7 Free Dance Classes in the Bay Area for Beginners on a Budget
Beloved East Bay Dancer Needs Heart Transplant After Collapse
A Modern Rendition of the Ramayana Comes to Hayward
San Francisco’s CounterPulse In Turmoil After Layoffs, Labor Dispute
Zaccho Dance Theatre To Celebrate 45 Years of Daring Performances
With a 20th Anniversary Show, Sean Dorsey Dance Pulls Strength From Trans History
Oakland’s First Garba Dance Festival Arrives in Chinatown
Two San Jose Festivals Celebrate Salsa and Afro Latin Music in June
Your Phone is Haunted
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"content": "\u003cp>\u003cem>This story is part of \u003ca href=\"https://www.kqed.org/affordability\" target=\"_blank\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the full series \u003ca href=\"https://www.kqed.org/affordability\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The Bay Area’s dance scene isn’t just for seasoned performers. It’s open to anyone willing to try a few new steps — and despite some high-priced courses out there, many free dance classes in the Bay Area are available at no charge.\u003c/p>\n\u003cp>As longer days and warmer weather settle in, dancing can transport you out of the winter blues. Below, find our select roundup of easy, non-committal dance classes around the Bay Area to keep your body moving. From freeform dance to group country swing dancing, there’s something for just about everyone to enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13989000\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485.jpg\" alt=\"\" width=\"2000\" height=\"1357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485-1536x1042.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Patrons dance during weekly dance lessons at Jaxson, a bar in the Marina that specializes in country music, in San Francisco, Calif., on Sunday, June 24, 2018. \u003ccite>(Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/DXMxkpvB8HS/\">Beginner-Friendly Country Swing Dancing\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Thursdays and Sundays, 8 p.m.\u003c/i>\u003cbr>\n\u003ci>Jaxson, San Francisco \u003c/i>\u003c/p>\n\u003cp>A low-pressure weekly session at this San Francisco country bar starts with a quick, approachable lesson before opening up into a social dance. Whether you’re looking for a boost in the work week’s final stretch, or a Sunday night reset, these swing sessions double as a chance to unwind and learn something new.\u003c/p>\n\u003cfigure id=\"attachment_13988991\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance.png\" alt=\"\" width=\"1888\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance-768x290.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance-1536x581.png 1536w\" sizes=\"auto, (max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">Soul Sanctuary Dance is available either in person or livestreaming. \u003ccite>(Ashkenaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.soulsanctuarydance.com/in-person-and-online-soul-sanctuary-dance.html\">Soul Sanctuary Dance\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays, 11 a.m.–1 p.m.\u003c/i>\u003cbr>\n\u003ci>Ashkenaz Music and Dance Community Center, Berkeley\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With an emphasis on community gathering, inclusivity and expression, the long-running freeform Sunday dance session at Ashkenaz offers a hybrid dance format for participants to join either in-person or via video call from home. Dancers are encouraged to bring their own props to integrate into their choreography.\u003c/p>\n\u003cfigure id=\"attachment_13988992\" class=\"wp-caption aligncenter\" style=\"max-width: 2511px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace.png\" alt=\"\" width=\"2511\" height=\"1880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace.png 2511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-2000x1497.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-768x575.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-1536x1150.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-2048x1533.png 2048w\" sizes=\"auto, (max-width: 2511px) 100vw, 2511px\">\u003cfigcaption class=\"wp-caption-text\">90-minute hip-hop classes are free at Sullivan Community Space. \u003ccite>(Sullivan Community Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sullivancommunityspace.com/#anchors-ljen493i\">Sullivan Community Space in Oakland\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Tuesdays, 7–8:30 p.m.\u003c/i>\u003cbr>\n\u003ci>Sullivan Community Space, Oakland\u003c/i>\u003c/p>\n\u003cp>This free hip-hop class is led by rotating instructors who break down the choreography step-by-step, gradually building movement over the span of 90 minutes. Each week offers a fresh dance, leaving you with a new combination in your back pocket.\u003c/p>\n\u003cfigure id=\"attachment_13988983\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988983\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective.jpg\" alt=\"\" width=\"832\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective.jpg 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective-768x512.jpg 768w\" sizes=\"auto, (max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">Carmen Carrasco-Arévalo of the Banyan Women’s Collective hosts free samba classes in Menlo Park. \u003ccite>(Banyan Womens Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://cityofmenlopark.perfectmind.com/26116/Clients/BookMe4LandingPages/CoursesLandingPage?widgetId=96e9f6e4-7ae5-4f53-a477-23e3e6c70670&singleCalendarWidget=True&redirectedFromEmbededMode=False&courseId=48865e45-1420-48d4-a10f-366da9ffb5f0\">SalSamba in Menlo Park \u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fridays in May, 8:30–9:25 a.m.\u003c/i>\u003cbr>\n\u003ci>Arrillaga Family Recreation Center, Menlo Park \u003c/i>\u003c/p>\n\u003cp>Every Friday morning during the month of May, the City of Menlo Park offers a dance class tucked between a duck pond and the library, blending salsa, samba, baile funk and funk into easy-to-follow beginner friendly routines.\u003c/p>\n\u003cfigure id=\"attachment_13988993\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano.jpg\" alt=\"\" width=\"1440\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano-600x600.jpg 600w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Amapiano takes over the dancefloor at Zanzi in Oakland. \u003ccite>(Zanzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/amapianooak/\">Amapiano Mondays\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Mondays, 8–9 p.m.\u003c/i>\u003cbr>\n\u003ci>Zanzi, Oakland \u003c/i>\u003c/p>\n\u003cp>The Oakland dance club known for packed crowds on the weekends keeps the momentum going on Mondays for these free dance lessons. Instructor Tawo Nhawu breaks down the signature Amapiano groove in a beginner-friendly way, giving you the basics you’ll need for the dance party that follows at 10 p.m.