to the hopes and dreams of working-class people in underfunded communities.\u003c/p>\n\u003cp>A decade later, Haigood \u003ca href=\"https://youtu.be/BbU-Dn82VaU\">debuted\u003c/a> her piece \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_dying-while-black-and-brown\">Dying While Black and Brown\u003c/a>\u003c/em>, co-created with Marcus Shelby, and featuring Steven Anthony Jones. Haigood traces the origins of the piece back to her partnership with civil rights attorney Eva Patterson, co-founder of the \u003ca href=\"https://equaljusticesociety.org/\">Equal Justice Society\u003c/a>.\u003c/p>\n\u003cp>“She had this extraordinary vision,” says Haigood, explaining that Patterson’s organization was using art to bring people deeper into legal issues, like abolishing the death penalty.\u003c/p>\n\u003cfigure id=\"attachment_13983587\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ciarra D’Onofrio and Veronica Blair in Joanna Haigood’s ‘The People’s Palace’ (2024) at San Francisco City Hall. \u003ccite>(Walter Kitundu / Courtesy Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2024, Haigood debuted another piece that mixed politics and dance on the steps of San Francisco’s City Hall. Backed by a \u003ca href=\"https://www.youtube.com/watch?v=rXO826xnjqQ\">2023 Ranin Fellowship\u003c/a>, she created \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_the-peoples-palace\">The People’s Palace\u003c/a>\u003c/em>, with pristine lighting, elegant costumes and dancers levitating through the decadent halls just outside of the mayor’s office.\u003c/p>\n\u003cp>She created the piece, she says, to reflect the true diversity of San Francisco. In doing so, Haigood did some “deep learning about the impact of architecture on the way we see ourselves and interact with each other on a civic level.” (She quips that “it was time for some type of intervention with the architecture.”) \u003c/p>\n\u003cfigure id=\"attachment_13983553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg\" alt=\"A woman in a jean jacket walking through a garden.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-1536x1029.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aside from dance, Joanna Haigood loves nature, periodically incorporating it into her artwork. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haigood, \u003ca href=\"https://www.gf.org/fellows/joanna-haigood\">a 1997 Guggenheim Fellow\u003c/a> and winner of the 2014 Doris Duke Performing Artist Award, hopes for the day when artists are seen as essential workers, and the understanding that “without them we will not survive.”\u003c/p>\n\u003cp>A purveyor of art as a means of building community, stimulating the economy and encouraging political discourse, Haigood realizes that her dedication to creativity comes with struggle.\u003c/p>\n\u003cp>But, she says, “I would not change my life in any way. It’s been a pretty remarkable and meaningful journey.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Zaccho Dance Theatre’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary benefit concert\u003c/a> starts at 6 p.m on Tuesday, Nov. 11, at Club Fugazi (678 Green St, San Francisco, CA 94133). \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">Check here for tickets and information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When award-winning dancer and choreographer \u003ca href=\"https://www.zaccho.org/?bios_staff-zdt\">Joanna Haigood\u003c/a> co-founded Zaccho Dance Theatre 45 years ago, she leaned into site-specific work using unique locations and creative choreography to move people, literally and figuratively.\u003c/p>\n\u003cp>By suspending dancers in air, dressing artists in eye-catching costumes and utilizing storytelling to illustrate the human spirit, she wanted to push audiences to reimagine our collective environment and reconsider how we interact with the world around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, nearly a half-century later, she has choreographed performances at government buildings, defunct grain silos and public parks. She’s created pieces criticizing the death penalty, and others celebrating San Francisco’s diversity.\u003c/p>\n\u003cp>Most importantly, she says, she’s helped pave the way for the next generation by helping young folks believe in their own voices. Some of Haigood’s former students have become dancers and choreographers. Others are community leaders and city employees.\u003c/p>\n\u003cfigure id=\"attachment_13983552\" class=\"wp-caption aligncenter\" style=\"max-width: 1792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg\" alt=\"A woman with short hair poses for a photo with her left palm on her chin. \" width=\"1792\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg 1792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1075x1536.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1434x2048.jpg 1434w\" sizes=\"auto, (max-width: 1792px) 100vw, 1792px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Haigood, co-founder and executive artistic director of Zaccho Dance Theatre. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During those full-circle moments, when she crosses paths with former students, their children or grandchildren, Haigood says, “That’s kind of a testament to the good work. And the fact that we’re really aging.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Tuesday, Nov. 11, former students, teachers, dancers of Zaccho Dance Theatre will help celebrate the company’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary with a benefit concert\u003c/a>.\u003c/p>\n\u003cp>The show’s lineup includes renowned Bay Area musicians \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby,\u003c/a> \u003ca href=\"https://www.tiffanyaustin.com/\">Tiffany Austin\u003c/a>, and \u003ca href=\"https://www.instagram.com/martinluthermccoy/?hl=en\">Martin Luther McCoy\u003c/a>. They’ll be joined by circus artists \u003ca href=\"https://www.instagram.com/acrocannon/?hl=en\">Toni Cannon\u003c/a> and \u003ca href=\"https://www.ya-nc.org/index.php/artists/coventry-and-kaluza\">Natasha Kaluza\u003c/a>, as well as storyteller \u003ca href=\"http://www.dianeferlatte.com/dianestory.html\">Diane Ferlatte\u003c/a>, \u003ca href=\"https://www.joeythetiger.com/about\">aerialist \u003cspan class=\"color_45 wixui-rich-text__text\">Joey The Tiger, \u003c/span>\u003c/a>Grammy-award winning beatboxer and music educator \u003ca href=\"https://www.instagram.com/emceesoulati/?hl=en\">Tommy “Soulati” Shepherd\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_13983550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38%E2%80%AFPM.png\" alt=\"A handful of dancers perform on stage in front of a projected image of two African-American people on a wall. \" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-1536x1015.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Picture Bayview Hunters Point’ (2018), part of a trilogy of performances along with ‘Picture Red Hook’ (2002) and ‘Picture Powderhorn’ (2000) that highlights the dreams and ambitions of inner-city communities amid transition. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.zacchoevents.org/directors-note\">a director’s note\u003c/a> ahead of the event, Haigood writes, “Forty-five years is a long time to commit to anything, especially in the arts, where survival is a constant challenge.”\u003c/p>\n\u003cp>Despite this year’s widespread cuts to nonprofit funding and arts programs, which she says isn’t anything new (“we are always fighting for our survival”), Haigood believes artists will always figure out a way.\u003c/p>\n\u003cp>“Our urge to create is something that you can’t suppress,” Haigood attests. “There’ll always be artists.”\u003c/p>\n\u003cfigure id=\"attachment_13983565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48%E2%80%AFAM.png\" alt=\"Dancers use harnesses to suspend themselves atop the clocktower at San Francisco's Ferry Building. \" width=\"2000\" height=\"2998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1366x2048.png 1366w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaccho Dance Theatre artists use harnesses to suspend themselves atop the clock tower at San Francisco’s Ferry Building as a part of the performance piece ‘NOON.’ \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From Hunters Point to State Parks\u003c/h2>\n\u003cp>Raised in New York, Haigood attended \u003ca href=\"https://www.bard.edu/news/bard-alumna-joanna-haigood-79-honored-with-2024-dance-magazine-award-2024-10-22\">Bard College\u003c/a>, where as a senior she was inspired by the Puccini opera \u003cem>Gianni Schicchi\u003c/em>. Working with a group of friends, she created a dance piece for her final project that, after graduating, they took on tour in Europe.\u003c/p>\n\u003cp>“Which,” she says, “was a remarkable feat for young people.” The collective included a small chamber orchestra, a group of dancers and a big production team. That experience gave her a glimpse into her career path. “My future in dance,” says Haigood, “was to be a choreographer.”\u003c/p>\n\u003cp>As the calendar flipped from 1979 to 1980, Haigood moved to the Bay Area and co-founded Zaccho Dance Theatre with Lynda Riemann, who left the company a few years later.\u003c/p>\n\u003cp>One of Zaccho’s earliest performances was \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_trees-from-the-backyard\">Trees From the Backyard\u003c/a>\u003c/em>, part of the 1983 San Francisco International Theater Festival held at Buena Vista Park in San Francisco and Samuel P. Taylor State Park in Marin County.\u003c/p>\n\u003cfigure id=\"attachment_13983554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46%E2%80%AFPM.png\" alt=\"A person suspended in air by a harness connected to a tree, wearing a bird mask. \" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-1536x1028.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Trees from the Backyard,’ a 1983 environmental performance at the San Francisco International Theater Festival. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was living in a forest,” says Haigood matter-of-factly, explaining that she’d become fascinated by trees and their larger ecosystems; she even took up a gig working in a state park.\u003c/p>\n\u003cp>While working in nature, she thought: “Well, if I’m spending all this time here, maybe I can find some way to enter from my creative side.” The result was a performance where humans dressed as birds perched in trees and audience members followed the flute of a pied piper through a park.\u003c/p>\n\u003cp>Six years later, Zaccho Dance Theatre moved into a former Serta mattress warehouse-factory in Bayview-Hunters Point. Aware of the neighborhood’s issues with over-policing and the influence of crack cocaine, as well as community members’ longstanding ability to organize and advocate for themselves, Haigood wanted to be involved.\u003c/p>\n\u003cp>“That’s part of the motivation for starting our youth program,” she says, crediting team members who helped establish the program, including \u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Jo Kreiter\u003c/a>, who would go on to found Flyaway Productions, and the late \u003ca href=\"https://www.instagram.com/p/DMbOgUpTjuU/?img_index=2\">Shakiri\u003c/a>.\u003c/p>\n\u003cp>Zaccho Dance Theatre has since added an Artist in Residency program and the San Francisco Aerial Arts Festival into their fold, as well as a Hip-Hop Artist Residency & Training Program and a Black Futures Fellowship.\u003c/p>\n\u003cfigure id=\"attachment_13983586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Matthew Wickett, Rashad Pridgen and Antoine Hunter in Joanna Haigood’s ‘Dying While Black and Brown’ (2011). \u003ccite>(Kegan Marlingo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reflecting San Francisco’s ‘True Diversity’\u003c/h2>\n\u003cp>While constantly expanding the organization and sinking deeper into community, Haigood maintained her own practice.\u003c/p>\n\u003cp>At the turn of the millennium, she debuted the first piece in her \u003cem>Pictured Trilogy\u003c/em>, with \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_picture-powderhorn\">Picture Powderhorn\u003c/a>\u003c/em>. The performance, based in the Minneapolis neighborhood where George Floyd was later murdered, included large images projected on a grain silo while dancers, suspended in air, performed above the audience below. The aim of the work was to bring attention to the hopes and dreams of working-class people in underfunded communities.\u003c/p>\n\u003cp>A decade later, Haigood \u003ca href=\"https://youtu.be/BbU-Dn82VaU\">debuted\u003c/a> her piece \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_dying-while-black-and-brown\">Dying While Black and Brown\u003c/a>\u003c/em>, co-created with Marcus Shelby, and featuring Steven Anthony Jones. Haigood traces the origins of the piece back to her partnership with civil rights attorney Eva Patterson, co-founder of the \u003ca href=\"https://equaljusticesociety.org/\">Equal Justice Society\u003c/a>.\u003c/p>\n\u003cp>“She had this extraordinary vision,” says Haigood, explaining that Patterson’s organization was using art to bring people deeper into legal issues, like abolishing the death penalty.\u003c/p>\n\u003cfigure id=\"attachment_13983587\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ciarra D’Onofrio and Veronica Blair in Joanna Haigood’s ‘The People’s Palace’ (2024) at San Francisco City Hall. \u003ccite>(Walter Kitundu / Courtesy Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2024, Haigood debuted another piece that mixed politics and dance on the steps of San Francisco’s City Hall. Backed by a \u003ca href=\"https://www.youtube.com/watch?v=rXO826xnjqQ\">2023 Ranin Fellowship\u003c/a>, she created \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_the-peoples-palace\">The People’s Palace\u003c/a>\u003c/em>, with pristine lighting, elegant costumes and dancers levitating through the decadent halls just outside of the mayor’s office.\u003c/p>\n\u003cp>She created the piece, she says, to reflect the true diversity of San Francisco. In doing so, Haigood did some “deep learning about the impact of architecture on the way we see ourselves and interact with each other on a civic level.” (She quips that “it was time for some type of intervention with the architecture.”) \u003c/p>\n\u003cfigure id=\"attachment_13983553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg\" alt=\"A woman in a jean jacket walking through a garden.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-1536x1029.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aside from dance, Joanna Haigood loves nature, periodically incorporating it into her artwork. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haigood, \u003ca href=\"https://www.gf.org/fellows/joanna-haigood\">a 1997 Guggenheim Fellow\u003c/a> and winner of the 2014 Doris Duke Performing Artist Award, hopes for the day when artists are seen as essential workers, and the understanding that “without them we will not survive.”\u003c/p>\n\u003cp>A purveyor of art as a means of building community, stimulating the economy and encouraging political discourse, Haigood realizes that her dedication to creativity comes with struggle.\u003c/p>\n\u003cp>But, she says, “I would not change my life in any way. It’s been a pretty remarkable and meaningful journey.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Zaccho Dance Theatre’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary benefit concert\u003c/a> starts at 6 p.m on Tuesday, Nov. 11, at Club Fugazi (678 Green St, San Francisco, CA 94133). \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">Check here for tickets and information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sean-dorsey-dance-20th-anniversary-san-francisco-transgender",
