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"publishDate": 1556577039,
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"title": "100 Years of Merce Cunningham, Celebrated in San Francisco",
"headTitle": "100 Years of Merce Cunningham, Celebrated in San Francisco | KQED",
"content": "\u003cp>The oft-revered yet enigmatic choreographer \u003ca href=\"https://www.mercecunningham.org/about/merce-cunningham/\" target=\"_blank\" rel=\"noopener\">Merce Cunningham\u003c/a> would have turned 100 in April, and an explosion of tributes by dance institutions \u003ca href=\"https://bachtrack.com/review-merce-cunningham-centennial-joyce-theater-new-york-april-2019\" target=\"_blank\" rel=\"noopener\">large\u003c/a> and \u003ca href=\"http://ballettothepeople.com/2019/03/22/scramble-the-seasons-and-the-elements-of-style-from-the-ever-stylish-new-york-theatre-ballet/\" target=\"_blank\" rel=\"noopener\">small\u003c/a> include events \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">as imaginative and quixotic\u003c/a> as his own. Cunningham was a disruptor and a pioneer, whose (non)collaborations with composer \u003ca href=\"https://www.wfmt.com/2017/02/24/composer-john-cage-choreographer-merce-cunningham-changed-art-collaboration/\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> and artists like \u003ca href=\"https://frieze.com/article/bride-bachelors-and-robert-rauschenberg\" target=\"_blank\" rel=\"noopener\">Robert Rauschenberg\u003c/a>, \u003ca href=\"https://www.theguardian.com/stage/2005/jun/06/dance\" target=\"_blank\" rel=\"noopener\">Andy Warhol\u003c/a>, and \u003ca href=\"https://news.artnet.com/exhibitions/merce-cunningham-common-time-869543\" target=\"_blank\" rel=\"noopener\">Jasper Johns\u003c/a> unmoored dance from music, narrative, and scenic design, sometimes \u003ca href=\"https://www.theguardian.com/stage/2016/nov/24/merce-cunningham-review-variations-v-1966\" target=\"_blank\" rel=\"noopener\">mystifying\u003c/a> and even \u003ca href=\"https://www.weeklystandard.com/robert-greskovic/merce-cunningham\" target=\"_blank\" rel=\"noopener\">infuriating\u003c/a> audiences.\u003c/p>\n\u003cp>Perhaps more than any other 20th century choreographer, Cunningham inspired those who danced with him to experiment and take risks in the creation of their own work, which usually looked nothing like his. As the Bay Area choreographer \u003ca href=\"https://charlesmoulton.com\" target=\"_blank\" rel=\"noopener\">Charles Moulton\u003c/a>, who \u003ca href=\"http://charlesmoulton.com/on-joining-the-merce-cunningham-company/\" target=\"_blank\" rel=\"noopener\">danced with Cunningham\u003c/a> from 1973 to 1976, told me, “The root of his work was his love of dance, of the form. His own work was his own – uncompromising, beautiful, crystalline – but he loved other choreography as well. He had this extremely refined, elegant, and in many ways difficult aesthetic and yet he was a huge fan of dance of all kinds. There was a great openness which influenced me.”\u003c/p>\n\u003cfigure id=\"attachment_13856030\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg\" alt=\"\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1200x1198.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1920x1917.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Roess-Smith, Karen Attix, Robert Kovich, and Merce Cunningham in ‘TV Rerun,’ 1972. Score by Gordon Mumma, costumes by Jasper Johns. (Photo by Jack Mitchell)\u003c/figcaption>\u003c/figure>\n\u003cp>Though Cunningham’s company was based in New York, a 1955 West Coast tour sparked a long \u003ca href=\"https://dancersgroup.org/2011/03/musing-on-merce-the-bay-area-remembers-cunningham/\" target=\"_blank\" rel=\"noopener\">love affair\u003c/a> with California. In recent years, though, you might not know it: the Bay Area hasn’t seen a revival of a Cunningham work since the (now-defunct) Ballet San Jose gave a crisp account of his \u003cem>\u003ca href=\"https://www.huffpost.com/entry/ballet-san-jose-bows-to-modern-masters_b_3139627\" target=\"_blank\" rel=\"noopener\">Duets\u003c/a> \u003c/em>in 2013.\u003c/p>\n\u003cp>In a nod to Cunningham’s innovations with technology and film, Dance Film SF—presenters of the San Francisco Dance Film Festival—will \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">screen\u003c/a> \u003cem>Assemblage\u003c/em>, his very first extended work created expressly for film, alongside \u003cem>If the Dancer Dances\u003c/em>, a new documentary that illuminates the challenges of restaging one of his iconic works.\u003c/p>\n\u003cfigure id=\"attachment_13855999\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855999\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Dance Company in ‘Assemblage,’ 1968. (Photo courtesy Dance Film SF)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Assemblage’: “Everyone could have an idea”\u003c/h3>\n\u003cp>In 1968, Cunningham’s company was coming off a disaster-ridden South American tour. Though they had broken out of obscurity after a triumphant London season in 1964, and had recently been appointed a resident company at the Brooklyn Academy of Music, company finances remained dire. The filming of a three-week caper on the sunny streets of San Francisco in October reinvigorated the company, wrote dancer Carolyn Brown in her \u003ca href=\"https://www.newyorker.com/magazine/2007/06/04/chance-and-circumstance\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That film was \u003cem>Assemblage\u003c/em>, produced by KQED-TV and directed by Richard O. Moore, who, with Cunningham, masterminded a cinematic collision of dance and architecture set in and around the newly redeveloped \u003ca href=\"https://www.ghirardellisq.com/history\" target=\"_blank\" rel=\"noopener\">Ghirardelli Square\u003c/a>. The concept behind that redevelopment, with its echoes of an industrial past, would soon be mimicked in urban restoration projects across America. But in 1968, it was a \u003ca href=\"http://experiments.californiahistoricalsociety.org/urban-renaissance-with-mermaids-lawrence-halprins-ghirardelli-square/\" target=\"_blank\" rel=\"noopener\">pioneer\u003c/a>, not unlike the Merce Cunningham Dance Company.\u003c/p>\n\u003cfigure id=\"attachment_13856026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg\" alt=\"\" width=\"800\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1020x826.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1200x972.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1920x1555.