\u003c/p>\n\u003cfigure id=\"attachment_13988990\" class=\"wp-caption aligncenter\" style=\"max-width: 1099px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988990\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF.jpg\" alt=\"\" width=\"1099\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF.jpg 1099w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF-768x432.jpg 768w\" sizes=\"auto, (max-width: 1099px) 100vw, 1099px\">\u003cfigcaption class=\"wp-caption-text\">Zumba in the Parks takes place all over San Francisco, from City Hall to the Excelsior. \u003ccite>(SF Recreation and Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfrecpark.org/1183/Zumba-in-the-Parks\">Zumba in the Parks\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Various locations and times in San Francisco \u003c/i>\u003c/p>\n\u003cp>If you prefer fresh air with your cardio, the City’s Zumba in the Park series brings lively dance routines to green spaces across San Francisco. Classes rotate locations and instructors, so check the schedule beforehand for details.\u003c/p>\n\u003cfigure id=\"attachment_13988989\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41.jpg\" alt=\"\" width=\"1100\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41-768x321.jpg 768w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">CityDance San Jose is a community gathering to bring people together through movement. \u003ccite>(City of San José)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sanjose.org/events/city-dance-2026\">CityDance San Jose\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 12–30\u003c/i>\u003cbr>\n\u003ci>Downtown San Jose \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A free summer series in downtown San Jose makes its return with live bands, outdoor dancing, and lively lessons from professional dance instructors. All dates fall in June this year, with locations and music genres still to be announced, so check back for details.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of \u003ca href=\"https://www.kqed.org/affordability\" target=\"_blank\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the full series \u003ca href=\"https://www.kqed.org/affordability\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The Bay Area’s dance scene isn’t just for seasoned performers. It’s open to anyone willing to try a few new steps — and despite some high-priced courses out there, many free dance classes in the Bay Area are available at no charge.\u003c/p>\n\u003cp>As longer days and warmer weather settle in, dancing can transport you out of the winter blues. Below, find our select roundup of easy, non-committal dance classes around the Bay Area to keep your body moving. From freeform dance to group country swing dancing, there’s something for just about everyone to enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13989000\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485.jpg\" alt=\"\" width=\"2000\" height=\"1357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GettyImages-1409046485-1536x1042.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Patrons dance during weekly dance lessons at Jaxson, a bar in the Marina that specializes in country music, in San Francisco, Calif., on Sunday, June 24, 2018. \u003ccite>(Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/DXMxkpvB8HS/\">Beginner-Friendly Country Swing Dancing\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Thursdays and Sundays, 8 p.m.\u003c/i>\u003cbr>\n\u003ci>Jaxson, San Francisco \u003c/i>\u003c/p>\n\u003cp>A low-pressure weekly session at this San Francisco country bar starts with a quick, approachable lesson before opening up into a social dance. Whether you’re looking for a boost in the work week’s final stretch, or a Sunday night reset, these swing sessions double as a chance to unwind and learn something new.\u003c/p>\n\u003cfigure id=\"attachment_13988991\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance.png\" alt=\"\" width=\"1888\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance-768x290.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SoulSanctuaryDance-1536x581.png 1536w\" sizes=\"auto, (max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">Soul Sanctuary Dance is available either in person or livestreaming. \u003ccite>(Ashkenaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.soulsanctuarydance.com/in-person-and-online-soul-sanctuary-dance.html\">Soul Sanctuary Dance\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays, 11 a.m.–1 p.m.\u003c/i>\u003cbr>\n\u003ci>Ashkenaz Music and Dance Community Center, Berkeley\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With an emphasis on community gathering, inclusivity and expression, the long-running freeform Sunday dance session at Ashkenaz offers a hybrid dance format for participants to join either in-person or via video call from home. Dancers are encouraged to bring their own props to integrate into their choreography.\u003c/p>\n\u003cfigure id=\"attachment_13988992\" class=\"wp-caption aligncenter\" style=\"max-width: 2511px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace.png\" alt=\"\" width=\"2511\" height=\"1880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace.png 2511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-2000x1497.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-768x575.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-1536x1150.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SullivanCommunitySpace-2048x1533.png 2048w\" sizes=\"auto, (max-width: 2511px) 100vw, 2511px\">\u003cfigcaption class=\"wp-caption-text\">90-minute hip-hop classes are free at Sullivan Community Space. \u003ccite>(Sullivan Community Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sullivancommunityspace.com/#anchors-ljen493i\">Sullivan Community Space in Oakland\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Tuesdays, 7–8:30 p.m.\u003c/i>\u003cbr>\n\u003ci>Sullivan Community Space, Oakland\u003c/i>\u003c/p>\n\u003cp>This free hip-hop class is led by rotating instructors who break down the choreography step-by-step, gradually building movement over the span of 90 minutes. Each week offers a fresh dance, leaving you with a new combination in your back pocket.\u003c/p>\n\u003cfigure id=\"attachment_13988983\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988983\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective.jpg\" alt=\"\" width=\"832\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective.jpg 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Carmen.BanyanWomensCollective-768x512.jpg 768w\" sizes=\"auto, (max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">Carmen Carrasco-Arévalo of the Banyan Women’s Collective hosts free samba classes in Menlo Park. \u003ccite>(Banyan Womens Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://cityofmenlopark.perfectmind.com/26116/Clients/BookMe4LandingPages/CoursesLandingPage?widgetId=96e9f6e4-7ae5-4f53-a477-23e3e6c70670&singleCalendarWidget=True&redirectedFromEmbededMode=False&courseId=48865e45-1420-48d4-a10f-366da9ffb5f0\">SalSamba in Menlo Park \u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fridays in May, 8:30–9:25 a.m.\u003c/i>\u003cbr>\n\u003ci>Arrillaga Family Recreation Center, Menlo Park \u003c/i>\u003c/p>\n\u003cp>Every Friday morning during the month of May, the City of Menlo Park offers a dance class tucked between a duck pond and the library, blending salsa, samba, baile funk and funk into easy-to-follow beginner friendly routines.