"title": "With a 20th Anniversary Show, Sean Dorsey Dance Pulls Strength From Trans History",
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"headTitle": "With a 20th Anniversary Show, Sean Dorsey Dance Pulls Strength From Trans History | KQED",
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"content": "\u003cp>When boxes of \u003ca href=\"https://www.nytimes.com/2023/06/09/obituaries/lou-sullivan-overlooked.html\">Lou Sullivan\u003c/a>’s diaries ended up in the archives of San Francisco’s \u003ca href=\"https://www.kqed.org/news/tag/glbt-historical-society\">GLBT Historical Society\u003c/a>, Sean Dorsey spent countless hours poring over them in the reading room, transcribing them by hand. Sullivan, who died in 1991, was a gay transgender man, an author and activist whose insistence on living his full truth — his queerness \u003ci>and\u003c/i> his transness — expanded the medical community’s understanding of gender and sexuality as two separate things. In the burgeoning field of gender-affirming care, Sullivan helped doctors and psychologists see that being attracted to men didn’t negate one’s need to transition and live as a man. [aside postid='arts_13972786']\u003c/p>\n\u003cp>Sullivan ended up starting one of the first support groups for trans men in the early ’80s; before the internet, he took out newspaper ads and connected with trans men all over the country who were navigating their experience in isolation. As Dorsey delved into troves of Sullivan’s diaries and letters, he got to know a passionate advocate, a lover and a party boy who led a rich and complex life. Those letters became the basis for the 2009 dance piece \u003ca href=\"https://vimeo.com/259256258/34e5b6b1b2?share=copy\">\u003ci>Lou\u003c/i>\u003c/a>, which Dorsey is restaging April 11–13 for another history-making event: the \u003ca href=\"https://freshmeatproductions.org/sean-dorsey-dance-20th-anniversary-home-season-2/\">20th Anniversary Home Season\u003c/a> of Sean Dorsey Dance, the first acclaimed trans-led \u003ca href=\"https://www.kqed.org/arts/tag/dance\">dance\u003c/a> company in the country.\u003c/p>\n\u003cp>“History is just brimming and overflowing with heroes and sheroes and theyroes, who faced much more intense things than we’re experiencing today,” says Dorsey as he catches his breath after a recent rehearsal at San Francisco’s Dance Mission Theater, where the show will take place. “I think it’s so important for us at this horrifying and very painful and scary time to really dig into learning about our histories and to connect with our transcestors and ancestors who absolutely are such sources of inspiration, energy — talk about getting a battery recharge.”\u003c/p>\n\u003cfigure id=\"attachment_13973935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey (right) and Brandon Graham rehearse at Dance Mission Theater on March 28, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Dorsey is referring to President Trump’s executive order mandating that the government only recognize “two sexes, male and female,” which has had many cascading effects on trans people’s ability to access identity documents and social services, and to safely travel abroad.\u003c/p>\n\u003cp>In response to \u003ca href=\"https://www.kqed.org/arts/13972786/arts-groups-aclu-sue-nea-gender-ideology-executive-order-trump\">a lawsuit from the ACLU\u003c/a>, the National Endowment for the Arts, one of Dorsey’s past funders, \u003ca href=\"https://www.arts.gov/grants/legal-requirements-and-assurance-of-compliance#:~:text=The%20applicant%20understands,Executive%20Order%2014168.\">recently removed a new requirement\u003c/a> for applicants to certify that they would not “promote gender ideology.” But the NEA hasn’t changed its eligibility criteria, which still requires applicants to comply with the Trump order. It’s unclear whether any trans art can secure federal funding under these new rules.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In March, Sean Dorsey Dance had a residency scheduled at the Kennedy Center, which Dorsey canceled after Trump appointed himself as its board chair.\u003c/p>\n\u003cp>Dorsey is already seeing a chilling effect on other arts institutions that may not want to get on the administration’s bad side by commissioning or funding trans-inclusive work. With universities facing similar scrutiny, he worries about his other gigs as a teaching artist and guest speaker, which he needs to pay his rent. “But then there are also private funders who are like, ‘We got you. We have your back. We’re not going anywhere. We are doubling down on social justice,’” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13973795\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, clockwise: B Dean, Sean Dorsey, Brandon Graham, Héctor Jaime, Nol Simonse and David Le make up Sean Dorsey Dance. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey knows this isn’t the first time the U.S. government has imposed laws that have created unnecessary hurdles for trans people going about their everyday lives. As recently as the 1970s in San Francisco, trans people could be arrested for wearing clothing that didn’t correspond to their sex assigned at birth. Yet despite police harassment and job and housing discrimination, over the decades trans people found one another and built networks of support that allowed them to survive, thrive and love.\u003c/p>\n\u003cp>Dorsey honors that perseverance in another piece that will be part of the 20th anniversary celebration, the 2012 piece \u003ca href=\"https://seandorseydance.com/works/secret-history-of-love/\">\u003ci>The Secret History of Love\u003c/i>\u003c/a>, based on interviews with queer and trans elders about crushes, flirting, cruising and relationships.\u003c/p>\n\u003cfigure id=\"attachment_13973799\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance rehearses at Dance Mission Theater on March 28, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I got to meet with LGBTQI+ elders and ask them, ‘Tell me about your first crush. Tell me how on earth you gathered and hung out in these underground clubs and speakeasies. How did you spread the word when it was literally illegal?’ Every single elder without exception talked about police raids on clubs and spaces,” Dorsey says. “Everyone had been at least harassed if not assaulted or sexually assaulted by police. So really intense and harrowing stories, but [also] just this gorgeousness.”\u003c/p>\n\u003cp>The program also includes 2015’s \u003ca href=\"https://seandorseydance.com/works/missing-generation/\">\u003ci>The Missing Generation\u003c/i>\u003c/a>, which honors those lost to the AIDS epidemic, and 2018’s \u003ci>Boys In Trouble\u003c/i>, which uses playful movement and spoken word to break down stereotypes about masculinity that confine trans and cis people alike.\u003c/p>\n\u003cp>https://youtu.be/HnP2yjqrZDg?si=NADCu0pSpVjuFYug\u003c/p>\n\u003cp>When Dorsey started out, trans art was relegated to the backs of a select few bars and coffee shops. Two decades later, he’s led the way on many firsts for trans dancers, whether it’s landing the cover of \u003ci>Dance Magazine\u003c/i> or performing in the American Dance Festival.\u003c/p>\n\u003cp>With his dance company’s 20th Anniversary Home Season, Dorsey relishes his role as an experienced performer now opening the door for younger generations. When he first choreographed \u003ci>Lou\u003c/i> more than 15 years ago, he danced in the titular role. There’s a moment in the show when Lou faces the audience as if looking in the mirror, and another dancer comes up behind him, representing the person he wants to become when he transitions. When the piece debuted, a cisgender dancer played that role because there were no other trans dancers in the company. Now, Dorsey gets to embody that future vision while a younger transmasculine dancer, B Dean, takes on the role of Lou.\u003c/p>\n\u003cp>“I thought, ‘Will this be hard for me? Am I going to really grieve that role?’ Because the piece \u003ci>Lou\u003c/i> is so, so, so important to me and so deep to my heart,” Dorsey reflects, “but it was just so organic and beautiful.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sean Dorsey Dance’s 20th Anniversary Home Season takes place at Dance Mission Theater April 11–13, 2025. \u003ca href=\"https://freshmeatproductions.org/sean-dorsey-dance-20th-anniversary-home-season-2/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When boxes of \u003ca href=\"https://www.nytimes.com/2023/06/09/obituaries/lou-sullivan-overlooked.html\">Lou Sullivan\u003c/a>’s diaries ended up in the archives of San Francisco’s \u003ca href=\"https://www.kqed.org/news/tag/glbt-historical-society\">GLBT Historical Society\u003c/a>, Sean Dorsey spent countless hours poring over them in the reading room, transcribing them by hand. Sullivan, who died in 1991, was a gay transgender man, an author and activist whose insistence on living his full truth — his queerness \u003ci>and\u003c/i> his transness — expanded the medical community’s understanding of gender and sexuality as two separate things. In the burgeoning field of gender-affirming care, Sullivan helped doctors and psychologists see that being attracted to men didn’t negate one’s need to transition and live as a man. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sullivan ended up starting one of the first support groups for trans men in the early ’80s; before the internet, he took out newspaper ads and connected with trans men all over the country who were navigating their experience in isolation. As Dorsey delved into troves of Sullivan’s diaries and letters, he got to know a passionate advocate, a lover and a party boy who led a rich and complex life. Those letters became the basis for the 2009 dance piece \u003ca href=\"https://vimeo.com/259256258/34e5b6b1b2?share=copy\">\u003ci>Lou\u003c/i>\u003c/a>, which Dorsey is restaging April 11–13 for another history-making event: the \u003ca href=\"https://freshmeatproductions.org/sean-dorsey-dance-20th-anniversary-home-season-2/\">20th Anniversary Home Season\u003c/a> of Sean Dorsey Dance, the first acclaimed trans-led \u003ca href=\"https://www.kqed.org/arts/tag/dance\">dance\u003c/a> company in the country.\u003c/p>\n\u003cp>“History is just brimming and overflowing with heroes and sheroes and theyroes, who faced much more intense things than we’re experiencing today,” says Dorsey as he catches his breath after a recent rehearsal at San Francisco’s Dance Mission Theater, where the show will take place. “I think it’s so important for us at this horrifying and very painful and scary time to really dig into learning about our histories and to connect with our transcestors and ancestors who absolutely are such sources of inspiration, energy — talk about getting a battery recharge.”\u003c/p>\n\u003cfigure id=\"attachment_13973935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250328_Sean-Dorsey_DB_00080_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey (right) and Brandon Graham rehearse at Dance Mission Theater on March 28, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Dorsey is referring to President Trump’s executive order mandating that the government only recognize “two sexes, male and female,” which has had many cascading effects on trans people’s ability to access identity documents and social services, and to safely travel abroad.\u003c/p>\n\u003cp>In response to \u003ca href=\"https://www.kqed.org/arts/13972786/arts-groups-aclu-sue-nea-gender-ideology-executive-order-trump\">a lawsuit from the ACLU\u003c/a>, the National Endowment for the Arts, one of Dorsey’s past funders, \u003ca href=\"https://www.arts.gov/grants/legal-requirements-and-assurance-of-compliance#:~:text=The%20applicant%20understands,Executive%20Order%2014168.