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Brown at Ghirardelli Square, filming Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>When the dancers showed up for filming, sculptor Ruth Asawa’s bronze mermaids had just splashed down in a courtyard fountain. Asawa’s image of bare-breasted mermaids nursing mer-babies provoked some \u003ca href=\"https://www.artandarchitecture-sf.com/ruth-asawa-at-ghirardelli-square.html\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a>, but the radical feminist statement made a striking backdrop to the dancers’ escapades—as did the frequent glimpses of Alcatraz, of modernist architectural elements juxtaposed against rosy brick façades, and the American flag buffeted by a brisk wind.\u003c/p>\n\u003cp>I spoke with \u003ca href=\"https://www.newyorker.com/magazine/2016/02/22/valda-setterfield-in-lear\" target=\"_blank\" rel=\"noopener\">Valda Setterfield\u003c/a>, the celebrated dancer-actor and an early company stalwart, who recalled, “It was the first film that I’d worked in, and what I was immediately struck with was the work of the technicians on the film—and the gear that they had to lug around, which they did with great grace.” Three cameramen moved in and around the dancers, at distances both intimate and remote, with no fixed blueprint. “There was a kind of ease about it,” Setterfield noted, “an ease borne out of an unknown-ness, for me at any rate.” Although the company had rehearsed a few sequences, Cunningham or one of the dancers would frequently get an idea on the spot, and the company and crew would just go with it. Amid the playful improvisations, she stressed, “We were very attentive to where the crew were and what they needed.”\u003c/p>\n\u003cp>https://vimeo.com/332732849\u003c/p>\n\u003cp>“I loved those kind of moments that could happen with Merce,” she went on, “particularly in a situation like this which wasn’t fully structured.” Setterfield remarked on how unusual it was for the dancers to be performing in the daytime, and for the crew to be shooting in natural light, frequently capturing passers-by in the frame. She embraced the experience: “I love the sea, and it smelled of the sea. There was a kind of freedom and pleasure about what we did.”\u003c/p>\n\u003cp>Much of the film reflects that spirit—very much a ’60s vibe, especially when the women shed their ‘uniforms’ of tights and leotards for geometric-patterned mini-dresses and silver go-go boots. There are also meditative moments and images of poignant, otherworldly beauty, as the dancers, each so distinctive, negotiate the rigor of Cunningham’s prescribed movements. Most striking are those scenes in which structures like stair railings are stripped of their material presence, becoming screens onto which outbursts of dance are projected—and conversely, when dancers’ bodies become screens for projected images of rolling clouds and the splashing fountain. Then there was Cunningham, racing wildly around the complex like a fugitive, dropping and rolling as if shots had been fired.\u003c/p>\n\u003cfigure id=\"attachment_13856027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856027\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1920x1368.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Jeff Slayton at Ghirardelli Square filming of Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>I also caught up with Bill Yahraus, who operated one of the three cameras for \u003cem>Assemblage\u003c/em>. He was a newbie on the KQED team but, in that egalitarian unit, while they were shooting, “everyone could have an idea,” he said. He ended up in sole charge of post-production, though, which took months, he said, to achieve the special effects—the intricate fragmenting and superimposing of imagery that make the film so startling and immediate.\u003c/p>\n\u003cp>“Every effect was a surprise,” Yahraus explained, “because each involved multiple passes, either with an overhead camera or through a printer, before the film was processed. So I never knew exactly what they would look like until they came back from the lab. There was a large element of randomness to all of it.” That spirit spilled into the soundtrack, developed independently from the dance by John Cage, Gordon Mumma, and David Tudor, who ran around the Square and farther afield, taping the drone of traffic, the clackety-clack of trains, desultory sidewalk conversations, birdsong, the groaning of the Golden Gate Bridge and the static of urban life.\u003c/p>\n\u003cfigure id=\"attachment_13856016\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davalois Fearon and Nicholas Sciscione in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘If the Dancer Dances’: “How does ephemeral work live on?”\u003c/h3>\n\u003cp>Among the nine dancers in \u003cem>Assemblage\u003c/em> was a young Meg Harper, who had joined the company barely a year before. She appears again, nearly 50 years later, as a luminous presence in \u003ca href=\"https://ifthedancer.com\" target=\"_blank\" rel=\"noopener\">\u003cem>If the Dancer Dances\u003c/em>\u003c/a>, which will screen in San Francisco on the same day as \u003cem>Assemblage\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://vimeo.com/323308357\" rel=\"noopener\" target=\"_blank\">new documentary\u003c/a> follows the 2015 restaging of Cunningham’s darkly mysterious \u003cem>RainForest\u003c/em> on the \u003ca href=\"https://walkerart.org/magazine/performance-thoughts-stephen-petronio-dance-company-rainforest-2\" target=\"_blank\" rel=\"noopener\">Stephen Petronio Company\u003c/a>. Unusually, three stagers were involved: Harper, Rashaun Mitchell, and Andrea Weber, who each belonged to different generations of the Merce Cunningham Dance Company. A fourth Cunningham alumna, Melissa Toogood, joined the cast as a guest dancer, bringing a bullets-whizzing-by energy to this revival.\u003c/p>\n\u003cp>I sat down in New York with filmmakers Lise Friedman and Maia Wechsler, who talked about the hard labor and inherent frustrations in transmitting dance down to new generations. It’s a task that requires the “transferring of movement, body-to-body,” as Friedman put it. She herself danced with Cunningham from 1977 to 1984. After his death in 2009 and the \u003ca href=\"https://www.npr.org/2011/08/06/139021889/merce-cunninghams-legacy-the-dance-goes-on\" target=\"_blank\" rel=\"noopener\">disbanding\u003c/a> of his company, on his instructions, two years later, she teamed up with Wechsler to tackle the question, “How does ephemeral work live on?”\u003c/p>\n\u003cfigure id=\"attachment_13856011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Stephen Petronio Company dancer Davalois Fearon in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Mitchell, who danced in the company from 2004 until it disbanded, reflects: “It was always really clear to us that he [Cunningham] did not want us to be the people who came before. He did not want us to emulate something that had already happened. He wanted us to find our own self within this movement.”