\u003c/p>\n\u003cfigure id=\"attachment_13988993\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano.jpg\" alt=\"\" width=\"1440\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Zanzi.Amapiano-600x600.jpg 600w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Amapiano takes over the dancefloor at Zanzi in Oakland. \u003ccite>(Zanzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/amapianooak/\">Amapiano Mondays\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Mondays, 8–9 p.m.\u003c/i>\u003cbr>\n\u003ci>Zanzi, Oakland \u003c/i>\u003c/p>\n\u003cp>The Oakland dance club known for packed crowds on the weekends keeps the momentum going on Mondays for these free dance lessons. Instructor Tawo Nhawu breaks down the signature Amapiano groove in a beginner-friendly way, giving you the basics you’ll need for the dance party that follows at 10 p.m.\u003c/p>\n\u003cfigure id=\"attachment_13988990\" class=\"wp-caption aligncenter\" style=\"max-width: 1099px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988990\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF.jpg\" alt=\"\" width=\"1099\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF.jpg 1099w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/ZumbaInParkSF-768x432.jpg 768w\" sizes=\"auto, (max-width: 1099px) 100vw, 1099px\">\u003cfigcaption class=\"wp-caption-text\">Zumba in the Parks takes place all over San Francisco, from City Hall to the Excelsior. \u003ccite>(SF Recreation and Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfrecpark.org/1183/Zumba-in-the-Parks\">Zumba in the Parks\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Various locations and times in San Francisco \u003c/i>\u003c/p>\n\u003cp>If you prefer fresh air with your cardio, the City’s Zumba in the Park series brings lively dance routines to green spaces across San Francisco. Classes rotate locations and instructors, so check the schedule beforehand for details.\u003c/p>\n\u003cfigure id=\"attachment_13988989\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41.jpg\" alt=\"\" width=\"1100\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SJMA_OEDCA_CityDance_Cumbia_FLiang_08.18.202222-41-768x321.jpg 768w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">CityDance San Jose is a community gathering to bring people together through movement. \u003ccite>(City of San José)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sanjose.org/events/city-dance-2026\">CityDance San Jose\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 12–30\u003c/i>\u003cbr>\n\u003ci>Downtown San Jose \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A free summer series in downtown San Jose makes its return with live bands, outdoor dancing, and lively lessons from professional dance instructors. All dates fall in June this year, with locations and music genres still to be announced, so check back for details.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "gbari-gilliam-dancer-fundraiser-heart-transplant-oakland-berkeley-los-angeles",
"title": "Beloved East Bay Dancer Needs Heart Transplant After Collapse",
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"content": "\u003cp>An Oakland-born dancer, choreographer and Bay Area ballroom star has been hospitalized following a cardiac arrest caused by a rare heart condition. Gbari “GQ” Gilliam suffers from hypertrophic cardiomyopathy, which causes the heart muscle to thicken, limiting or preventing blood flow. As a result, the 32-year-old now needs a heart transplant.\u003c/p>\n\u003cp>Gilliam is currently in the intensive care unit of Los Angeles’ Cedars-Sinai Medical Center after collapsing during a dance rehearsal on March 27. The former Berkeley High student originally moved to Los Angeles to study at UCLA, graduating in 2016. Since then, Gilliam has remained in Southern California. He has performed on \u003cem>Jimmy Kimmel Live!\u003c/em>, worked with Tyler Perry Studios and appeared in short films.\u003c/p>\n\u003cp>[aside postid='arts_13988106']Gilliam’s mother Tuseda Graggs-Borden, who is based in San Francisco, believes her son’s life was saved by a nurse who just happened to be passing the dance studio at the time of his collapse. According to news reports, when the nurse saw Gilliam’s panicked friends, she stepped up to assist them, performed CPR on him and assisted paramedics as they rushed Gilliam to the hospital. The identity of the nurse remains a mystery.\u003c/p>\n\u003cp>Gilliam has been sustained ever since by an extracorporeal membrane oxygenation (ECMO) machine that acts as an artificial heart and lung. He is under heavy sedation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/help-gbari-gilliam-recover-after-cardiac-arrest\">A GoFundMe campaign\u003c/a> to help cover Gilliam’s considerable medical and family expenses has been set up by his aunt, Perginia Shank. So far, almost 4,000 donors have stepped up, raising more than $250,000 of a $500,000 goal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Gbari has been a staple not just in my life, but in so many different communities,” Gilliam’s girlfriend and dance partner Shantel Ureña told NBC4 News. “He’s like the person that you go to when you need someone to talk to, when you need someone to lean on. Because he’s poured so much into other people, it’s really beautiful to see other people pouring it back into him in this moment.”\u003c/p>\n\u003cp>For now, Gilliam’s friends and family are doing their best to stay optimistic about his future. His mom Tuseda Graggs-Borden told NBC4, “I just believe that he’s going to be back out there, dancing his heart out, being that light.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/oaklandtoall/\">The GQ Ball: House and Waacking battles + Mini Ball\u003c/a> will take place on April 18, 2026 at \u003ca href=\"https://fluid510.com/\">Fluid510\u003c/a> (1544 Broadway) in Oakland. All proceeds raised will go to Gilliam’s GoFundMe.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An Oakland-born dancer, choreographer and Bay Area ballroom star has been hospitalized following a cardiac arrest caused by a rare heart condition. Gbari “GQ” Gilliam suffers from hypertrophic cardiomyopathy, which causes the heart muscle to thicken, limiting or preventing blood flow. As a result, the 32-year-old now needs a heart transplant.\u003c/p>\n\u003cp>Gilliam is currently in the intensive care unit of Los Angeles’ Cedars-Sinai Medical Center after collapsing during a dance rehearsal on March 27. The former Berkeley High student originally moved to Los Angeles to study at UCLA, graduating in 2016. Since then, Gilliam has remained in Southern California. He has performed on \u003cem>Jimmy Kimmel Live!\u003c/em>, worked with Tyler Perry Studios and appeared in short films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gilliam’s mother Tuseda Graggs-Borden, who is based in San Francisco, believes her son’s life was saved by a nurse who just happened to be passing the dance studio at the time of his collapse. According to news reports, when the nurse saw Gilliam’s panicked friends, she stepped up to assist them, performed CPR on him and assisted paramedics as they rushed Gilliam to the hospital. The identity of the nurse remains a mystery.