\">recently removed a new requirement\u003c/a> for applicants to certify that they would not “promote gender ideology.” But the NEA hasn’t changed its eligibility criteria, which still requires applicants to comply with the Trump order. It’s unclear whether any trans art can secure federal funding under these new rules.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In March, Sean Dorsey Dance had a residency scheduled at the Kennedy Center, which Dorsey canceled after Trump appointed himself as its board chair.\u003c/p>\n\u003cp>Dorsey is already seeing a chilling effect on other arts institutions that may not want to get on the administration’s bad side by commissioning or funding trans-inclusive work. With universities facing similar scrutiny, he worries about his other gigs as a teaching artist and guest speaker, which he needs to pay his rent. “But then there are also private funders who are like, ‘We got you. We have your back. We’re not going anywhere. We are doubling down on social justice,’” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13973795\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00025-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, clockwise: B Dean, Sean Dorsey, Brandon Graham, Héctor Jaime, Nol Simonse and David Le make up Sean Dorsey Dance. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey knows this isn’t the first time the U.S. government has imposed laws that have created unnecessary hurdles for trans people going about their everyday lives. As recently as the 1970s in San Francisco, trans people could be arrested for wearing clothing that didn’t correspond to their sex assigned at birth. Yet despite police harassment and job and housing discrimination, over the decades trans people found one another and built networks of support that allowed them to survive, thrive and love.\u003c/p>\n\u003cp>Dorsey honors that perseverance in another piece that will be part of the 20th anniversary celebration, the 2012 piece \u003ca href=\"https://seandorseydance.com/works/secret-history-of-love/\">\u003ci>The Secret History of Love\u003c/i>\u003c/a>, based on interviews with queer and trans elders about crushes, flirting, cruising and relationships.\u003c/p>\n\u003cfigure id=\"attachment_13973799\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250328_SEAN-DORSEY_DB_00077-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance rehearses at Dance Mission Theater on March 28, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I got to meet with LGBTQI+ elders and ask them, ‘Tell me about your first crush. Tell me how on earth you gathered and hung out in these underground clubs and speakeasies. How did you spread the word when it was literally illegal?’ Every single elder without exception talked about police raids on clubs and spaces,” Dorsey says. “Everyone had been at least harassed if not assaulted or sexually assaulted by police. So really intense and harrowing stories, but [also] just this gorgeousness.”\u003c/p>\n\u003cp>The program also includes 2015’s \u003ca href=\"https://seandorseydance.com/works/missing-generation/\">\u003ci>The Missing Generation\u003c/i>\u003c/a>, which honors those lost to the AIDS epidemic, and 2018’s \u003ci>Boys In Trouble\u003c/i>, which uses playful movement and spoken word to break down stereotypes about masculinity that confine trans and cis people alike.\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/HnP2yjqrZDg'\n title='//www.youtube.com/embed/HnP2yjqrZDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Dorsey started out, trans art was relegated to the backs of a select few bars and coffee shops. Two decades later, he’s led the way on many firsts for trans dancers, whether it’s landing the cover of \u003ci>Dance Magazine\u003c/i> or performing in the American Dance Festival.\u003c/p>\n\u003cp>With his dance company’s 20th Anniversary Home Season, Dorsey relishes his role as an experienced performer now opening the door for younger generations. When he first choreographed \u003ci>Lou\u003c/i> more than 15 years ago, he danced in the titular role. There’s a moment in the show when Lou faces the audience as if looking in the mirror, and another dancer comes up behind him, representing the person he wants to become when he transitions. When the piece debuted, a cisgender dancer played that role because there were no other trans dancers in the company. Now, Dorsey gets to embody that future vision while a younger transmasculine dancer, B Dean, takes on the role of Lou.\u003c/p>\n\u003cp>“I thought, ‘Will this be hard for me? Am I going to really grieve that role?’ Because the piece \u003ci>Lou\u003c/i> is so, so, so important to me and so deep to my heart,” Dorsey reflects, “but it was just so organic and beautiful.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sean Dorsey Dance’s 20th Anniversary Home Season takes place at Dance Mission Theater April 11–13, 2025. \u003ca href=\"https://freshmeatproductions.org/sean-dorsey-dance-20th-anniversary-home-season-2/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Garba (pronounced gehr-buh) is probably something you haven’t publicly encountered in Oakland before. That’s because, well, there isn’t really anywhere that it formally happens.\u003c/p>\n\u003cp>Reetu Mody, a second-generation Indian American who grew up in Concord, hopes to change that. For Mody, who was raised around garba (a subregional Indian and Pakistani dance), the group-style folk tradition represents the East Bay’s inner vibrancy. And she’s determined to introduce it to a wider audience with “BomBay to the Bay,” \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Oakland’s inaugural Garba Dance Festival\u003c/a>.\u003c/p>\n\u003cp>The city’s first ever garba festival will be hosted at the \u003ca href=\"https://www.instagram.com/oaklandasiancc/?hl=en\">Oakland Asian Cultural Center\u003c/a> (OACC) in Oakland’s Chinatown on Saturday, Aug. 3.\u003c/p>\n\u003cp>“[Garba] is the spirit of Oakland,” says Mody, a community organizer and attorney who applied for a grant and assembled the festival in her spare time with massive support from the OACC.\u003c/p>\n\u003cp>“This isn’t about performance. It isn’t just something you watch,” she says. “It’s a living thing and you connect with others. It’s about the group. You all dance into transcendence together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The folk dance is actively practiced around the world, and hails from South Asia. It unites all age groups, genders and skill levels through simultaneous dancing in concentric circles. Garba’s steps are relatively simple, and follow “teen tali,” a three-clap cadence that involves a step-cross-step pattern.\u003c/p>\n\u003cp>Mody asserts that the dance isn’t limited to any specific religious denomination, locale or cultural demographic. Instead, garba is a dance that is meant to be open and welcoming. She encourages attendees to dress in their own cultural attire.\u003c/p>\n\u003cp>Importantly, the Aug. 3 gathering centers on the liberation of all groups, as an anti-caste, \u003ca href=\"https://www.theguardian.com/world/2022/sep/20/what-is-hindu-nationalism-and-who-are-the-rss\">anti-Hindutva\u003c/a> event.\u003c/p>\n\u003cp>But garba isn’t just solely reserved for monumental occasions. Mody recalls her mother breaking into garba after eating a good meal just as often as guests might extemporaneously perform it at baby showers.\u003c/p>\n\u003cp>Mody points out that garba is more widely celebrated throughout the South Bay — citing Fremont, Union City, Milpitas, San Jose and Sunnyvale as hubs of Indian culture — but it’s not something she has noticed in Oakland, where she has intermittently lived for the past 13 years.\u003c/p>\n\u003cfigure id=\"attachment_13961624\" class=\"wp-caption alignright\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961624\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg\" alt=\"a woman sits inside an elegant hallway while wearing festive attire\" width=\"1224\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1152x1536.jpg 1152w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">Reetu Mody sits at a garba while her hands dry with mehndi (body art). \u003ccite>(Dilip Mody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event is arriving at an opportune moment for Oaklanders, as \u003ca href=\"https://www.kqed.org/forum/2010101906166/oakland-mayor-sheng-thao-confronts-onslaught-of-troubles\">the city’s political failings\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11982386/what-the-as-temporary-move-to-sacramento-means-for-fans\">exodus of professional sports franchises\u003c/a> continue to take the headlines. Still, Mody says Oakland’s cultural offerings are unparalleled, and garba is merely a reflection of what the city’s diverse residents can offer to one another.\u003c/p>\n\u003cp>“We need to bring parts of our cultures that are portals to possibility, not portals to oppression,” she says. “You can only reach [transcendence] when moving together and being joyful together.\u003c/p>\n\u003cp>The festival will feature Madhvi on vocals, Asim Mehta on keyboards and Parimal Zaveri on percussion, \u003ca href=\"http://kampmusic.com/bio.htm\">local legends of garba from the 80s\u003c/a>. A large dhol — the traditional drum used for garba — will serve as a musical centerpiece.\u003c/p>\n\u003cp>Dance classes will be offered at the start of the festival for those interested in learning the steps; participation is strongly encouraged. As a culminating addition, an “Oakland step” will be created and performed on-site.\u003c/p>\n\u003cp>“Each city has to have its own step for the dance,” Mody says. “It’s not exactly dancing though. It’s playing. It’s playful by nature. You don’t dance garba; you play it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Garba Dance Festival\u003c/a> will take place at the Oakland Asian Cultural Center (388 Ninth Street, Suite 290), on Aug. 3, 2024, 5–10 p.m. The event is free with \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">registration\u003c/a>. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vendors, including \u003ca href=\"https://www.instagram.com/bandungbooks/?hl=en\">Bandung Books\u003c/a>, will be on site. \u003ca href=\"https://www.instagram.com/paisleyhennna/?hl=en\">Paisley Henna\u003c/a> will provide donation-based henna. All proceeds will go towards Palestine Legal and Middle Eastern Children’s Alliance to support their work in Gaza.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Garba (pronounced gehr-buh) is probably something you haven’t publicly encountered in Oakland before. That’s because, well, there isn’t really anywhere that it formally happens.\u003c/p>\n\u003cp>Reetu Mody, a second-generation Indian American who grew up in Concord, hopes to change that. For Mody, who was raised around garba (a subregional Indian and Pakistani dance), the group-style folk tradition represents the East Bay’s inner vibrancy. And she’s determined to introduce it to a wider audience with “BomBay to the Bay,” \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Oakland’s inaugural Garba Dance Festival\u003c/a>.\u003c/p>\n\u003cp>The city’s first ever garba festival will be hosted at the \u003ca href=\"https://www.instagram.com/oaklandasiancc/?hl=en\">Oakland Asian Cultural Center\u003c/a> (OACC) in Oakland’s Chinatown on Saturday, Aug. 3.\u003c/p>\n\u003cp>“[Garba] is the spirit of Oakland,” says Mody, a community organizer and attorney who applied for a grant and assembled the festival in her spare time with massive support from the OACC.\u003c/p>\n\u003cp>“This isn’t about performance. It isn’t just something you watch,” she says. “It’s a living thing and you connect with others. It’s about the group. You all dance into transcendence together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The folk dance is actively practiced around the world, and hails from South Asia. It unites all age groups, genders and skill levels through simultaneous dancing in concentric circles. Garba’s steps are relatively simple, and follow “teen tali,” a three-clap cadence that involves a step-cross-step pattern.\u003c/p>\n\u003cp>Mody asserts that the dance isn’t limited to any specific religious denomination, locale or cultural demographic. Instead, garba is a dance that is meant to be open and welcoming. She encourages attendees to dress in their own cultural attire.\u003c/p>\n\u003cp>Importantly, the Aug. 3 gathering centers on the liberation of all groups, as an anti-caste, \u003ca href=\"https://www.theguardian.com/world/2022/sep/20/what-is-hindu-nationalism-and-who-are-the-rss\">anti-Hindutva\u003c/a> event.\u003c/p>\n\u003cp>But garba isn’t just solely reserved for monumental occasions. Mody recalls her mother breaking into garba after eating a good meal just as often as guests might extemporaneously perform it at baby showers.\u003c/p>\n\u003cp>Mody points out that garba is more widely celebrated throughout the South Bay — citing Fremont, Union City, Milpitas, San Jose and Sunnyvale as hubs of Indian culture — but it’s not something she has noticed in Oakland, where she has intermittently lived for the past 13 years.\u003c/p>\n\u003cfigure id=\"attachment_13961624\" class=\"wp-caption alignright\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961624\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg\" alt=\"a woman sits inside an elegant hallway while wearing festive attire\" width=\"1224\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1152x1536.jpg 1152w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">Reetu Mody sits at a garba while her hands dry with mehndi (body art). \u003ccite>(Dilip Mody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event is arriving at an opportune moment for Oaklanders, as \u003ca href=\"https://www.kqed.org/forum/2010101906166/oakland-mayor-sheng-thao-confronts-onslaught-of-troubles\">the city’s political failings\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11982386/what-the-as-temporary-move-to-sacramento-means-for-fans\">exodus of professional sports franchises\u003c/a> continue to take the headlines. Still, Mody says Oakland’s cultural offerings are unparalleled, and garba is merely a reflection of what the city’s diverse residents can offer to one another.