\u003c/p>\n\u003cp>Echoing a sentiment expressed by Harper in the film, Friedman noted, “Staging doesn’t usually settle in the bodies of the dancers until after [the stagers] are gone, until after they’ve done it for a while. When you can sense the sense of ownership, that these dancers feel they have the right to dance these roles.”\u003c/p>\n\u003cfigure id=\"attachment_13856038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856038 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Maurice Spivey in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Night of 100 Solos’: “A dancer has to find a way to begin again each day”\u003c/h3>\n\u003cp>On what would have been Cunningham’s 100th birthday, on April 16, much of the dance world was riveted by back-to-back performances \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">livestreamed\u003c/a> from London, New York and Los Angeles, each an absorbing jumble of solos from six decades of his career. Like the one-off ‘events’ for which Cunningham would repurpose bits and pieces of rep, the \u003cem>\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">Night of 100 Solos\u003c/a> \u003c/em>scaled the concept up and took it global.\u003c/p>\n\u003cp>The 100 solos were performed by 75 dancers from diverse backgrounds, none of whom had ever danced with the Cunningham company but who were coached for this occasion by former Cunningham dancers. They ranged widely in age, physique, and training, from classical ballet to modern and street dance, and included many more dancers of color than have danced Cunningham’s work in the past.\u003c/p>\n\u003cfigure id=\"attachment_13856033\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856033 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Centennial ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes a soloist would be truly alone on stage. More often, dancers would cross paths companionably, and ensembles of three or four would tackle their assignments in close proximity, though they would rarely interact. Movement passages that have no common thread but happened to take place at the same time suddenly seemed to invite conversation, intimacy, or battle. (\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">The entire \u003cem>Night of 100 Solos\u003c/em> can be viewed here until July 19, 2019\u003c/a>.)\u003c/p>\n\u003cp>When I asked her about \u003cem>100 Solos\u003c/em>, Lise Friedman commented, “Merce’s work can withstand this mutability. There are so many ways in which his work can be seen.”\u003c/p>\n\u003cp>A few of the solos were repeated in all three cities, in a charming round-the-world handoff. These included the high-octane solo from \u003cem>Travelogue \u003c/em>in which the dancer jumps around with clanking tin cans strapped to his legs (courtesy of Robert Rauschenberg), and John Cage’s infamous \u003ca href=\"https://www.npr.org/2000/05/08/1073885/4-33\" target=\"_blank\" rel=\"noopener\">\u003cem>4’33”\u003c/em>\u003c/a>—in which the musician is instructed not to play anything for four minutes and 33 seconds—which was reinterpreted for dance in all three cities, with all 25 dancers on stage each time, to hypnotic effect.\u003c/p>\n\u003cfigure id=\"attachment_13856040\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856040 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorrin Brubaker in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003cem>100 Solos \u003c/em>rolled on with no climax or resolution, an extraordinary serenity settled in, with wave after wave of performers signaling to us and to each other, “I got this.” Some, like New York City Ballet’s Sara Mearns, wrestled more visibly with the knotty technique; others, like the Royal Ballet’s Joseph Sissens and Francesca Hayward, former Bill T. Jones/Arnie Zane Company member Shayla-Vie Jenkins, and José Limón dancer Savannah Spratt, conquered and stretched it.\u003c/p>\n\u003cp>Friedman told me: “Merce loved to see the struggle, loved to see awkwardness in a dancer. He appreciated the risk-taking.” It reminded me of something Cunningham once said in an \u003ca href=\"https://brooklynrail.org/2019/04/dance/MERCES-WAY\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>.\u003c/p>\n\u003cp>“A dancer,” he said, “has to find a way to begin again each day.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dance Film SF airs ‘Assemblage’ and ‘If the Dancer Dances’ on Saturday, May 4, at the Delancey Street Screening Room. Tickets and information \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The 'uncompromising, crystalline' dance pioneer is honored with two films—one from KQED's archives, set in Ghirardelli Square in 1968.",
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"description": "The 'uncompromising, crystalline' dance pioneer is honored with two films—one from KQED's archives, set in Ghirardelli Square in 1968.",
"title": "100 Years of Merce Cunningham, Celebrated in San Francisco | KQED",
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"headline": "100 Years of Merce Cunningham, Celebrated in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The oft-revered yet enigmatic choreographer \u003ca href=\"https://www.mercecunningham.org/about/merce-cunningham/\" target=\"_blank\" rel=\"noopener\">Merce Cunningham\u003c/a> would have turned 100 in April, and an explosion of tributes by dance institutions \u003ca href=\"https://bachtrack.com/review-merce-cunningham-centennial-joyce-theater-new-york-april-2019\" target=\"_blank\" rel=\"noopener\">large\u003c/a> and \u003ca href=\"http://ballettothepeople.com/2019/03/22/scramble-the-seasons-and-the-elements-of-style-from-the-ever-stylish-new-york-theatre-ballet/\" target=\"_blank\" rel=\"noopener\">small\u003c/a> include events \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">as imaginative and quixotic\u003c/a> as his own. Cunningham was a disruptor and a pioneer, whose (non)collaborations with composer \u003ca href=\"https://www.wfmt.com/2017/02/24/composer-john-cage-choreographer-merce-cunningham-changed-art-collaboration/\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> and artists like \u003ca href=\"https://frieze.com/article/bride-bachelors-and-robert-rauschenberg\" target=\"_blank\" rel=\"noopener\">Robert Rauschenberg\u003c/a>, \u003ca href=\"https://www.theguardian.com/stage/2005/jun/06/dance\" target=\"_blank\" rel=\"noopener\">Andy Warhol\u003c/a>, and \u003ca href=\"https://news.artnet.com/exhibitions/merce-cunningham-common-time-869543\" target=\"_blank\" rel=\"noopener\">Jasper Johns\u003c/a> unmoored dance from music, narrative, and scenic design, sometimes \u003ca href=\"https://www.theguardian.com/stage/2016/nov/24/merce-cunningham-review-variations-v-1966\" target=\"_blank\" rel=\"noopener\">mystifying\u003c/a> and even \u003ca href=\"https://www.weeklystandard.com/robert-greskovic/merce-cunningham\" target=\"_blank\" rel=\"noopener\">infuriating\u003c/a> audiences.