\u003c/p>\n\u003cp>Gilliam has been sustained ever since by an extracorporeal membrane oxygenation (ECMO) machine that acts as an artificial heart and lung. He is under heavy sedation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/help-gbari-gilliam-recover-after-cardiac-arrest\">A GoFundMe campaign\u003c/a> to help cover Gilliam’s considerable medical and family expenses has been set up by his aunt, Perginia Shank. So far, almost 4,000 donors have stepped up, raising more than $250,000 of a $500,000 goal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gbari has been a staple not just in my life, but in so many different communities,” Gilliam’s girlfriend and dance partner Shantel Ureña told NBC4 News. “He’s like the person that you go to when you need someone to talk to, when you need someone to lean on. Because he’s poured so much into other people, it’s really beautiful to see other people pouring it back into him in this moment.”\u003c/p>\n\u003cp>For now, Gilliam’s friends and family are doing their best to stay optimistic about his future. His mom Tuseda Graggs-Borden told NBC4, “I just believe that he’s going to be back out there, dancing his heart out, being that light.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/oaklandtoall/\">The GQ Ball: House and Waacking battles + Mini Ball\u003c/a> will take place on April 18, 2026 at \u003ca href=\"https://fluid510.com/\">Fluid510\u003c/a> (1544 Broadway) in Oakland. All proceeds raised will go to Gilliam’s GoFundMe.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ramayana-modern-rendition-hayward-pampa-dance-academy",
"title": "A Modern Rendition of the Ramayana Comes to Hayward",
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"content": "\u003cp>This Saturday the stage at Hayward’s HUSD Performing Arts Center will showcase elaborate set designs and colorful costumes, as dancers portray one of the most well-known tales in the world.\u003c/p>\n\u003cp>The \u003ca href=\"https://pampans.com/\">PAMPA Dance Academy\u003c/a>‘s modern rendition of the Ramayana\u003cem>,\u003c/em> titled “\u003ca href=\"https://www.purplepass.com/events/345730-the-monkey-kingdom-apr-4th-2026\">Rama Katha\u003c/a>,” also boasts unique dance moves and fierce emotions, says chief choreographer \u003ca href=\"https://pampans.com/nirmala_madhava/\">Nirmala Madhava.\u003c/a>\u003c/p>\n\u003cp>“There is a hero,” she says, explaining the role of Rama in the tale, adding that “there is a heroine and a villain.” Through these characters’ facial expressions and body language, she says, audience members will connect with their very human sentiments.\u003c/p>\n\u003cfigure id=\"attachment_13988224\" class=\"wp-caption alignnone\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1.jpg\" alt=\"\" width=\"1110\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1-768x554.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">Performances by PAMPA Dance Academy include Bharatha Natyam and Kathak dance forms. \u003ccite>(Courtesy PAMPA Dance Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nirmala explains that the word “Navarasa” means nine emotions in Sanskrit. In the show, certain characters depict happiness, sadness, jealousy, revenge and more. “The story will be combined with all the emotions,” she says, noting that the characters’ raised eyebrows, cutting eyes and hand gestures accentuate the ancient tale.\u003cb>\u003c/b>\u003c/p>\n\u003cp>“There will be 80-plus dancers performing,” adds Bindu Madhava, Nirmala’s husband and the performance’s tech lead. The unique choreography will bring audiences into Lord Rama’s journey, as the protagonist leads his devotees (or Vanaras), saves the heroine Sita and illustrates how a human beings should live, Bindu says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although the story has been condensed to 90 minutes, Nirmala says the combination of dance styles will give audiences a full understanding of the epic poem.\u003c/p>\n\u003cfigure id=\"attachment_13988223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13988223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-2000x3255.jpeg\" alt=\"\" width=\"2000\" height=\"3255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-2000x3255.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-160x260.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-768x1250.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-944x1536.jpeg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-1258x2048.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-scaled.jpeg 1573w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nirmala Madhava of PAMPA Dance Academy. \u003ccite>(Courtesy PAMPA Dance Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have trained in two Indian classical dance styles,” Nirmala says, explaining that this show will feature Bharatanatyam, which comes from southern India, and Kathak from the northern part of the country. She’s also adding her own contemporary freestyle movements that speak to the music and mood of the characters. With a slight laugh, she says she calls it, “Nirmala’s style.”\u003c/p>\n\u003cp>A student as well as a teacher, Nirmala has worked with scores of young children at her academy and led college courses at De Anza College. She’s also presented at the San Francisco Ethnic Dance Festival and trained students for a performance at the San Francisco Opera’s production of “Aida.”\u003c/p>\n\u003cp>[aside postID=arts_13889913 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010.jpg']A dancer since she was a child, Nirmala earned her undergraduate degree at Bangalore University in India. Afterwards, Nirmala and Bindu moved to the South Bay in the early ’90s and launched their academy. They fell fast in love with Bay Area culture. And while that affinity lingers, they agree that the region is drastically different now from how it was back then.\u003c/p>\n\u003cp>In those days there were very few schools that taught Indian dance, Nirmala reflects. Now there are 200 to 300 institutions in the greater Bay Area. When they first started, it was easy to find venues. “Now we have to wait for the whole year to book that theater,” she says.\u003c/p>\n\u003cp>PAMPA Academy has graduated dozens and dozens of students, skilled in both practice and theory. The group holds yearly productions at community centers, libraries and even retirement homes. And when Indian Prime Minister Narendra Modi visited San Jose in 2015, they performed in front of him as well.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There were about 25,000 people there,” Bindu says, describing the scene at San Jose’s SAP Center. “So we did the opening welcome for him, the dance production.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13988225\" class=\"wp-caption aligncenter\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5.jpg\" alt=\"\" width=\"1110\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5-768x554.