\u003c/p>\n\u003cp>“We need to bring parts of our cultures that are portals to possibility, not portals to oppression,” she says. “You can only reach [transcendence] when moving together and being joyful together.\u003c/p>\n\u003cp>The festival will feature Madhvi on vocals, Asim Mehta on keyboards and Parimal Zaveri on percussion, \u003ca href=\"http://kampmusic.com/bio.htm\">local legends of garba from the 80s\u003c/a>. A large dhol — the traditional drum used for garba — will serve as a musical centerpiece.\u003c/p>\n\u003cp>Dance classes will be offered at the start of the festival for those interested in learning the steps; participation is strongly encouraged. As a culminating addition, an “Oakland step” will be created and performed on-site.\u003c/p>\n\u003cp>“Each city has to have its own step for the dance,” Mody says. “It’s not exactly dancing though. It’s playing. It’s playful by nature. You don’t dance garba; you play it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Garba Dance Festival\u003c/a> will take place at the Oakland Asian Cultural Center (388 Ninth Street, Suite 290), on Aug. 3, 2024, 5–10 p.m. The event is free with \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">registration\u003c/a>. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vendors, including \u003ca href=\"https://www.instagram.com/bandungbooks/?hl=en\">Bandung Books\u003c/a>, will be on site. \u003ca href=\"https://www.instagram.com/paisleyhennna/?hl=en\">Paisley Henna\u003c/a> will provide donation-based henna. All proceeds will go towards Palestine Legal and Middle Eastern Children’s Alliance to support their work in Gaza.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lot of Bay Area salsa nights feature DJs spinning the classics by Celia Cruz and Willie Colón, so it’s a rare treat to see not one but three high-caliber ensembles playing both traditional and original music. On June 21, the art space MACLA (Movimiento de Arte y Cultura Latino Americana) and San Jose Jazz are hosting a free event with just that: \u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a>, a celebration of Puerto Rican culture in downtown San Jose.\u003c/p>\n\u003cp>The family-friendly festival features long-running ensembles that expertly combine African and Indigenous rhythms: Latin Rhythm Boys, Orquesta Taino and La Mixta Criolla, with additional support from DJ Leydis. Parque de los Pobladores, a small park nestled between MACLA, the Institute of Contemporary Art and San Jose Museum of Quilts & Textiles, will become a dance floor when these acts perform from 5–10 p.m.\u003c/p>\n\u003cp>Día de San Juan Salsa Fest also promises family-friendly activities, dance lessons and Caribbean food.\u003c/p>\n\u003cp>It isn’t the only salsa offering coming up in San Jose this month. On June 10–14, the \u003ca href=\"https://queerafrolatindancefestival.com/\">Queer Afro Latin Dance Festival\u003c/a> arrives in San Jose, offering 60 gender-inclusive dance workshops in salsa and a variety of other genres, plus performances, discussions, dance parties and live salsa from Choco Orta and bachata from Johnny Sky. Unlike the Día de San Juan Salsa Fest, the Queer Afro Latin Dance Festival is ticketed, with pay-per-event options as well as festival passes for the entire week.\u003c/p>\n\u003cp>Whether you’re a dancer or head-nodding wallflower, there’s something to appreciate for Caribbean music lovers of all kinds during this wealth of cultural offerings in the South Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a> takes place in Parque de los Pobladores in San Jose on June 21, 5–10 p.m. Free.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://queerafrolatindancefestival.com/tickets\">The Queer Afro Latin Dance Festival\u003c/a> takes place June 10–14. Dance workshops start at $25; concert tickets start at $75.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Bay Area salsa nights feature DJs spinning the classics by Celia Cruz and Willie Colón, so it’s a rare treat to see not one but three high-caliber ensembles playing both traditional and original music. On June 21, the art space MACLA (Movimiento de Arte y Cultura Latino Americana) and San Jose Jazz are hosting a free event with just that: \u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a>, a celebration of Puerto Rican culture in downtown San Jose.\u003c/p>\n\u003cp>The family-friendly festival features long-running ensembles that expertly combine African and Indigenous rhythms: Latin Rhythm Boys, Orquesta Taino and La Mixta Criolla, with additional support from DJ Leydis. Parque de los Pobladores, a small park nestled between MACLA, the Institute of Contemporary Art and San Jose Museum of Quilts & Textiles, will become a dance floor when these acts perform from 5–10 p.m.\u003c/p>\n\u003cp>Día de San Juan Salsa Fest also promises family-friendly activities, dance lessons and Caribbean food.\u003c/p>\n\u003cp>It isn’t the only salsa offering coming up in San Jose this month. On June 10–14, the \u003ca href=\"https://queerafrolatindancefestival.com/\">Queer Afro Latin Dance Festival\u003c/a> arrives in San Jose, offering 60 gender-inclusive dance workshops in salsa and a variety of other genres, plus performances, discussions, dance parties and live salsa from Choco Orta and bachata from Johnny Sky. Unlike the Día de San Juan Salsa Fest, the Queer Afro Latin Dance Festival is ticketed, with pay-per-event options as well as festival passes for the entire week.\u003c/p>\n\u003cp>Whether you’re a dancer or head-nodding wallflower, there’s something to appreciate for Caribbean music lovers of all kinds during this wealth of cultural offerings in the South Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a> takes place in Parque de los Pobladores in San Jose on June 21, 5–10 p.m. Free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Your Phone is Haunted | KQED",
"content": "\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Haley Cardamon interviewed \u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">rapper and activist Equipto\u003c/a> in 2016, she was inspired by how hard he repped his hometown of San Francisco.\u003c/p>\n\u003cp>Cardamon — at the time a community college student running a local arts publication, \u003ca href=\"https://www.awesomefoundation.org/en/projects/80940-bay-area-creatives-klub-magazine\">\u003ci>B.A.C.K Magazine\u003c/i>\u003c/a> — learned from the Filipino lyricist about \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\">415 Day\u003c/a>, a celebratory gathering for San Franciscans to uplift one another. The event officially debuted that same year at Dolores Park.\u003c/p>\n\u003cp>As someone born and raised in San Jose’s East Side and downtown neighborhoods, Cardamon realized the hometown she loved didn’t have any equivalent. “Girl, you could do it,” Cardamon recalls Equipto telling her.\u003c/p>\n\u003cp>That’s how San Jose Day, formerly known as 408 Day, was born, with its first iteration held downtown in 2017. It gained traction and continued annually until 2020, when the event was shut down by the pandemic. It made its return in 2023.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j793qAWhjqA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>This year, the event is back and bigger than ever. Feeling reinvigorated, Cardamon believes San Jose is primed for a cultural renaissance.\u003c/p>\n\u003cp>“I’ll be honest, I don’t have a big interest in going to San Francisco and Oakland,” Cardamon says. “San Jose has so much going on. It’s very creative, and our culture has blossomed and grown in a way where people are collaborative and respectful of each other’s lanes. We survive in one of the toughest cities to make a living, and we hustle for each other.”\u003c/p>\n\u003cp>The 6th Annual San Jose Day will include live music, food vendors, Aztec and folklórico dancers, educational awareness groups, gallery artists and more. Among them, Cardamon is especially proud of the \u003ca href=\"https://siliconvalleydownsyndromenetwork.wildapricot.org/\">Silicon Valley Down Syndrome Network\u003c/a>, which is hosting a Japanese Taiko performance.\u003c/p>\n\u003cp>“I’m excited about that; I’ve never seen a festival host a special needs group of youth doing a performance,” says Cardamon. “And everyone’s getting paid. That’s special to me.”\u003c/p>\n\u003cfigure id=\"attachment_13954723\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg\" alt=\"a musical performer is on stage in front of a large audience in San Jose\" width=\"1600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A San Jose performer captivates the crowd during San Jose Day in 2023. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardamon is a San Jose ride-or-die advocate. Having experienced housing insecurity during the 2008 recession in the city as a youth, she’s intimately familiar with the region’s struggles and the often inaccessible pathways for artists to thrive. That’s especially true in Silicon Valley, where tech innovation frequently eclipses the work of art innovators — both economically and culturally.\u003c/p>\n\u003cp>Like Cardamon herself, the event has roamed around San Jose’s diverse communities. It’s been held in the Gordon Biersch lot in downtown San Jose as well as the famed Mexican Heritage Plaza on Alum Rock Avenue. On April 6, \u003ca href=\"https://www.instagram.com/empire7studios/?hl=en\">Empire Seven Studios\u003c/a> in Japantown — \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">which has a bubbling creative scene\u003c/a> — hosts this year’s edition.\u003c/p>\n\u003cp>Having brought in more than 7,500 attendees last year, Cardamon feels a surging momentum in her city.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X9cSIPpBz9Q\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“The energy was vividly euphoric and positive, so much love,” says Cardamon of last year’s festivities. “It was a pivotal moment for our event to know, and people were like ‘Oh shit, we’ve never heard of it before.’ We had over 98 artists involved. That made me realize I could do this. I want to give more of myself to this.”\u003c/p>\n\u003cp>Cardamon is in the process of finalizing her 501(c)(3) status as a nonprofit, and has also developed an arts and culture board to review applications for participating artists, vendors and community members.\u003c/p>\n\u003cp>Though not quite yet at the level of recognition as 415 Day or 510 Day, San Jose Day — in the hub of the Bay Area’s most populous county — is bound to keep growing. And as it does, Cardamon will be at the center, waving her San Jose flag.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sanjoseday.org/sjd2024\">San Jose Day\u003c/a> takes place on Saturday, April 6, from noon–6 p.m., at 525 N. 7th St., San Jose. Entry is free. \u003ca href=\"https://www.sanjoseday.org/sjd2024\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Haley Cardamon interviewed \u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">rapper and activist Equipto\u003c/a> in 2016, she was inspired by how hard he repped his hometown of San Francisco.\u003c/p>\n\u003cp>Cardamon — at the time a community college student running a local arts publication, \u003ca href=\"https://www.awesomefoundation.org/en/projects/80940-bay-area-creatives-klub-magazine\">\u003ci>B.A.C.K Magazine\u003c/i>\u003c/a> — learned from the Filipino lyricist about \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\">415 Day\u003c/a>, a celebratory gathering for San Franciscans to uplift one another. The event officially debuted that same year at Dolores Park.\u003c/p>\n\u003cp>As someone born and raised in San Jose’s East Side and downtown neighborhoods, Cardamon realized the hometown she loved didn’t have any equivalent. “Girl, you could do it,” Cardamon recalls Equipto telling her.\u003c/p>\n\u003cp>That’s how San Jose Day, formerly known as 408 Day, was born, with its first iteration held downtown in 2017. It gained traction and continued annually until 2020, when the event was shut down by the pandemic. It made its return in 2023.\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/j793qAWhjqA'\n title='//www.youtube.com/embed/j793qAWhjqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>This year, the event is back and bigger than ever. Feeling reinvigorated, Cardamon believes San Jose is primed for a cultural renaissance.\u003c/p>\n\u003cp>“I’ll be honest, I don’t have a big interest in going to San Francisco and Oakland,” Cardamon says. “San Jose has so much going on. It’s very creative, and our culture has blossomed and grown in a way where people are collaborative and respectful of each other’s lanes. We survive in one of the toughest cities to make a living, and we hustle for each other.”\u003c/p>\n\u003cp>The 6th Annual San Jose Day will include live music, food vendors, Aztec and folklórico dancers, educational awareness groups, gallery artists and more. Among them, Cardamon is especially proud of the \u003ca href=\"https://siliconvalleydownsyndromenetwork.wildapricot.org/\">Silicon Valley Down Syndrome Network\u003c/a>, which is hosting a Japanese Taiko performance.\u003c/p>\n\u003cp>“I’m excited about that; I’ve never seen a festival host a special needs group of youth doing a performance,” says Cardamon. “And everyone’s getting paid. That’s special to me.”\u003c/p>\n\u003cfigure id=\"attachment_13954723\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg\" alt=\"a musical performer is on stage in front of a large audience in San Jose\" width=\"1600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A San Jose performer captivates the crowd during San Jose Day in 2023. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardamon is a San Jose ride-or-die advocate. Having experienced housing insecurity during the 2008 recession in the city as a youth, she’s intimately familiar with the region’s struggles and the often inaccessible pathways for artists to thrive. That’s especially true in Silicon Valley, where tech innovation frequently eclipses the work of art innovators — both economically and culturally.\u003c/p>\n\u003cp>Like Cardamon herself, the event has roamed around San Jose’s diverse communities. It’s been held in the Gordon Biersch lot in downtown San Jose as well as the famed Mexican Heritage Plaza on Alum Rock Avenue. On April 6, \u003ca href=\"https://www.instagram.com/empire7studios/?hl=en\">Empire Seven Studios\u003c/a> in Japantown — \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">which has a bubbling creative scene\u003c/a> — hosts this year’s edition.\u003c/p>\n\u003cp>Having brought in more than 7,500 attendees last year, Cardamon feels a surging momentum in her city.\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/X9cSIPpBz9Q'\n title='//www.youtube.com/embed/X9cSIPpBz9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“The energy was vividly euphoric and positive, so much love,” says Cardamon of last year’s festivities. “It was a pivotal moment for our event to know, and people were like ‘Oh shit, we’ve never heard of it before.’ We had over 98 artists involved. That made me realize I could do this. I want to give more of myself to this.”\u003c/p>\n\u003cp>Cardamon is in the process of finalizing her 501(c)(3) status as a nonprofit, and has also developed an arts and culture board to review applications for participating artists, vendors and community members.\u003c/p>\n\u003cp>Though not quite yet at the level of recognition as 415 Day or 510 Day, San Jose Day — in the hub of the Bay Area’s most populous county — is bound to keep growing. And as it does, Cardamon will be at the center, waving her San Jose flag.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sanjoseday.org/sjd2024\">San Jose Day\u003c/a> takes place on Saturday, April 6, from noon–6 p.m., at 525 N. 7th St., San Jose. Entry is free. \u003ca href=\"https://www.sanjoseday.org/sjd2024\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jess Curtis, Choreographer and Accessibility Champion, Has Died",
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"content": "\u003cfigure id=\"attachment_13921238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg\" alt=\"Jess Curtis, a white man with short white hair and a black T-shirt, looks into the camera.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jess Curtis championed accessibility in the performing arts for blind and visually impaired people. \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dancer and choreographer Jess Curtis, a champion of accessibility in the performing arts, has died, according to \u003ca href=\"https://www.instagram.com/p/C4ceCmKx3m7/?hl=en\">an announcement\u003c/a> on Instagram from his sister Jenene, close collaborator Keith Hennessy and several others. On Instagram, Hennessy posted that Curtis collapsed from an apparent heart issue during a bike ride in San Francisco on March 11 and passed away unexpectedly.\u003c/p>\n\u003cp>“Jess’ community of friends and peers is deep and wide,” the statement reads. “The positive impact of his creative work will be felt for years. Earlier that same day Jess expressed gratitude for the wonderful life and network of friends he was enjoying. We are all in shock and deep grief.”\u003c/p>\n\u003cp>Curtis had been a major figure in dance for decades. In 2000, he founded the company Gravity, which has brought critically acclaimed performances to 60 cities and 13 countries, and became a crucial platform for the art form in San Francisco and Berlin. In 2017, Curtis launched Gravity Access Services, a leader in accessibility for the performing arts, especially for blind and visually impaired audiences.\u003c/p>\n\u003cp>“I’ve been really interested in finding ways that allow people to experience dance-based performance not just by looking at it,” Curtis \u003ca href=\"https://www.kqed.org/arts/13812697/dances-you-dont-have-to-see-to-appreciate\">told KQED that year\u003c/a>, “but by feeling it whooshing past you, and hearing the performers, describing what’s happening, in poetic ways.”\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Watch:\u003c/strong> Jess Curtis \u003ca href=\"https://ww2.kqed.org/spark/jess-curtis/\">explains his creative process\u003c/a> in a 2015 episode of KQED’s ‘Spark*.’]\u003c/em>\u003c/p>\n\u003cp>Gravity Access Services’ offerings include live, creative audio descriptions of what takes place on stage, haptic tours that invite blind and visually impaired people to feel a performance space before the show, and consulting on accessibility in show logistics and marketing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Gravity was really my main entrance into dance because a lot of dancers or disabled people aren’t welcome in traditional training [spaces],” dancer and Gravity Access Services consultant \u003ca href=\"https://www.kqed.org/arts/13921184/jess-curtis-gravity-dance-accessibility-disability-justice\">Tiffany Taylor told KQED in 2022\u003c/a>. “Jess turned the table and said, ‘You are welcome on this stage.’”\u003c/p>\n\u003cp>Most recently, in November 2023, Gravity’s performance \u003cem>Into the Dark\u003c/em> at CounterPulse invited audiences into a nearly dark space where narration and occasional, sparse light conveyed a dance performance that \u003cem>San Francisco Chronicle\u003c/em> critic Rachel Howard described as both “profoundly discomforting” and “surprisingly life-affirming.”\u003c/p>\n\u003cp>On Keith Hennessy’s Instagram post, dancers and friends responded with an outpouring of love for Curtis as an artist, mentor and friend.\u003c/p>\n\u003cp>“I think it’s important to express gratitude for his immense support of my practice and many others. It would be no exaggeration to say that he helped me be the person I am today,” wrote artist Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>“I’m at a loss. Jess was such an amazing performer, choreographer and leader. So vibrant and full of life on his bicycle, brilliant in the studio, and a delightful, marvelously aware presence to chop it up with,” wrote Ted Russell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plans for a memorial will be announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13921238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg\" alt=\"Jess Curtis, a white man with short white hair and a black T-shirt, looks into the camera.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jess Curtis championed accessibility in the performing arts for blind and visually impaired people. \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dancer and choreographer Jess Curtis, a champion of accessibility in the performing arts, has died, according to \u003ca href=\"https://www.instagram.com/p/C4ceCmKx3m7/?hl=en\">an announcement\u003c/a> on Instagram from his sister Jenene, close collaborator Keith Hennessy and several others. On Instagram, Hennessy posted that Curtis collapsed from an apparent heart issue during a bike ride in San Francisco on March 11 and passed away unexpectedly.\u003c/p>\n\u003cp>“Jess’ community of friends and peers is deep and wide,” the statement reads. “The positive impact of his creative work will be felt for years. Earlier that same day Jess expressed gratitude for the wonderful life and network of friends he was enjoying. We are all in shock and deep grief.”\u003c/p>\n\u003cp>Curtis had been a major figure in dance for decades. In 2000, he founded the company Gravity, which has brought critically acclaimed performances to 60 cities and 13 countries, and became a crucial platform for the art form in San Francisco and Berlin. In 2017, Curtis launched Gravity Access Services, a leader in accessibility for the performing arts, especially for blind and visually impaired audiences.\u003c/p>\n\u003cp>“I’ve been really interested in finding ways that allow people to experience dance-based performance not just by looking at it,” Curtis \u003ca href=\"https://www.kqed.org/arts/13812697/dances-you-dont-have-to-see-to-appreciate\">told KQED that year\u003c/a>, “but by feeling it whooshing past you, and hearing the performers, describing what’s happening, in poetic ways.”\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Watch:\u003c/strong> Jess Curtis \u003ca href=\"https://ww2.kqed.org/spark/jess-curtis/\">explains his creative process\u003c/a> in a 2015 episode of KQED’s ‘Spark*.’]\u003c/em>\u003c/p>\n\u003cp>Gravity Access Services’ offerings include live, creative audio descriptions of what takes place on stage, haptic tours that invite blind and visually impaired people to feel a performance space before the show, and consulting on accessibility in show logistics and marketing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gravity was really my main entrance into dance because a lot of dancers or disabled people aren’t welcome in traditional training [spaces],” dancer and Gravity Access Services consultant \u003ca href=\"https://www.kqed.org/arts/13921184/jess-curtis-gravity-dance-accessibility-disability-justice\">Tiffany Taylor told KQED in 2022\u003c/a>. “Jess turned the table and said, ‘You are welcome on this stage.’”\u003c/p>\n\u003cp>Most recently, in November 2023, Gravity’s performance \u003cem>Into the Dark\u003c/em> at CounterPulse invited audiences into a nearly dark space where narration and occasional, sparse light conveyed a dance performance that \u003cem>San Francisco Chronicle\u003c/em> critic Rachel Howard described as both “profoundly discomforting” and “surprisingly life-affirming.”\u003c/p>\n\u003cp>On Keith Hennessy’s Instagram post, dancers and friends responded with an outpouring of love for Curtis as an artist, mentor and friend.\u003c/p>\n\u003cp>“I think it’s important to express gratitude for his immense support of my practice and many others. It would be no exaggeration to say that he helped me be the person I am today,” wrote artist Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>“I’m at a loss. Jess was such an amazing performer, choreographer and leader. So vibrant and full of life on his bicycle, brilliant in the studio, and a delightful, marvelously aware presence to chop it up with,” wrote Ted Russell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plans for a memorial will be announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "from-buskin-on-bart-to-teaching-turfin",
"title": "From Buskin’ on BART to Teaching Turfin’",
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"headTitle": "From Buskin’ on BART to Teaching Turfin’ | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">urfin’ is a way of life for me,” says \u003c/span>Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It’s also a political act, as she takes up space at will.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\" target=\"_blank\" rel=\"noopener\">Turf, \u003c/a>an acronym that stands for “taking up room on the floor,” is a style of dance that’s native to Oakland. During the hyphy movement of the early 2000s, the moves people were doing at house parties and in music videos left an indelible impression on Telice, as a youngster growing up in South Sacramento. When she was a teenager, her mother would drive her to functions in the Bay Area so she could be a part of the action. And as a young adult attending UC Berkeley, Telice found a home in Oakland’s turf dancing community.\u003c/p>\n\u003cfigure id=\"attachment_13940115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13940115 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg\" alt=\"Telice Summerfield's hair swings as she gigs in the center of a crowd during a recent battle.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield’s hair swings as she gigs in the center of a crowd during a recent battle. \u003ccite>(Amy Marie Elmer / Artful Eye Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through this community, Telice has built a career in dance. Last year alone she hosted the 2023 Red Bull Dance Your Style Competition, taught turf dancing to young folks at an elementary school in West Oakland, and led lessons on dance at the Oakland Museum of California.\u003c/p>\n\u003cp>Today we discuss how the hyphy movement opened her eyes to the arts as a child, how her experience at UC Berkeley exposed her to inequalities on campus as a young adult, and what dancing on BART has taught her about sociology. Now that Telice is a known name in the dancing world, she also gives us some insight on her plans to take the culture even further.\u003c/p>\n\u003cp>https://www.instagram.com/reel/ClfT3U6Dw3_/\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7950103605&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw, host:\u003c/strong> Hey, what’s up family, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, sliding in the studio to bring you a story that’s for sure going to get you moving.\u003c/p>\n\u003cp>If you’re an avid BART rider, chances are you’ve seen folks dancing on the train to make a lil change. The style of dance most people do on BART is T.U.R.F. Dancing, a type of dance that emerged from Oakland in the late 90s and early 2000s. It was popularized during the hyphy movement, and in many ways it carried the culture.\u003c/p>\n\u003cp>More than just going dumb, T.U.R.F. Dancing is about the smooth footwork, pantomiming and making facial expressions. It’s about the bone-breaking, tutting, and pop-locking. It’s storytelling on beat, and being player about it.