\u003c/p>\n\u003cp>Perhaps more than any other 20th century choreographer, Cunningham inspired those who danced with him to experiment and take risks in the creation of their own work, which usually looked nothing like his. As the Bay Area choreographer \u003ca href=\"https://charlesmoulton.com\" target=\"_blank\" rel=\"noopener\">Charles Moulton\u003c/a>, who \u003ca href=\"http://charlesmoulton.com/on-joining-the-merce-cunningham-company/\" target=\"_blank\" rel=\"noopener\">danced with Cunningham\u003c/a> from 1973 to 1976, told me, “The root of his work was his love of dance, of the form. His own work was his own – uncompromising, beautiful, crystalline – but he loved other choreography as well. He had this extremely refined, elegant, and in many ways difficult aesthetic and yet he was a huge fan of dance of all kinds. There was a great openness which influenced me.”\u003c/p>\n\u003cfigure id=\"attachment_13856030\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg\" alt=\"\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1200x1198.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1920x1917.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Roess-Smith, Karen Attix, Robert Kovich, and Merce Cunningham in ‘TV Rerun,’ 1972. Score by Gordon Mumma, costumes by Jasper Johns. (Photo by Jack Mitchell)\u003c/figcaption>\u003c/figure>\n\u003cp>Though Cunningham’s company was based in New York, a 1955 West Coast tour sparked a long \u003ca href=\"https://dancersgroup.org/2011/03/musing-on-merce-the-bay-area-remembers-cunningham/\" target=\"_blank\" rel=\"noopener\">love affair\u003c/a> with California. In recent years, though, you might not know it: the Bay Area hasn’t seen a revival of a Cunningham work since the (now-defunct) Ballet San Jose gave a crisp account of his \u003cem>\u003ca href=\"https://www.huffpost.com/entry/ballet-san-jose-bows-to-modern-masters_b_3139627\" target=\"_blank\" rel=\"noopener\">Duets\u003c/a> \u003c/em>in 2013.\u003c/p>\n\u003cp>In a nod to Cunningham’s innovations with technology and film, Dance Film SF—presenters of the San Francisco Dance Film Festival—will \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">screen\u003c/a> \u003cem>Assemblage\u003c/em>, his very first extended work created expressly for film, alongside \u003cem>If the Dancer Dances\u003c/em>, a new documentary that illuminates the challenges of restaging one of his iconic works.\u003c/p>\n\u003cfigure id=\"attachment_13855999\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855999\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Dance Company in ‘Assemblage,’ 1968. (Photo courtesy Dance Film SF)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Assemblage’: “Everyone could have an idea”\u003c/h3>\n\u003cp>In 1968, Cunningham’s company was coming off a disaster-ridden South American tour. Though they had broken out of obscurity after a triumphant London season in 1964, and had recently been appointed a resident company at the Brooklyn Academy of Music, company finances remained dire. The filming of a three-week caper on the sunny streets of San Francisco in October reinvigorated the company, wrote dancer Carolyn Brown in her \u003ca href=\"https://www.newyorker.com/magazine/2007/06/04/chance-and-circumstance\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That film was \u003cem>Assemblage\u003c/em>, produced by KQED-TV and directed by Richard O. Moore, who, with Cunningham, masterminded a cinematic collision of dance and architecture set in and around the newly redeveloped \u003ca href=\"https://www.ghirardellisq.com/history\" target=\"_blank\" rel=\"noopener\">Ghirardelli Square\u003c/a>. The concept behind that redevelopment, with its echoes of an industrial past, would soon be mimicked in urban restoration projects across America. But in 1968, it was a \u003ca href=\"http://experiments.californiahistoricalsociety.org/urban-renaissance-with-mermaids-lawrence-halprins-ghirardelli-square/\" target=\"_blank\" rel=\"noopener\">pioneer\u003c/a>, not unlike the Merce Cunningham Dance Company.\u003c/p>\n\u003cfigure id=\"attachment_13856026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg\" alt=\"\" width=\"800\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1020x826.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1200x972.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1920x1555.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Brown at Ghirardelli Square, filming Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>When the dancers showed up for filming, sculptor Ruth Asawa’s bronze mermaids had just splashed down in a courtyard fountain. Asawa’s image of bare-breasted mermaids nursing mer-babies provoked some \u003ca href=\"https://www.artandarchitecture-sf.com/ruth-asawa-at-ghirardelli-square.html\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a>, but the radical feminist statement made a striking backdrop to the dancers’ escapades—as did the frequent glimpses of Alcatraz, of modernist architectural elements juxtaposed against rosy brick façades, and the American flag buffeted by a brisk wind.\u003c/p>\n\u003cp>I spoke with \u003ca href=\"https://www.newyorker.com/magazine/2016/02/22/valda-setterfield-in-lear\" target=\"_blank\" rel=\"noopener\">Valda Setterfield\u003c/a>, the celebrated dancer-actor and an early company stalwart, who recalled, “It was the first film that I’d worked in, and what I was immediately struck with was the work of the technicians on the film—and the gear that they had to lug around, which they did with great grace.” Three cameramen moved in and around the dancers, at distances both intimate and remote, with no fixed blueprint. “There was a kind of ease about it,” Setterfield noted, “an ease borne out of an unknown-ness, for me at any rate.” Although the company had rehearsed a few sequences, Cunningham or one of the dancers would frequently get an idea on the spot, and the company and crew would just go with it. Amid the playful improvisations, she stressed, “We were very attentive to where the crew were and what they needed.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I loved those kind of moments that could happen with Merce,” she went on, “particularly in a situation like this which wasn’t fully structured.” Setterfield remarked on how unusual it was for the dancers to be performing in the daytime, and for the crew to be shooting in natural light, frequently capturing passers-by in the frame. She embraced the experience: “I love the sea, and it smelled of the sea. There was a kind of freedom and pleasure about what we did.”