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">Children take center stage during a previous performance by PAMPA Dance Academy. \u003ccite>(Courtesy PAMPA Dance Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carrying on Indian traditions through dance is at the heart of what the PAMPA Academy is about, but deeper are the lessons that translate to other aspects of life.\u003c/p>\n\u003cp>“I have seen great achievements from my students,” Nirmala says, referring to not only dance but discipline, commitment and confidence as well. “Some students are very shy, they don’t open up,” the dance instructor says. But through stage shows, the pupils learn that they have to “stand up for themselves,” a lesson that is universally applicable.\u003c/p>\n\u003cp>“Nirmala gives them the time,” Bindu says, explaining his wife’s teaching style. He notes that public speaking and stage presence are just as big as dance techniques, as it pays dividends for the maturing young person. “I have seen some kids, now they’re doctors,” Bindu says. “And I always tell them, ‘I saw you when you were a kid, when you came to this school … You were shy, now you’re a doctor.'”\u003c/p>\n\u003cp>In some cases, as students continue their pursuit of medical degrees or PhDs, they also keep on dancing. “That makes me so happy to see they’re continuing this Indian culture of dance,” Nirmala says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://pampans.com/\">PAMPA Dance Academy\u003c/a>‘s “\u003ca href=\"https://www.purplepass.com/events/345730-the-monkey-kingdom-apr-4th-2026\">Rama Katha\u003c/a>” has two shows on Saturday, April 4, at Hayward’s HUSD Performing Arts Center (2390 Panama St., Hayward). For more information, \u003ca href=\"https://www.purplepass.com/events/345730-the-monkey-kingdom-apr-4th-2026\">check here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Beyond dance, the PAMPA Dance Academy teaches life lessons. ",
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"title": "A Modern Rendition of the Ramayana Comes to Hayward | KQED",
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"subhead": "PAMPA Dance Academy's Rama Katha depicts a wide range og human emotions ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Saturday the stage at Hayward’s HUSD Performing Arts Center will showcase elaborate set designs and colorful costumes, as dancers portray one of the most well-known tales in the world.\u003c/p>\n\u003cp>The \u003ca href=\"https://pampans.com/\">PAMPA Dance Academy\u003c/a>‘s modern rendition of the Ramayana\u003cem>,\u003c/em> titled “\u003ca href=\"https://www.purplepass.com/events/345730-the-monkey-kingdom-apr-4th-2026\">Rama Katha\u003c/a>,” also boasts unique dance moves and fierce emotions, says chief choreographer \u003ca href=\"https://pampans.com/nirmala_madhava/\">Nirmala Madhava.\u003c/a>\u003c/p>\n\u003cp>“There is a hero,” she says, explaining the role of Rama in the tale, adding that “there is a heroine and a villain.” Through these characters’ facial expressions and body language, she says, audience members will connect with their very human sentiments.\u003c/p>\n\u003cfigure id=\"attachment_13988224\" class=\"wp-caption alignnone\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1.jpg\" alt=\"\" width=\"1110\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1-1110W-800H-1-768x554.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">Performances by PAMPA Dance Academy include Bharatha Natyam and Kathak dance forms. \u003ccite>(Courtesy PAMPA Dance Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nirmala explains that the word “Navarasa” means nine emotions in Sanskrit. In the show, certain characters depict happiness, sadness, jealousy, revenge and more. “The story will be combined with all the emotions,” she says, noting that the characters’ raised eyebrows, cutting eyes and hand gestures accentuate the ancient tale.\u003cb>\u003c/b>\u003c/p>\n\u003cp>“There will be 80-plus dancers performing,” adds Bindu Madhava, Nirmala’s husband and the performance’s tech lead. The unique choreography will bring audiences into Lord Rama’s journey, as the protagonist leads his devotees (or Vanaras), saves the heroine Sita and illustrates how a human beings should live, Bindu says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although the story has been condensed to 90 minutes, Nirmala says the combination of dance styles will give audiences a full understanding of the epic poem.\u003c/p>\n\u003cfigure id=\"attachment_13988223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13988223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-2000x3255.jpeg\" alt=\"\" width=\"2000\" height=\"3255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-2000x3255.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-160x260.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-768x1250.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-944x1536.jpeg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-1258x2048.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/BHarathanatyam-2-scaled.jpeg 1573w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nirmala Madhava of PAMPA Dance Academy. \u003ccite>(Courtesy PAMPA Dance Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have trained in two Indian classical dance styles,” Nirmala says, explaining that this show will feature Bharatanatyam, which comes from southern India, and Kathak from the northern part of the country. She’s also adding her own contemporary freestyle movements that speak to the music and mood of the characters. With a slight laugh, she says she calls it, “Nirmala’s style.”\u003c/p>\n\u003cp>A student as well as a teacher, Nirmala has worked with scores of young children at her academy and led college courses at De Anza College. She’s also presented at the San Francisco Ethnic Dance Festival and trained students for a performance at the San Francisco Opera’s production of “Aida.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A dancer since she was a child, Nirmala earned her undergraduate degree at Bangalore University in India. Afterwards, Nirmala and Bindu moved to the South Bay in the early ’90s and launched their academy. They fell fast in love with Bay Area culture. And while that affinity lingers, they agree that the region is drastically different now from how it was back then.\u003c/p>\n\u003cp>In those days there were very few schools that taught Indian dance, Nirmala reflects. Now there are 200 to 300 institutions in the greater Bay Area. When they first started, it was easy to find venues. “Now we have to wait for the whole year to book that theater,” she says.\u003c/p>\n\u003cp>PAMPA Academy has graduated dozens and dozens of students, skilled in both practice and theory. The group holds yearly productions at community centers, libraries and even retirement homes. And when Indian Prime Minister Narendra Modi visited San Jose in 2015, they performed in front of him as well.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There were about 25,000 people there,” Bindu says, describing the scene at San Jose’s SAP Center. “So we did the opening welcome for him, the dance production.