\u003c/p>\n\u003cp>This week we’re talking to Telice Summerfield, a T.U.R.F. dancer who takes the meaning behind the acronym T.U.R.F.– taking up room on the floor– seriously.\u003c/p>\n\u003cp>Originally from South Sacramento, Telice was a kid when the hyphy movement kicked off. But she took note of it all: the good, the bad, and the dance moves.\u003c/p>\n\u003cp>And since then she’s gone on to teach dance classes in schools, host events at the Oakland Museum of California, and shine on stage at Red Bull’s Dance Your Style competition.\u003c/p>\n\u003cp>If you’re lucky enough to get on the right BART train, you’ll find Telice going from station to station, giggin’, doing bone-breaking contortions, and acrobatic moves as she performs on public transit. It’s because of this work ethic and talent that Telice’s name now rings bells in the Bay and beyond.\u003c/p>\n\u003cp>Today on Rightnowish, Telice shares a bit about her upbringing in Sacramento, her affection for the Town and how she’s T.U.R.F. danced all over Northern California– carrying the hyphy flag with her, and keeping the culture lit for the next generation.\u003c/p>\n\u003cp>All of that and more, right after this.\u003c/p>\n\u003cp>What’s your earliest memory of turf dancing, when was the first time you saw it?\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> So when I was 11, my.. I want to call her my cousin, but she really like my little brother’s auntie. She were not, like, blood re-. Anyways, she threw a party. I want to say she was like a junior or senior in high school, and she threw a big ass party right there in Meadowview and it was so lit. It was like my first function. And in there they was fuckin wit’ it they was turfin’. And Iike it just was… it so lit. It was like one of the most hyphiest young moments of my life.\u003c/p>\n\u003cp>By, like, my junior year of high school, I was like ditching school to go to the battles or I would like, leave whatever school event. I was into extracurriculars, very studious, very smart. But I would be leaving the school shit to go dance because that’s really where my heart was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> During that time period, we have this thing called the hyphy movement. And through that, it furthered the cultural identity of Northern California hip hop. And it spoke to you in Sacramento. You latched on to it. What was it about the hyphy movement that spoke to you?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oh, my goodness. I felt a sense of like, ‘ooh, that’s me.’ Like, it was just like a sense of resonance, you know? Um, it allowed me to be free.\u003c/p>\n\u003cp>With the hyphy movement and with hyphy culture and like just the energy behind it, there’s a sense of like, relief and freedom and like, “Oh, you don’t actually got to sit like this and eat like this and do this.” And there’s no supposed to. You know, you could just like fuck with it, you feel me. And like it was very electric for me. Like I will always turn up. The Federation was my favorite. And whenever I felt constrained by rules or by circumstance or by um, obstacles, I could always turn on some hyphy slaps and it would just be lit like, I just would feel better, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Something that I really wanted to touch on, is the fact that your mother would drive you and sometimes even your siblings to functions in Oakland so that you could dance. What did her belief in you do for you as a burgeoning dancer?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> She would do all of that sacrificing, and mind you she was like… the battles back in the day was like 25 dollars, maybe 20, 25 dollars. And she couldn’t afford to get us all if she would drive all the way from Sac, maybe with my siblings in a car, if they was around, if not, they was at home or whatever. But they would all wait outside for me and she would pay for me to get into battles and wait hours, hours for me to just be exposed, like maybe, maybe not cypher, maybe, maybe not meet a few people. You know what I mean?\u003c/p>\n\u003cp>Like, I was a lot more reserved and a lot less confident at the time, and so she would go the extra mile just for me to have the exposure to what I love most. And for me, like, especially in hindsight, I can never pay her back for that. You know, it’s like an investment that, like, she really believes in me and it’s paid off. You know, I’m able to pay my bills now off of dance, just off of me being who I am. And like, that’s a blessing. That is… that’s irreplaceable. You know, you can’t put a price tag on that. So, her investment in me way back when just showed me that she believed in whatever I decide to do, she gon’ stand ten toes behind me.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s beautiful. As a parent I know that that’s something that, yeah, you kind of live through your child in a lot of ways. And… and so seeing you pursue your dreams and be successful, I’m sure she’s proud of you.\u003c/p>\n\u003cp>Something I got to get here because this is an important part of your story. You get into UC Berkeley, you move to the Bay Area. You study social welfare as well as Spanish, and at the same time you weren’t all the way feeling what UC Berkeley was in terms of the social life on campus. So you ended up in Oakland. What did Oakland provide for you as an outlet during that time period?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oakland provided a sense of like home. Like it didn’t feel like there were as many social expectations or regulations. Racism wasn’t as heavy as it was in Berkeley. My craft held more weight in Oakland, you know, like I feel like my… I could take my craft to Oakland anywhere, you know, especially on the trains. Well, like, anywhere really and be recognized for what I do and, like, really be affirmed in what I do. Whereas like in Berkeley, it just was like, “Oh, that’s cool,” you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Very much so. I went to Berkeley for grad school. Similar situation where on Fridays I would drop my backpack off and just be in the town and I… It was a release, I could breathe again.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> And that’s a lot of the reason why I would either if I was in Berkeley, I was either at home, in class, or on my way to the BART.\u003cem> [chuckles]\u003c/em> Like, I was never really kickin’ it in Berkeley. I never really was fucking with the parties like that, like none of that, because I didn’t feel a sense of belonging. I didn’t feel like there was room for, like, real black girls, like.\u003c/p>\n\u003cp>Berkeley is well known for its political activism, its progressive activism, but there also still exists a lot of hegemony and hierarchy in that arena just to even have access to it, you know. So I felt that a lot and just Oakland gave me an escape. It gave me access to myself.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That makes perfect sense then. And that investment in yourself paid dividends. You furthered your community. You met folks who were into dance just like you were. You met my best friend in the world, Jesus.. Zeus El, who’s a legendary turf dancer. And so I’ve known Zeus since seventh grade, and I’ve seen him develop this turf dance family kind of from the outside. You know, I know a lot of the people, but I’m not a dancer, so I’m not in it. And so I’m wondering, what is it like being inside of that turf dancing family?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> First of all, shout out to Zeus. I love him so much. That’s big bro.\u003c/p>\n\u003cp>He’s incredible. He takes everybody in with open arms. And that’s not the case for all the turfers. And that’s not… that’s not our general standard of embracing people. You know, a lot of times people have to earn it. But he just like, welcomed me and I just- I’m so grateful.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being inside of that family is like it’s very nuanced. Like there’s very, very high highs and the lows really kick you in your ass and there’s a lot of politics too, that are not easily, uh, legible to an onlooker, right or somebody who just whose perspective is from the outside in.\u003c/p>\n\u003cp>It’s very critical that we stay connected, even if we don’t see eye to eye or even if we don’t agree on a topic. Being in that family is not easy, but Zeus made it a lot easier. Like I met, he was one of the first people I met in my first, like, day of being in Berkeley by myself without my family, you know. Like I went to the gym and I went to go flip with him. And that also gave me a sense of myself because I’ve been an athlete for a long time. And it just reminded me like, there’s not… you don’t have to separate your identity into categories, like they can all blend and serve your purpose for who you are.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You came out and you stole the show at a KQED event. We were honoring dancers from… basically 100 years worth of dancing told through this show. And toward the end, we invited folks to come up on stage and start hittin it, and you came out there, giggin, you knew a little bit of everybody and folks knew you.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being integral to what I love most has earned me the opportunity of getting to be who I am authentically, everywhere I go.\u003c/p>\n\u003cp>When you see me interacting with people and you see me like…. Like you said, I knew a little bit of everybody. Someone that I met from years ago in school could be at a KQED event and remember me or recognize me. Right. Or someone that I met through a village auntie can be at another event and remember me. You know what I mean? And so I think just like, developing authentic relationships and being authentic to who I am has allowed me to earn my name and earn like the…honor behind it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You mentioned dancing in different places and people knowing you from the different hats that you wear. Do you have a different approach when you’re dancing on big stages or community events or even on BART?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Dancing on big stages is really fun. It’s really fun because the support is for the most part, it’s overwhelming.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> It allows me to expose the culture to a larger amount of people and the way that I do it, is unique because I wasn’t here, you know, I wasn’t in the Town in 2006, 2007, 2008, right? So the way that I do it has to be genuine to who I am.\u003c/p>\n\u003cp>It feels empowering to dance on BART because I know that I can always feed myself off my craft, you know? But there’s… there’s, like, nuances, right? Like, there’s the good with the bad. Like, BART is not the cleanest place to be hustling. It’s not the cleanest place to be dancing, you know? So I don’t sit down when I’m dancing on BART. Like I don’t sit down on BART, period.\u003c/p>\n\u003cp>Most people who see dancers on BART, they rarely see girls. They rarely see girls who are raw. I don’t know, I don’t even really see girls like that and I be out there! So, like…\u003c/p>\n\u003cp>Turfing in itself is taken up from on a floor, right? And it’s like radical, it’s political. It’s not- it’s not just dance moves Like you can feel it, it pierces you, you know, And whether I’m dancing on BART, whether I’m dancing in a battle, whether I’m dancing at first Friday, whether I’m dancing at a music festival, like people can feel that.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s dope, Okay.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And, in terms of that validity in developing community and reaching folks during the pandemic, BART ridership took a dive. You pivoted and started doing work online. You developed a dance club called “Pussy Power Dance” and it became popular. Why do you think folks latched onto it?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Well, I created Pussy Power out of a deficit of platform, right. Each month I would host a IG live session and it would last for about an hour and I would invite girls to come and perform on Pussy Power and, um, they would take 3 to 5 minutes to dance and they would just showcase. And I made it a showcase on purpose so that it was more open to all level styles, backgrounds, like I didn’t want it to feel like a competition or like a battle or like you’re going against all these girls in the live, right?\u003c/p>\n\u003cp>And I think that people latched on to it because they probably felt the same way and also because they saw how unifying it was from like, the barriers of time, space, language, level of dance, and any other constraints that could keep us away from each other, they- those obstacles didn’t limit us when we were on pussy power. So like, every episode was so inspiring, and all the girls were like, ‘oh my goodness!’ It was just so cool.\u003c/p>\n\u003cp>To me, giving back is a part of why I do everything that I do. Like I want everyone to walk away with something, even if it’s inspiration or hopefully it’s tangible. And so through Pussy Power, even though there was all these dimensions that kept us apart, I still was able to give back in tangible ways and that made it more popular.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> It’s something, you seem like you’ve etched out a career path. Now you’re working in education as well, teaching young folks dance in West Oakland. Tell me more about your day job.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> My day job is teaching dance at an elementary school in West Oakland. And I teach from preschool up until fourth grade. Basically, there’s two classes of each grade and each class like, circulates through my class,\u003c/p>\n\u003cp>In my class we do, like it’s not elite dancing at all, you know, it’s not like it’s not “traditional” what traditional dance classes would look like, where like they’re learning a choreography and then they’re doing the choreography, right?