\u003c/p>\n\u003cp>Much of the film reflects that spirit—very much a ’60s vibe, especially when the women shed their ‘uniforms’ of tights and leotards for geometric-patterned mini-dresses and silver go-go boots. There are also meditative moments and images of poignant, otherworldly beauty, as the dancers, each so distinctive, negotiate the rigor of Cunningham’s prescribed movements. Most striking are those scenes in which structures like stair railings are stripped of their material presence, becoming screens onto which outbursts of dance are projected—and conversely, when dancers’ bodies become screens for projected images of rolling clouds and the splashing fountain. Then there was Cunningham, racing wildly around the complex like a fugitive, dropping and rolling as if shots had been fired.\u003c/p>\n\u003cfigure id=\"attachment_13856027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856027\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1920x1368.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Jeff Slayton at Ghirardelli Square filming of Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>I also caught up with Bill Yahraus, who operated one of the three cameras for \u003cem>Assemblage\u003c/em>. He was a newbie on the KQED team but, in that egalitarian unit, while they were shooting, “everyone could have an idea,” he said. He ended up in sole charge of post-production, though, which took months, he said, to achieve the special effects—the intricate fragmenting and superimposing of imagery that make the film so startling and immediate.\u003c/p>\n\u003cp>“Every effect was a surprise,” Yahraus explained, “because each involved multiple passes, either with an overhead camera or through a printer, before the film was processed. So I never knew exactly what they would look like until they came back from the lab. There was a large element of randomness to all of it.” That spirit spilled into the soundtrack, developed independently from the dance by John Cage, Gordon Mumma, and David Tudor, who ran around the Square and farther afield, taping the drone of traffic, the clackety-clack of trains, desultory sidewalk conversations, birdsong, the groaning of the Golden Gate Bridge and the static of urban life.\u003c/p>\n\u003cfigure id=\"attachment_13856016\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davalois Fearon and Nicholas Sciscione in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘If the Dancer Dances’: “How does ephemeral work live on?”\u003c/h3>\n\u003cp>Among the nine dancers in \u003cem>Assemblage\u003c/em> was a young Meg Harper, who had joined the company barely a year before. She appears again, nearly 50 years later, as a luminous presence in \u003ca href=\"https://ifthedancer.com\" target=\"_blank\" rel=\"noopener\">\u003cem>If the Dancer Dances\u003c/em>\u003c/a>, which will screen in San Francisco on the same day as \u003cem>Assemblage\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://vimeo.com/323308357\" rel=\"noopener\" target=\"_blank\">new documentary\u003c/a> follows the 2015 restaging of Cunningham’s darkly mysterious \u003cem>RainForest\u003c/em> on the \u003ca href=\"https://walkerart.org/magazine/performance-thoughts-stephen-petronio-dance-company-rainforest-2\" target=\"_blank\" rel=\"noopener\">Stephen Petronio Company\u003c/a>. Unusually, three stagers were involved: Harper, Rashaun Mitchell, and Andrea Weber, who each belonged to different generations of the Merce Cunningham Dance Company. A fourth Cunningham alumna, Melissa Toogood, joined the cast as a guest dancer, bringing a bullets-whizzing-by energy to this revival.\u003c/p>\n\u003cp>I sat down in New York with filmmakers Lise Friedman and Maia Wechsler, who talked about the hard labor and inherent frustrations in transmitting dance down to new generations. It’s a task that requires the “transferring of movement, body-to-body,” as Friedman put it. She herself danced with Cunningham from 1977 to 1984. After his death in 2009 and the \u003ca href=\"https://www.npr.org/2011/08/06/139021889/merce-cunninghams-legacy-the-dance-goes-on\" target=\"_blank\" rel=\"noopener\">disbanding\u003c/a> of his company, on his instructions, two years later, she teamed up with Wechsler to tackle the question, “How does ephemeral work live on?”\u003c/p>\n\u003cfigure id=\"attachment_13856011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Stephen Petronio Company dancer Davalois Fearon in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Mitchell, who danced in the company from 2004 until it disbanded, reflects: “It was always really clear to us that he [Cunningham] did not want us to be the people who came before. He did not want us to emulate something that had already happened. He wanted us to find our own self within this movement.”\u003c/p>\n\u003cp>Echoing a sentiment expressed by Harper in the film, Friedman noted, “Staging doesn’t usually settle in the bodies of the dancers until after [the stagers] are gone, until after they’ve done it for a while. When you can sense the sense of ownership, that these dancers feel they have the right to dance these roles.”\u003c/p>\n\u003cfigure id=\"attachment_13856038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856038 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Maurice Spivey in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Night of 100 Solos’: “A dancer has to find a way to begin again each day”\u003c/h3>\n\u003cp>On what would have been Cunningham’s 100th birthday, on April 16, much of the dance world was riveted by back-to-back performances \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">livestreamed\u003c/a> from London, New York and Los Angeles, each an absorbing jumble of solos from six decades of his career. Like the one-off ‘events’ for which Cunningham would repurpose bits and pieces of rep, the \u003cem>\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">Night of 100 Solos\u003c/a> \u003c/em>scaled the concept up and took it global.\u003c/p>\n\u003cp>The 100 solos were performed by 75 dancers from diverse backgrounds, none of whom had ever danced with the Cunningham company but who were coached for this occasion by former Cunningham dancers. They ranged widely in age, physique, and training, from classical ballet to modern and street dance, and included many more dancers of color than have danced Cunningham’s work in the past.\u003c/p>\n\u003cfigure id=\"attachment_13856033\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856033 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Centennial ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes a soloist would be truly alone on stage. More often, dancers would cross paths companionably, and ensembles of three or four would tackle their assignments in close proximity, though they would rarely interact. Movement passages that have no common thread but happened to take place at the same time suddenly seemed to invite conversation, intimacy, or battle. (\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">The entire \u003cem>Night of 100 Solos\u003c/em> can be viewed here until July 19, 2019\u003c/a>.)