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13988225\" class=\"wp-caption aligncenter\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5.jpg\" alt=\"\" width=\"1110\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5-1110W-800H-5-768x554.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">Children take center stage during a previous performance by PAMPA Dance Academy. \u003ccite>(Courtesy PAMPA Dance Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carrying on Indian traditions through dance is at the heart of what the PAMPA Academy is about, but deeper are the lessons that translate to other aspects of life.\u003c/p>\n\u003cp>“I have seen great achievements from my students,” Nirmala says, referring to not only dance but discipline, commitment and confidence as well. “Some students are very shy, they don’t open up,” the dance instructor says. But through stage shows, the pupils learn that they have to “stand up for themselves,” a lesson that is universally applicable.\u003c/p>\n\u003cp>“Nirmala gives them the time,” Bindu says, explaining his wife’s teaching style. He notes that public speaking and stage presence are just as big as dance techniques, as it pays dividends for the maturing young person. “I have seen some kids, now they’re doctors,” Bindu says. “And I always tell them, ‘I saw you when you were a kid, when you came to this school … You were shy, now you’re a doctor.'”\u003c/p>\n\u003cp>In some cases, as students continue their pursuit of medical degrees or PhDs, they also keep on dancing. “That makes me so happy to see they’re continuing this Indian culture of dance,” Nirmala says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://pampans.com/\">PAMPA Dance Academy\u003c/a>‘s “\u003ca href=\"https://www.purplepass.com/events/345730-the-monkey-kingdom-apr-4th-2026\">Rama Katha\u003c/a>” has two shows on Saturday, April 4, at Hayward’s HUSD Performing Arts Center (2390 Panama St., Hayward). For more information, \u003ca href=\"https://www.purplepass.com/events/345730-the-monkey-kingdom-apr-4th-2026\">check here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-counterpulse-union-labor-dispute",
"title": "San Francisco’s CounterPulse In Turmoil After Layoffs, Labor Dispute",
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"headTitle": "San Francisco’s CounterPulse In Turmoil After Layoffs, Labor Dispute | KQED",
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"content": "\u003cp>When it comes to experimental dance and theater in San Francisco, few institutions have made as big an impact or sustained it for as long as CounterPulse. After more than \u003ca href=\"https://www.kqed.org/arts/13893062/celebrating-30-years-counterpulse-continues-to-shine-in-the-tenderloin\">three decades of championing the performing arts\u003c/a>, CounterPulse purchased its building in the heart of the Tenderloin’s Transgender Cultural District in 2023, securing a permanent home in a city where artists are routinely priced out.\u003c/p>\n\u003cp>But what promised to be a new era of stability has turned into a time of chaos at the nonprofit organization. In November, CounterPulse laid off four of its five unionized administrative staff, including key roles in communications and fundraising. Its interim executive director departed after just 10 days on the job. Former workers and CounterPulse’s board remain in an ongoing labor dispute stemming from complaints the union made to the National Labor Relations Board, accusing the organization of refusing to negotiate.\u003c/p>\n\u003cp>The turmoil is sending shockwaves through San Francisco’s community of performing artists, more than 100 of whom have signed an open letter and attended town halls to voice support for former workers and help the board find a path forward. [aside postid='arts_13985432']\u003c/p>\n\u003cp>“We have a 35-year history of serving this city, and an incredible legacy of audience and artists and community members who want to see it thrive, and a building that we own,” Board Chair Victor Cordon told KQED in an interview. “There are so many assets to work with, and so I think that’s going to be the place we really tap into as we navigate this and seek to stabilize and rebuild the organization.”\u003c/p>\n\u003ch2>Workers accuse CounterPulse of violating their bargaining rights\u003c/h2>\n\u003cp>Trouble at CounterPulse began when it incurred a $46,000 deficit in 2024, a year when operating expenses totaled $1.4 million, according to public records. An influx of funding that the nonprofit received during the pandemic ran dry; meanwhile, operating expenses had grown and CounterPulse depleted its reserves, Cordon said. When the board approved its new budget in June 2025, it included staffing cuts to mitigate a shortfall that currently stands at an estimated $130,000. In August, management began negotiations with CounterPulse Workers United, who are represented by Industrial Workers of the World.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>CounterPulse union staff showed KQED proposals they shared with management, which included taking unpaid furloughs and reducing their hours in hopes of avoiding layoffs. In November, CounterPulse sent the union a proposal to lay off four of its members.\u003c/p>\n\u003cp>The union attempted to counter, but CounterPulse management declared an impasse a week later — a move the workers said impeded on their rights to bargain as outlined in the National Labor Relations Act.\u003c/p>\n\u003cp>“That’s really where the illegal situation happened because that is just a refusal to bargain,” said Ach Kabal, CounterPulse’s former associate director of community engagement, who was among the laid-off union workers.\u003c/p>\n\u003cfigure id=\"attachment_13985513\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg\" alt='The exterior window of CounterPulse reads \"A space for art and community.\"' width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of CounterPulse on Jan. 13, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 24, 2025, the workers filed an unfair labor practice charge against CounterPulse, accusing the organization of unlawfully declaring a bargaining impasse and selecting workers for layoffs based on their support for the union. Julie Phelps, the former executive director, was unable to be reached by publication time, and Cordon declined to respond to specific questions about the allegations during our interview, but followed up with an email that said the board rejects them.\u003c/p>\n\u003cp>“We negotiated in good faith for months and were transparent that the underlying need to reduce expenses was a non-negotiable reality to ensure the organization’s survival,” Cordon wrote. “In an organization where nearly every eligible employee is a union member, a reduction in force will inevitably include union participants, but at no point was union activity a factor in these decisions. We remain confident that our actions were lawful, non-discriminatory, and necessary to preserve the organization.”