\u003c/p>\n\u003cp>It’s more of like embracing movement as a creative expression of empowerment. You know, it’s like confidence building. It’s like them embracing that dance culture is really fun.\u003c/p>\n\u003cp>What I do, like, my role is to, like, uplift them and empower them and like, show them like, even if you don’t feel like the best dancer in the world, you can still come touch the stage and show some poses. And, you know, you can walk down a Soul Train line like the queen that you are. And so that allows them to share information of movement with each other, um, back and forth and just like embrace each other, you know, really see each other.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And then beyond that, you also do workshops with folks of all ages through the Oakland Museum of California. What’s that experience been like?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> The Oakland Museum, shout out to them. I love them so much. The workshop that I taught recently, it did have a diverse age group and I’m grateful for that because the movement and the information that I have to offer. I do want it to be accessible to everyone. And so I hosted a dance workshop on the front steps in the front patio of the Oakland Museum. And at first it was like only a few people. And like, there was some people who were feeling shy so they just wanted to watch. And then there are some people who are like, “Yeah, I’ll do it..I come fuck with y’all.” But by the end of the class it was like a good 15, 20 people and they all like, “Yeah!” You know, they’re all really excited.\u003c/p>\n\u003cp>And I like to end with uh, activities, games, you know, dance circles, things like that, because it… it’s not so like… accomplished-based. It’s actually about how you feel because it’s not just a dance move. It’s not just a dance style. It’s like a… It’s a feeling, you know what I mean? It’s like a… it’s like a radical act, it’s a radical practice. So people feel that when they’re in my classes, in my space, learning from me, they always leave with smiles. And that just makes me feel like, oh my goodness.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You’re doing the work. You’re doing the work. And it’s, I mean, the smiles and also like having income based on it, being able to make a living off of dance, that’s a sign that you’re on the right path. With that said, why do you personally think it’s important to pass down these lessons to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Several reasons, I really in my heart, I know that if we don’t pay it forward, the culture will die, like, just period.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> You know, and so, I really, as someone who’s really passionate about it and who cares about this a lot and like who makes a living and defines my path with this turfin’ shit, like turfing is a way of life for me. And as someone who uses this practice as a way of life, it’s critical to pass it down. It’s critical to pay it forward. So that way I’m not always… the burden isn’t always on me to keep this alive. Like, you know, it’s not just on any of us. Like we have a whole ‘nother generation of people who are emerging and maybe they can do a little bit more with this practice, with this community than we were able to do. You know, maybe they can reach farther than we were able to reach, you know?\u003c/p>\n\u003cp>Like there’s a lot of people around the world who want to learn turfing, you know, and we have it. It’s not like we’re not capable. There’s just some disconnects that I want to, like, connect so that not only I can get paid boucou money to travel the world, to teach and learn turfing. But my peers and my… my youngins can also do the same and see tangible opportunity from this, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Everybody eats, B.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Everybody eats. Everybody walks away with something.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> I want to give a huge shoutout to Telice Summerfield. You’ve found your path, and you’ve simultaneously carried the culture with you! Thank you. Thank you for taking it even further!\u003c/p>\n\u003cp>You all can follow her on Instagram at tuuhleacee spelled T-U-U-H-L-E-A-C-E-E. And that’s the best way to stay updated on Telice’s upcoming performances, classes and more.\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw.\u003c/p>\n\u003cp>It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/p>\n\u003cp>Chris Hambrick is our editor.\u003c/p>\n\u003cp>Christopher Beale is our engineer.\u003c/p>\n\u003cp>Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/p>\n\u003cp>If you liked this episode, please share it with a friend, or write a review on your favorite podcast platform. It helps more people find us. Thanks y’all.\u003c/p>\n\u003cp>Rightnowish is a KQED Production.\u003c/p>\n\u003cp>Peace.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">urfin’ is a way of life for me,” says \u003c/span>Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It’s also a political act, as she takes up space at will.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\" target=\"_blank\" rel=\"noopener\">Turf, \u003c/a>an acronym that stands for “taking up room on the floor,” is a style of dance that’s native to Oakland. During the hyphy movement of the early 2000s, the moves people were doing at house parties and in music videos left an indelible impression on Telice, as a youngster growing up in South Sacramento. When she was a teenager, her mother would drive her to functions in the Bay Area so she could be a part of the action. And as a young adult attending UC Berkeley, Telice found a home in Oakland’s turf dancing community.\u003c/p>\n\u003cfigure id=\"attachment_13940115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13940115 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg\" alt=\"Telice Summerfield's hair swings as she gigs in the center of a crowd during a recent battle.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield’s hair swings as she gigs in the center of a crowd during a recent battle. \u003ccite>(Amy Marie Elmer / Artful Eye Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through this community, Telice has built a career in dance. Last year alone she hosted the 2023 Red Bull Dance Your Style Competition, taught turf dancing to young folks at an elementary school in West Oakland, and led lessons on dance at the Oakland Museum of California.\u003c/p>\n\u003cp>Today we discuss how the hyphy movement opened her eyes to the arts as a child, how her experience at UC Berkeley exposed her to inequalities on campus as a young adult, and what dancing on BART has taught her about sociology. Now that Telice is a known name in the dancing world, she also gives us some insight on her plans to take the culture even further.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7950103605&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw, host:\u003c/strong> Hey, what’s up family, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, sliding in the studio to bring you a story that’s for sure going to get you moving.\u003c/p>\n\u003cp>If you’re an avid BART rider, chances are you’ve seen folks dancing on the train to make a lil change. The style of dance most people do on BART is T.U.R.F. Dancing, a type of dance that emerged from Oakland in the late 90s and early 2000s. It was popularized during the hyphy movement, and in many ways it carried the culture.\u003c/p>\n\u003cp>More than just going dumb, T.U.R.F. Dancing is about the smooth footwork, pantomiming and making facial expressions. It’s about the bone-breaking, tutting, and pop-locking. It’s storytelling on beat, and being player about it.\u003c/p>\n\u003cp>This week we’re talking to Telice Summerfield, a T.U.R.F. dancer who takes the meaning behind the acronym T.U.R.F.– taking up room on the floor– seriously.\u003c/p>\n\u003cp>Originally from South Sacramento, Telice was a kid when the hyphy movement kicked off. But she took note of it all: the good, the bad, and the dance moves.\u003c/p>\n\u003cp>And since then she’s gone on to teach dance classes in schools, host events at the Oakland Museum of California, and shine on stage at Red Bull’s Dance Your Style competition.\u003c/p>\n\u003cp>If you’re lucky enough to get on the right BART train, you’ll find Telice going from station to station, giggin’, doing bone-breaking contortions, and acrobatic moves as she performs on public transit. It’s because of this work ethic and talent that Telice’s name now rings bells in the Bay and beyond.\u003c/p>\n\u003cp>Today on Rightnowish, Telice shares a bit about her upbringing in Sacramento, her affection for the Town and how she’s T.U.R.F. danced all over Northern California– carrying the hyphy flag with her, and keeping the culture lit for the next generation.\u003c/p>\n\u003cp>All of that and more, right after this.\u003c/p>\n\u003cp>What’s your earliest memory of turf dancing, when was the first time you saw it?\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> So when I was 11, my.. I want to call her my cousin, but she really like my little brother’s auntie. She were not, like, blood re-. Anyways, she threw a party. I want to say she was like a junior or senior in high school, and she threw a big ass party right there in Meadowview and it was so lit. It was like my first function. And in there they was fuckin wit’ it they was turfin’. And Iike it just was… it so lit. It was like one of the most hyphiest young moments of my life.\u003c/p>\n\u003cp>By, like, my junior year of high school, I was like ditching school to go to the battles or I would like, leave whatever school event. I was into extracurriculars, very studious, very smart. But I would be leaving the school shit to go dance because that’s really where my heart was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> During that time period, we have this thing called the hyphy movement. And through that, it furthered the cultural identity of Northern California hip hop. And it spoke to you in Sacramento. You latched on to it. What was it about the hyphy movement that spoke to you?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oh, my goodness. I felt a sense of like, ‘ooh, that’s me.’ Like, it was just like a sense of resonance, you know? Um, it allowed me to be free.\u003c/p>\n\u003cp>With the hyphy movement and with hyphy culture and like just the energy behind it, there’s a sense of like, relief and freedom and like, “Oh, you don’t actually got to sit like this and eat like this and do this.” And there’s no supposed to. You know, you could just like fuck with it, you feel me. And like it was very electric for me. Like I will always turn up. The Federation was my favorite. And whenever I felt constrained by rules or by circumstance or by um, obstacles, I could always turn on some hyphy slaps and it would just be lit like, I just would feel better, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Something that I really wanted to touch on, is the fact that your mother would drive you and sometimes even your siblings to functions in Oakland so that you could dance. What did her belief in you do for you as a burgeoning dancer?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> She would do all of that sacrificing, and mind you she was like… the battles back in the day was like 25 dollars, maybe 20, 25 dollars. And she couldn’t afford to get us all if she would drive all the way from Sac, maybe with my siblings in a car, if they was around, if not, they was at home or whatever. But they would all wait outside for me and she would pay for me to get into battles and wait hours, hours for me to just be exposed, like maybe, maybe not cypher, maybe, maybe not meet a few people. You know what I mean?\u003c/p>\n\u003cp>Like, I was a lot more reserved and a lot less confident at the time, and so she would go the extra mile just for me to have the exposure to what I love most. And for me, like, especially in hindsight, I can never pay her back for that. You know, it’s like an investment that, like, she really believes in me and it’s paid off. You know, I’m able to pay my bills now off of dance, just off of me being who I am. And like, that’s a blessing. That is… that’s irreplaceable. You know, you can’t put a price tag on that. So, her investment in me way back when just showed me that she believed in whatever I decide to do, she gon’ stand ten toes behind me.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s beautiful. As a parent I know that that’s something that, yeah, you kind of live through your child in a lot of ways. And… and so seeing you pursue your dreams and be successful, I’m sure she’s proud of you.\u003c/p>\n\u003cp>Something I got to get here because this is an important part of your story. You get into UC Berkeley, you move to the Bay Area. You study social welfare as well as Spanish, and at the same time you weren’t all the way feeling what UC Berkeley was in terms of the social life on campus. So you ended up in Oakland. What did Oakland provide for you as an outlet during that time period?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oakland provided a sense of like home. Like it didn’t feel like there were as many social expectations or regulations. Racism wasn’t as heavy as it was in Berkeley. My craft held more weight in Oakland, you know, like I feel like my… I could take my craft to Oakland anywhere, you know, especially on the trains. Well, like, anywhere really and be recognized for what I do and, like, really be affirmed in what I do. Whereas like in Berkeley, it just was like, “Oh, that’s cool,” you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Very much so. I went to Berkeley for grad school. Similar situation where on Fridays I would drop my backpack off and just be in the town and I… It was a release, I could breathe again.