\u003c/p>\n\u003cp>When I asked her about \u003cem>100 Solos\u003c/em>, Lise Friedman commented, “Merce’s work can withstand this mutability. There are so many ways in which his work can be seen.”\u003c/p>\n\u003cp>A few of the solos were repeated in all three cities, in a charming round-the-world handoff. These included the high-octane solo from \u003cem>Travelogue \u003c/em>in which the dancer jumps around with clanking tin cans strapped to his legs (courtesy of Robert Rauschenberg), and John Cage’s infamous \u003ca href=\"https://www.npr.org/2000/05/08/1073885/4-33\" target=\"_blank\" rel=\"noopener\">\u003cem>4’33”\u003c/em>\u003c/a>—in which the musician is instructed not to play anything for four minutes and 33 seconds—which was reinterpreted for dance in all three cities, with all 25 dancers on stage each time, to hypnotic effect.\u003c/p>\n\u003cfigure id=\"attachment_13856040\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856040 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorrin Brubaker in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003cem>100 Solos \u003c/em>rolled on with no climax or resolution, an extraordinary serenity settled in, with wave after wave of performers signaling to us and to each other, “I got this.” Some, like New York City Ballet’s Sara Mearns, wrestled more visibly with the knotty technique; others, like the Royal Ballet’s Joseph Sissens and Francesca Hayward, former Bill T. Jones/Arnie Zane Company member Shayla-Vie Jenkins, and José Limón dancer Savannah Spratt, conquered and stretched it.\u003c/p>\n\u003cp>Friedman told me: “Merce loved to see the struggle, loved to see awkwardness in a dancer. He appreciated the risk-taking.” It reminded me of something Cunningham once said in an \u003ca href=\"https://brooklynrail.org/2019/04/dance/MERCES-WAY\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>.\u003c/p>\n\u003cp>“A dancer,” he said, “has to find a way to begin again each day.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dance Film SF airs ‘Assemblage’ and ‘If the Dancer Dances’ on Saturday, May 4, at the Delancey Street Screening Room. Tickets and information \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-civil-rights-struggle-in-america-brought-to-life-with-classic-indian-dance-yes",
"title": "The Civil Rights Struggle in America Brought to Life With Classic Indian Dance? Yes!",
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"content": "\u003cp>For decades, Mythili Kumar, co-founder and artistic director of the \u003ca href=\"https://abhinaya.org\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance Company\u003c/a> of San Jose, has used the classic South Indian dance form of Bharatanatyam to talk about contemporary topics, like social justice. Because I was in the Bay Area, I’m doing certain things!” she exclaims with enthusiasm.\u003c/p>\n\u003cp>Over the years, Kumar has choreographed dance pieces exploring the work and stories of voices as varied as the Indian author \u003ca href=\"http://www.chitradivakaruni.com\" target=\"_blank\" rel=\"noopener\">Chitra Banerjee Divakaruni\u003c/a>, Nelson Mandela, and Cesar Chavez. The company has also collaborated with modern dance troupes, Japanese Taiko drummers and a Balinese gamelan ensemble\u003c/p>\n\u003cp>Today, Abhinaya Dance performs \u003cem>I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr\u003c/em>. at the \u003ca href=\"http://oacc.cc\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. It’s a restaging of excerpts from \u003cem>Stories of Justice\u003c/em>, presented in November 2018 in San Jose.\u003c/p>\n\u003cp>Watch Kumar’s daughter, dancer and choreographer Rasika Kumar, perform her work exploring the Rosa Parks’ story:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=VmR9ewSehz8]\u003c/p>\n\u003cp>[aside postID='arts_10545681,arts_13837387,arts_11511800' label='Related Coverage']When you think about it, there’s no reason the ancient stylistic vocabulary has to stick to stories of Hindu gods and goddesses. Kumar notes Bharatanatyam is a natural and flexible story-telling medium. “The dancer takes the form of the character, takes the expressions of the character, and with the hands, the story is narrated.”\u003c/p>\n\u003cp>Contemporary costumes and music help, too. Working with original music by \u003ca href=\"https://www.youtube.com/watch?v=izisDG8BpI0\" target=\"_blank\" rel=\"noopener\">Asha Ramesh\u003c/a> of San Jose that blends the Carnatic tradition with jazz, the dancers tackle topics ranging from Rosa Parks refusing to give up her seat on a bus in 1955 Montgomery to the arrest just last year of two African-American men at a Philadelphia Starbucks.\u003c/p>\n\u003cp>To Kumar, it’s all part of a continuum stretching back to the start of civil rights as we understand it today: Mahatma Gandhi’s campaign to free India from British rule.\u003c/p>\n\u003cfigure id=\"attachment_13856072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg\" alt=\"Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez. \u003ccite>(Photo: Courtesy of Santhosh Selvaraj)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Civil resistance came as a result of them following the principle of ahimsa, or non violence that Ghandi propagated in his fight against the British. So we start with Ghandi’s inspiration. Ghandi’s inspiration comes from the Bhagavad Gita. So the spiritual aspect is always there in our dance, in some form or the other,” Kumar said.\u003c/p>\n\u003cp>The company has traveled to New Jersey, New York, Chicago and St. Louis, but Kumar prefers to stay close to home, serving audiences in the San Francisco Bay Area.\u003c/p>\n\u003cp>This region is rich with dance troupes serving up the classics to Indian-Americans who want a taste of home, and want their children to be exposed to this part of their cultural heritage. Kumar says there is also an appetite for dance that reflects the audience’s American heritage, reflected and elevated through the sights and souths of Bharatanatyam.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>Abhinaya Dance Company\u003c/strong> performs\u003cstrong> I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr.\u003c/strong> at the Oakland Asian Cultural Center April 27, 2019. For more info, click \u003cstrong>\u003ca href=\"http://www.abhinaya.org/portfolio-item/i-have-a-dream\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>. Also, at the Cowell Theater as part of the SF International Arts Festival on May 25, 2019. For more info, click \u003ca href=\"https://abhinaya.org/portfolio-item/2019-events/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Mythili Kumar, co-founder and artistic director of the \u003ca href=\"https://abhinaya.org\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance Company\u003c/a> of San Jose, has used the classic South Indian dance form of Bharatanatyam to talk about contemporary topics, like social justice. Because I was in the Bay Area, I’m doing certain things!” she exclaims with enthusiasm.