\u003c/p>\n\u003ch2>A leadership transition goes wrong\u003c/h2>\n\u003cp>Making matters more challenging, the layoffs at CounterPulse took place amid a botched leadership transition. In 2025, the organization’s artistic and executive director \u003ca href=\"https://www.sfchronicle.com/entertainment/article/counterpulse-julie-phelps-departure-20818545.php\">Julie Phelps announced she was leaving CounterPulse\u003c/a> in November after 11 years. Suzanne Tan stepped in as interim executive director in late October, but left the role after just 10 days. The board informed the union of her departure a day before it sent its layoff proposal, meaning neither Tan nor Phelps could represent CounterPulse at the bargaining table.\u003c/p>\n\u003cp>CounterPulse board members Keith Hennessy (one of the organization’s original co-founders) and Abra Allan then formed an emergency leadership council, but it disbanded after two weeks. “I think, frankly, they were a bit emotionally tapped out,” Cordon said.\u003c/p>\n\u003cp>Cordon told KQED that CounterPulse will return to the bargaining table once a new executive leader is in place. It’s unclear when someone will be hired to fill that role, which has been vacant since mid-November. Meanwhile, the union argues that CounterPulse’s board has had a reasonable amount of time to designate another representative and continue negotiations, including the terms of their severance. [aside postid='arts_13985413']\u003c/p>\n\u003cp>“They have a full board, they have a board chair, they have a board treasurer. The remaining member of management is the director of finance administration. And this whole conversation is about finance administration,” said Kabal. “There are people who are able to bargain with us.”\u003c/p>\n\u003ch2>A path forward for CounterPulse\u003c/h2>\n\u003cp>Peekaboo Salinas, who was CounterPulse’s development and communications associate until Dec. 19, said they and the three other laid-off workers are lobbying to get their jobs back. The workers want to bargain for a recall clause, which would ensure that they’d be reinstated once the organization is in a better financial position.\u003c/p>\n\u003cp>“I feel committed to the artists,” Salinas said. “I feel committed to the Transgender Cultural District, to the Tenderloin.”\u003c/p>\n\u003cfigure id=\"attachment_13985538\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg\" alt=\"\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">CounterPulse Workers United. \u003ccite>(Courtesy of Peekaboo Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessi Barber, who remains at CounterPulse as an on-call technician and union member, said the turmoil at CounterPulse has larger implications for the health of the Bay Area’s performing arts ecosystem. In addition to commissioning new works through its artist residency program, CounterPulse fiscally sponsors several artists and organizations, and is one of the few low-cost rentable venues in San Francisco.\u003c/p>\n\u003cp>“I can say that I work freelance for other people, and I know from those other productions I’m working on that people are looking at dates at other places and trying to make a plan B,” said Barber. “There’s a lot of heartache about that.” [aside postid='arts_13984438']\u003c/p>\n\u003cp>In 2025, CounterPulse hosted 21 full productions, plus nearly a dozen workshops and other events. Its public-facing 2026 calendar is currently blank other than a San Francisco Youth Theatre production in February. Cordon said CounterPulse will continue to support its fiscally sponsored House Artists, and that the organization is currently assessing its capacity for other spring events and its ARC Performing Diaspora residency.\u003c/p>\n\u003cp>Amid the turmoil, more than 100 artists, audience members and former CounterPulse staff signed an open letter that included a set of recommendations to the board and an invitation to meet to discuss the organization’s future. Supporters crowdfunded $7,818 to support the four laid-off union workers.\u003c/p>\n\u003cp>The core group behind the letter is calling themselves Friends of CounterPulse. Melissa Lewis Wong, a former CounterPulse artist in residence, is hopeful that by coming in with an outside perspective, they can help the board and union find common ground with the shared goal of CounterPulse’s long-term survival.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think the community cares deeply for the future of CounterPulse, as does the board, as does unionized staff,” said Wong. “I have hope around that being a shared vision and aspiration.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to experimental dance and theater in San Francisco, few institutions have made as big an impact or sustained it for as long as CounterPulse. After more than \u003ca href=\"https://www.kqed.org/arts/13893062/celebrating-30-years-counterpulse-continues-to-shine-in-the-tenderloin\">three decades of championing the performing arts\u003c/a>, CounterPulse purchased its building in the heart of the Tenderloin’s Transgender Cultural District in 2023, securing a permanent home in a city where artists are routinely priced out.\u003c/p>\n\u003cp>But what promised to be a new era of stability has turned into a time of chaos at the nonprofit organization. In November, CounterPulse laid off four of its five unionized administrative staff, including key roles in communications and fundraising. Its interim executive director departed after just 10 days on the job. Former workers and CounterPulse’s board remain in an ongoing labor dispute stemming from complaints the union made to the National Labor Relations Board, accusing the organization of refusing to negotiate.\u003c/p>\n\u003cp>The turmoil is sending shockwaves through San Francisco’s community of performing artists, more than 100 of whom have signed an open letter and attended town halls to voice support for former workers and help the board find a path forward. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have a 35-year history of serving this city, and an incredible legacy of audience and artists and community members who want to see it thrive, and a building that we own,” Board Chair Victor Cordon told KQED in an interview. “There are so many assets to work with, and so I think that’s going to be the place we really tap into as we navigate this and seek to stabilize and rebuild the organization.”\u003c/p>\n\u003ch2>Workers accuse CounterPulse of violating their bargaining rights\u003c/h2>\n\u003cp>Trouble at CounterPulse began when it incurred a $46,000 deficit in 2024, a year when operating expenses totaled $1.4 million, according to public records. An influx of funding that the nonprofit received during the pandemic ran dry; meanwhile, operating expenses had grown and CounterPulse depleted its reserves, Cordon said. When the board approved its new budget in June 2025, it included staffing cuts to mitigate a shortfall that currently stands at an estimated $130,000. In August, management began negotiations with CounterPulse Workers United, who are represented by Industrial Workers of the World.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>CounterPulse union staff showed KQED proposals they shared with management, which included taking unpaid furloughs and reducing their hours in hopes of avoiding layoffs. In November, CounterPulse sent the union a proposal to lay off four of its members.