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> And that’s a lot of the reason why I would either if I was in Berkeley, I was either at home, in class, or on my way to the BART.\u003cem> [chuckles]\u003c/em> Like, I was never really kickin’ it in Berkeley. I never really was fucking with the parties like that, like none of that, because I didn’t feel a sense of belonging. I didn’t feel like there was room for, like, real black girls, like.\u003c/p>\n\u003cp>Berkeley is well known for its political activism, its progressive activism, but there also still exists a lot of hegemony and hierarchy in that arena just to even have access to it, you know. So I felt that a lot and just Oakland gave me an escape. It gave me access to myself.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That makes perfect sense then. And that investment in yourself paid dividends. You furthered your community. You met folks who were into dance just like you were. You met my best friend in the world, Jesus.. Zeus El, who’s a legendary turf dancer. And so I’ve known Zeus since seventh grade, and I’ve seen him develop this turf dance family kind of from the outside. You know, I know a lot of the people, but I’m not a dancer, so I’m not in it. And so I’m wondering, what is it like being inside of that turf dancing family?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> First of all, shout out to Zeus. I love him so much. That’s big bro.\u003c/p>\n\u003cp>He’s incredible. He takes everybody in with open arms. And that’s not the case for all the turfers. And that’s not… that’s not our general standard of embracing people. You know, a lot of times people have to earn it. But he just like, welcomed me and I just- I’m so grateful.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being inside of that family is like it’s very nuanced. Like there’s very, very high highs and the lows really kick you in your ass and there’s a lot of politics too, that are not easily, uh, legible to an onlooker, right or somebody who just whose perspective is from the outside in.\u003c/p>\n\u003cp>It’s very critical that we stay connected, even if we don’t see eye to eye or even if we don’t agree on a topic. Being in that family is not easy, but Zeus made it a lot easier. Like I met, he was one of the first people I met in my first, like, day of being in Berkeley by myself without my family, you know. Like I went to the gym and I went to go flip with him. And that also gave me a sense of myself because I’ve been an athlete for a long time. And it just reminded me like, there’s not… you don’t have to separate your identity into categories, like they can all blend and serve your purpose for who you are.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You came out and you stole the show at a KQED event. We were honoring dancers from… basically 100 years worth of dancing told through this show. And toward the end, we invited folks to come up on stage and start hittin it, and you came out there, giggin, you knew a little bit of everybody and folks knew you.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being integral to what I love most has earned me the opportunity of getting to be who I am authentically, everywhere I go.\u003c/p>\n\u003cp>When you see me interacting with people and you see me like…. Like you said, I knew a little bit of everybody. Someone that I met from years ago in school could be at a KQED event and remember me or recognize me. Right. Or someone that I met through a village auntie can be at another event and remember me. You know what I mean? And so I think just like, developing authentic relationships and being authentic to who I am has allowed me to earn my name and earn like the…honor behind it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You mentioned dancing in different places and people knowing you from the different hats that you wear. Do you have a different approach when you’re dancing on big stages or community events or even on BART?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Dancing on big stages is really fun. It’s really fun because the support is for the most part, it’s overwhelming.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> It allows me to expose the culture to a larger amount of people and the way that I do it, is unique because I wasn’t here, you know, I wasn’t in the Town in 2006, 2007, 2008, right? So the way that I do it has to be genuine to who I am.\u003c/p>\n\u003cp>It feels empowering to dance on BART because I know that I can always feed myself off my craft, you know? But there’s… there’s, like, nuances, right? Like, there’s the good with the bad. Like, BART is not the cleanest place to be hustling. It’s not the cleanest place to be dancing, you know? So I don’t sit down when I’m dancing on BART. Like I don’t sit down on BART, period.\u003c/p>\n\u003cp>Most people who see dancers on BART, they rarely see girls. They rarely see girls who are raw. I don’t know, I don’t even really see girls like that and I be out there! So, like…\u003c/p>\n\u003cp>Turfing in itself is taken up from on a floor, right? And it’s like radical, it’s political. It’s not- it’s not just dance moves Like you can feel it, it pierces you, you know, And whether I’m dancing on BART, whether I’m dancing in a battle, whether I’m dancing at first Friday, whether I’m dancing at a music festival, like people can feel that.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s dope, Okay.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And, in terms of that validity in developing community and reaching folks during the pandemic, BART ridership took a dive. You pivoted and started doing work online. You developed a dance club called “Pussy Power Dance” and it became popular. Why do you think folks latched onto it?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Well, I created Pussy Power out of a deficit of platform, right. Each month I would host a IG live session and it would last for about an hour and I would invite girls to come and perform on Pussy Power and, um, they would take 3 to 5 minutes to dance and they would just showcase. And I made it a showcase on purpose so that it was more open to all level styles, backgrounds, like I didn’t want it to feel like a competition or like a battle or like you’re going against all these girls in the live, right?\u003c/p>\n\u003cp>And I think that people latched on to it because they probably felt the same way and also because they saw how unifying it was from like, the barriers of time, space, language, level of dance, and any other constraints that could keep us away from each other, they- those obstacles didn’t limit us when we were on pussy power. So like, every episode was so inspiring, and all the girls were like, ‘oh my goodness!’ It was just so cool.\u003c/p>\n\u003cp>To me, giving back is a part of why I do everything that I do. Like I want everyone to walk away with something, even if it’s inspiration or hopefully it’s tangible. And so through Pussy Power, even though there was all these dimensions that kept us apart, I still was able to give back in tangible ways and that made it more popular.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> It’s something, you seem like you’ve etched out a career path. Now you’re working in education as well, teaching young folks dance in West Oakland. Tell me more about your day job.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> My day job is teaching dance at an elementary school in West Oakland. And I teach from preschool up until fourth grade. Basically, there’s two classes of each grade and each class like, circulates through my class,\u003c/p>\n\u003cp>In my class we do, like it’s not elite dancing at all, you know, it’s not like it’s not “traditional” what traditional dance classes would look like, where like they’re learning a choreography and then they’re doing the choreography, right?\u003c/p>\n\u003cp>It’s more of like embracing movement as a creative expression of empowerment. You know, it’s like confidence building. It’s like them embracing that dance culture is really fun.\u003c/p>\n\u003cp>What I do, like, my role is to, like, uplift them and empower them and like, show them like, even if you don’t feel like the best dancer in the world, you can still come touch the stage and show some poses. And, you know, you can walk down a Soul Train line like the queen that you are. And so that allows them to share information of movement with each other, um, back and forth and just like embrace each other, you know, really see each other.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And then beyond that, you also do workshops with folks of all ages through the Oakland Museum of California. What’s that experience been like?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> The Oakland Museum, shout out to them. I love them so much. The workshop that I taught recently, it did have a diverse age group and I’m grateful for that because the movement and the information that I have to offer. I do want it to be accessible to everyone. And so I hosted a dance workshop on the front steps in the front patio of the Oakland Museum. And at first it was like only a few people. And like, there was some people who were feeling shy so they just wanted to watch. And then there are some people who are like, “Yeah, I’ll do it..I come fuck with y’all.” But by the end of the class it was like a good 15, 20 people and they all like, “Yeah!” You know, they’re all really excited.\u003c/p>\n\u003cp>And I like to end with uh, activities, games, you know, dance circles, things like that, because it… it’s not so like… accomplished-based. It’s actually about how you feel because it’s not just a dance move. It’s not just a dance style. It’s like a… It’s a feeling, you know what I mean? It’s like a… it’s like a radical act, it’s a radical practice. So people feel that when they’re in my classes, in my space, learning from me, they always leave with smiles. And that just makes me feel like, oh my goodness.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You’re doing the work. You’re doing the work. And it’s, I mean, the smiles and also like having income based on it, being able to make a living off of dance, that’s a sign that you’re on the right path. With that said, why do you personally think it’s important to pass down these lessons to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Several reasons, I really in my heart, I know that if we don’t pay it forward, the culture will die, like, just period.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> You know, and so, I really, as someone who’s really passionate about it and who cares about this a lot and like who makes a living and defines my path with this turfin’ shit, like turfing is a way of life for me. And as someone who uses this practice as a way of life, it’s critical to pass it down. It’s critical to pay it forward. So that way I’m not always… the burden isn’t always on me to keep this alive. Like, you know, it’s not just on any of us. Like we have a whole ‘nother generation of people who are emerging and maybe they can do a little bit more with this practice, with this community than we were able to do. You know, maybe they can reach farther than we were able to reach, you know?\u003c/p>\n\u003cp>Like there’s a lot of people around the world who want to learn turfing, you know, and we have it. It’s not like we’re not capable. There’s just some disconnects that I want to, like, connect so that not only I can get paid boucou money to travel the world, to teach and learn turfing. But my peers and my… my youngins can also do the same and see tangible opportunity from this, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Everybody eats, B.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Everybody eats. Everybody walks away with something.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> I want to give a huge shoutout to Telice Summerfield. You’ve found your path, and you’ve simultaneously carried the culture with you! Thank you. Thank you for taking it even further!\u003c/p>\n\u003cp>You all can follow her on Instagram at tuuhleacee spelled T-U-U-H-L-E-A-C-E-E. And that’s the best way to stay updated on Telice’s upcoming performances, classes and more.\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw.\u003c/p>\n\u003cp>It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/p>\n\u003cp>Chris Hambrick is our editor.\u003c/p>\n\u003cp>Christopher Beale is our engineer.\u003c/p>\n\u003cp>Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/p>\n\u003cp>If you liked this episode, please share it with a friend, or write a review on your favorite podcast platform. It helps more people find us. Thanks y’all.\u003c/p>\n\u003cp>Rightnowish is a KQED Production.\u003c/p>\n\u003cp>Peace.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé",
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"content": "\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/C0UIzqEAo1I/\u003c/p>\n\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. [aside postid='arts_13932887']\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. [aside postid='arts_13939484']\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\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>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé | KQED",
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"headline": "How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\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>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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