\u003c/p>\n\u003cp>Over the years, Kumar has choreographed dance pieces exploring the work and stories of voices as varied as the Indian author \u003ca href=\"http://www.chitradivakaruni.com\" target=\"_blank\" rel=\"noopener\">Chitra Banerjee Divakaruni\u003c/a>, Nelson Mandela, and Cesar Chavez. The company has also collaborated with modern dance troupes, Japanese Taiko drummers and a Balinese gamelan ensemble\u003c/p>\n\u003cp>Today, Abhinaya Dance performs \u003cem>I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr\u003c/em>. at the \u003ca href=\"http://oacc.cc\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. It’s a restaging of excerpts from \u003cem>Stories of Justice\u003c/em>, presented in November 2018 in San Jose.\u003c/p>\n\u003cp>Watch Kumar’s daughter, dancer and choreographer Rasika Kumar, perform her work exploring the Rosa Parks’ story:\u003c/p>\n\u003cp>\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/VmR9ewSehz8'\n title='//www.youtube.com/embed/VmR9ewSehz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When you think about it, there’s no reason the ancient stylistic vocabulary has to stick to stories of Hindu gods and goddesses. Kumar notes Bharatanatyam is a natural and flexible story-telling medium. “The dancer takes the form of the character, takes the expressions of the character, and with the hands, the story is narrated.”\u003c/p>\n\u003cp>Contemporary costumes and music help, too. Working with original music by \u003ca href=\"https://www.youtube.com/watch?v=izisDG8BpI0\" target=\"_blank\" rel=\"noopener\">Asha Ramesh\u003c/a> of San Jose that blends the Carnatic tradition with jazz, the dancers tackle topics ranging from Rosa Parks refusing to give up her seat on a bus in 1955 Montgomery to the arrest just last year of two African-American men at a Philadelphia Starbucks.\u003c/p>\n\u003cp>To Kumar, it’s all part of a continuum stretching back to the start of civil rights as we understand it today: Mahatma Gandhi’s campaign to free India from British rule.\u003c/p>\n\u003cfigure id=\"attachment_13856072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg\" alt=\"Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez. \u003ccite>(Photo: Courtesy of Santhosh Selvaraj)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Civil resistance came as a result of them following the principle of ahimsa, or non violence that Ghandi propagated in his fight against the British. So we start with Ghandi’s inspiration. Ghandi’s inspiration comes from the Bhagavad Gita. So the spiritual aspect is always there in our dance, in some form or the other,” Kumar said.\u003c/p>\n\u003cp>The company has traveled to New Jersey, New York, Chicago and St. Louis, but Kumar prefers to stay close to home, serving audiences in the San Francisco Bay Area.\u003c/p>\n\u003cp>This region is rich with dance troupes serving up the classics to Indian-Americans who want a taste of home, and want their children to be exposed to this part of their cultural heritage. Kumar says there is also an appetite for dance that reflects the audience’s American heritage, reflected and elevated through the sights and souths of Bharatanatyam.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>Abhinaya Dance Company\u003c/strong> performs\u003cstrong> I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr.\u003c/strong> at the Oakland Asian Cultural Center April 27, 2019. For more info, click \u003cstrong>\u003ca href=\"http://www.abhinaya.org/portfolio-item/i-have-a-dream\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>. Also, at the Cowell Theater as part of the SF International Arts Festival on May 25, 2019. For more info, click \u003ca href=\"https://abhinaya.org/portfolio-item/2019-events/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Behind handmade masks and under animal furs, the Oaxacan community of Casa San Miguel in Fresno, California perform a folk dance that hails from Spain, Mexico and now, the San Joaquin Valley.\u003c/p>\n\u003cp>Raymundo Guzmán started dancing with Los diablos de Juxtlahuaca Oaxaca when he was just 15. “When you come in, you are like a different character,” he says. “You can be someone else.” For Guzmán and his fellow dancers, their movements tell the story of an ancient fight between Christians and Muslims, of a man on his deathbed who offers his body up to devils. The dancers stomp and spin to the thumping beat of bass drums and horn blasts.\u003c/p>\n\u003cp>Today, agricultural workers from the town of San Miguel Cuevas who emigrated to Fresno gather to don the traditional masks and costumes, all made in Oaxaca, and move in the whip-wielding, barely controlled frenzy that is the Danza de los Diablos. Dancers range in age from children to grandparents.\u003c/p>\n\u003cp>San Miguel Cuevas will always be their home; anyone who can returns home for festivals and celebrations, Guzmán says, “but for those who can’t, then the other half of the town is here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Fresno is Oaxaca!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Los diablos de Juxtlahuaca Oaxaca dance to the sounds of local chilenas band Tamborazo Junior—in nearby almond orchards through Fresno’s downtown into the city’s neighborhoods. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>“Can hip-hop save ballet?”\u003c/p>\n\u003cp>It was a question recently asked on \u003ca href=\"https://www.bbc.co.uk/sounds/play/m0003rjc?fbclid=IwAR2DqR_u1yNHBEj9Jv5HHkFJn-83XwQFljxOYmrnmSaj2_fIEAVEG9rffA0\" target=\"_blank\" rel=\"noopener\">BBC Radio \u003c/a>by Eric Underwood. The former Royal Ballet soloist was talking with other prominent black dancers about the \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\" target=\"_blank\" rel=\"noopener\">systemic exclusion\u003c/a> of black dancers from the ballet world, and the need to keep the art form relevant. As ballet companies embrace \u003ca href=\"https://www.dancemagazine.com/iabd-auditions-for-dancers-of-color-2630923746.html?rebelltitem=4#rebelltitem4\" target=\"_blank\" rel=\"noopener\">assorted\u003c/a> \u003ca href=\"http://www.balletposition.com/blog/the-strange-case-of-the-missing-choreographers\" target=\"_blank\" rel=\"noopener\">strategies\u003c/a> to become \u003ca href=\"https://sfballet.blog/2019/04/01/marc-brew-creates-quicksilver-on-sf-ballet-school-trainees/?fbclid=IwAR2_-i0l2rQSEVYuCDCF5X5gUMk9Doyjscq5N4Z2TAmJW3n1q480YxGW3v8\" target=\"_blank\" rel=\"noopener\">more inclusive\u003c/a>, perhaps the real question is: can ballet save ballet?