\u003c/p>\n\u003cp>The union attempted to counter, but CounterPulse management declared an impasse a week later — a move the workers said impeded on their rights to bargain as outlined in the National Labor Relations Act.\u003c/p>\n\u003cp>“That’s really where the illegal situation happened because that is just a refusal to bargain,” said Ach Kabal, CounterPulse’s former associate director of community engagement, who was among the laid-off union workers.\u003c/p>\n\u003cfigure id=\"attachment_13985513\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg\" alt='The exterior window of CounterPulse reads \"A space for art and community.\"' width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-05-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of CounterPulse on Jan. 13, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 24, 2025, the workers filed an unfair labor practice charge against CounterPulse, accusing the organization of unlawfully declaring a bargaining impasse and selecting workers for layoffs based on their support for the union. Julie Phelps, the former executive director, was unable to be reached by publication time, and Cordon declined to respond to specific questions about the allegations during our interview, but followed up with an email that said the board rejects them.\u003c/p>\n\u003cp>“We negotiated in good faith for months and were transparent that the underlying need to reduce expenses was a non-negotiable reality to ensure the organization’s survival,” Cordon wrote. “In an organization where nearly every eligible employee is a union member, a reduction in force will inevitably include union participants, but at no point was union activity a factor in these decisions. We remain confident that our actions were lawful, non-discriminatory, and necessary to preserve the organization.”\u003c/p>\n\u003ch2>A leadership transition goes wrong\u003c/h2>\n\u003cp>Making matters more challenging, the layoffs at CounterPulse took place amid a botched leadership transition. In 2025, the organization’s artistic and executive director \u003ca href=\"https://www.sfchronicle.com/entertainment/article/counterpulse-julie-phelps-departure-20818545.php\">Julie Phelps announced she was leaving CounterPulse\u003c/a> in November after 11 years. Suzanne Tan stepped in as interim executive director in late October, but left the role after just 10 days. The board informed the union of her departure a day before it sent its layoff proposal, meaning neither Tan nor Phelps could represent CounterPulse at the bargaining table.\u003c/p>\n\u003cp>CounterPulse board members Keith Hennessy (one of the organization’s original co-founders) and Abra Allan then formed an emergency leadership council, but it disbanded after two weeks. “I think, frankly, they were a bit emotionally tapped out,” Cordon said.\u003c/p>\n\u003cp>Cordon told KQED that CounterPulse will return to the bargaining table once a new executive leader is in place. It’s unclear when someone will be hired to fill that role, which has been vacant since mid-November. Meanwhile, the union argues that CounterPulse’s board has had a reasonable amount of time to designate another representative and continue negotiations, including the terms of their severance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They have a full board, they have a board chair, they have a board treasurer. The remaining member of management is the director of finance administration. And this whole conversation is about finance administration,” said Kabal. “There are people who are able to bargain with us.”\u003c/p>\n\u003ch2>A path forward for CounterPulse\u003c/h2>\n\u003cp>Peekaboo Salinas, who was CounterPulse’s development and communications associate until Dec. 19, said they and the three other laid-off workers are lobbying to get their jobs back. The workers want to bargain for a recall clause, which would ensure that they’d be reinstated once the organization is in a better financial position.\u003c/p>\n\u003cp>“I feel committed to the artists,” Salinas said. “I feel committed to the Transgender Cultural District, to the Tenderloin.”\u003c/p>\n\u003cfigure id=\"attachment_13985538\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg\" alt=\"\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_5249-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">CounterPulse Workers United. \u003ccite>(Courtesy of Peekaboo Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessi Barber, who remains at CounterPulse as an on-call technician and union member, said the turmoil at CounterPulse has larger implications for the health of the Bay Area’s performing arts ecosystem. In addition to commissioning new works through its artist residency program, CounterPulse fiscally sponsors several artists and organizations, and is one of the few low-cost rentable venues in San Francisco.\u003c/p>\n\u003cp>“I can say that I work freelance for other people, and I know from those other productions I’m working on that people are looking at dates at other places and trying to make a plan B,” said Barber. “There’s a lot of heartache about that.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2025, CounterPulse hosted 21 full productions, plus nearly a dozen workshops and other events. Its public-facing 2026 calendar is currently blank other than a San Francisco Youth Theatre production in February. Cordon said CounterPulse will continue to support its fiscally sponsored House Artists, and that the organization is currently assessing its capacity for other spring events and its ARC Performing Diaspora residency.\u003c/p>\n\u003cp>Amid the turmoil, more than 100 artists, audience members and former CounterPulse staff signed an open letter that included a set of recommendations to the board and an invitation to meet to discuss the organization’s future. Supporters crowdfunded $7,818 to support the four laid-off union workers.\u003c/p>\n\u003cp>The core group behind the letter is calling themselves Friends of CounterPulse. Melissa Lewis Wong, a former CounterPulse artist in residence, is hopeful that by coming in with an outside perspective, they can help the board and union find common ground with the shared goal of CounterPulse’s long-term survival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think the community cares deeply for the future of CounterPulse, as does the board, as does unionized staff,” said Wong. “I have hope around that being a shared vision and aspiration.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "zaccho-dance-theatre-joanna-haigood-45-year-anniversary",
"title": "Zaccho Dance Theatre To Celebrate 45 Years of Daring Performances",
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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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"excerpt": "With creative choreography in unique spaces, Zaccho Dance Theatre has built an unparalleled legacy.",
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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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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