\u003c/p>\n\u003cp>It urgently needs a pipeline of new dance-makers, and platforms that give them the freedom to take risks. As Diana Byer, founder and artistic director of the acclaimed \u003ca href=\"https://www.nytimes.com/2018/04/29/arts/dance/new-york-theater-ballet-review-robbins-alston.html\" target=\"_blank\" rel=\"noopener\">New York Theatre Ballet\u003c/a>, and a stalwart champion of new dance-makers, tells me, “It is a constant struggle to find even extremely limited funds to nurture emerging choreographers.” Today, she says, “media drives a specific kind of artist and the texture of the dance scene tends to become one-dimensional.”\u003c/p>\n\u003cfigure id=\"attachment_13854499\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg\" alt=\"\" width=\"800\" height=\"351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-768x337.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1020x448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1200x527.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1920x843.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monica Lima with Bugsy Gabriel, Amanda Treiber, Khadijah Munajj, Giulia Faria, Carmella Lauer, and Michael Scales at the piano in Steven Melendez’ RAPIDLY AND FREELY, WITHOUT CONTROL at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>In this grim climate, Byer has persisted. Last weekend she chose \u003ca href=\"https://www.92y.org/event/dig-dance-ballet?fbclid=IwAR2GoUIHTz-bEOmoMomwM0iMIJSI3_gnQzdFiHJQ_EeEr90Ddkp2wkwXlp4\" target=\"_blank\" rel=\"noopener\">six rising choreographers\u003c/a> to present work at New York’s \u003ca href=\"https://www.92y.org/dance/past-present-future\" target=\"_blank\" rel=\"noopener\">storied 92nd Street Y\u003c/a>. All are current or former dancers with well-known companies (including New York City Ballet, American Ballet Theatre, New York Theatre Ballet, and Oakland Ballet), and all are New York-based—except for \u003ca href=\"http://milissapayne.com\" target=\"_blank\" rel=\"noopener\">Milissa Payne Bradley\u003c/a>, who hails from the Bay Area.\u003c/p>\n\u003cp>It’s unusual for the West Coast to be invited to a New York dance party. New York City likes to think of itself as the world’s dance capital, and every other city in America as “regional.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve followed Payne Bradley’s work since she shoehorned an army of dancers onto the postage-stamp-sized stage at San Francisco’s legendary \u003ca href=\"https://www.huffpost.com/entry/milissa-payne-up-in-the-air_b_3030826\" target=\"_blank\" rel=\"noopener\">Garage\u003c/a> in 2013. The piece she shipped to the 92nd Street Y was tightly conceived and executed, sassy and provocative. It was the first in a two-part series called \u003cem>Enough Said\u003c/em>, developed initially for San Francisco’s \u003ca href=\"https://vimeo.com/194400670\" target=\"_blank\" rel=\"noopener\">West Wave Festival \u003c/a>and the \u003ca href=\"https://www.huffpost.com/entry/in-precarious-times-san-francisco-theater-artists_b_58d4c39ee4b0c0980ac0e4d7\" target=\"_blank\" rel=\"noopener\">Center for New Work \u003c/a>at the Harvey Milk Center for the Arts.\u003c/p>\n\u003cp>In it, Payne Bradley pitted a trio of female dancers, warming up at a ballet barre, against the voices of stand-up comics \u003ca href=\"https://www.youtube.com/watch?v=RGujNhUe4tw\" target=\"_blank\" rel=\"noopener\">Daniel Tosh\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=J-zFQ9fOTSU\" target=\"_blank\" rel=\"noopener\">Mitch Hedberg\u003c/a>, and \u003ca href=\"https://www.kqed.org/forum/2010101867018/metoos-complicated-relationship-with-redemption\" target=\"_blank\" rel=\"noopener\">Louis C.K.\u003c/a> in audio excerpts spliced together from recordings of live routines. In the tightly prescribed and aristocratic vocabulary of classical ballet, a dancer would peel off from the barre to amplify the absurd, throw a little shade, or express their skepticism at some outrage perpetrated by one of the comics. Riffing on Hedberg’s deadpan pronouncements (“rice is great if you’re hungry and want 2,000 of something”), Tosh’s bashing of jingoists in fly-over country, and Louis C.K.’s irreverent musings on God, Payne Bradley deployed the athletic precision of ballet and the ballerina’s cool, collected exterior to add layers of witty commentary to their no-holds-barred social critiques.\u003c/p>\n\u003cfigure id=\"attachment_13854498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854498\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg\" alt=\"\" width=\"800\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1200x487.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1920x780.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Gilliland, Jonatan Lujan, and Dawn Gierling Milatin in Antonia Franceschi’s SHIFT TRIP at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>An equally riveting piece on the program deployed its score very differently, to dystopian effect. \u003ca href=\"https://www.nytimes.com/2003/12/14/arts/dance-this-week-a-truly-fairy-tale-prince.html\" target=\"_blank\" rel=\"noopener\">Stephen Melendez\u003c/a> positioned his dancers between the sparse, vertiginous chords of Erik Satie’s \u003cem>Ogives \u003c/em>(played live by pianist Michael Scales) that would come crashing down, then trail off. Six dancers made their way, in excruciatingly slow motion, from the piano side of the stage to the far side. Were they prisoners being driven from the shelter of the piano toward some unnameable horror? Or refugees struggling to reach a land of hope?\u003c/p>\n\u003cp>Halfway through their journey, Monica Lima broke away from the pack to roam the perimeter in brief, solo episodes of astonishing breadth and lyricism. She may have been an angel – or a messenger or border patrol agent from the dark side sent to make sure no one got away. The overwhelming impression was one of dread, contrasted with the angel’s serenity. The title of the piece, \u003cem>Rapidly and Freely, Without Control\u003c/em>, seemed freighted with irony.\u003c/p>\n\u003cp>The deliciously eclectic composition, ‘Bird in Paris’ – a nod to Claude Debussy and Charlie Parker, with hints of bluegrass, by the string players of PUBLIQuartet – fueled \u003ca href=\"https://www.abt.org/people/zhong-jing-fang/\" target=\"_blank\" rel=\"noopener\">Zhong-Jing Fang\u003c/a>’s ebullient \u003cem>Prince Street Fantaisie\u003c/em>. Fang illuminated her three young dancers’ vivacious personalities but skated over the complexities of the genre-bending score. (In contrast, her 2017 collaboration with Melendez, in which the pair tackled a \u003ca href=\"https://www.huffpost.com/entry/new-york-theatre-ballet-g_b_9324256\" target=\"_blank\" rel=\"noopener\">Philip Glass suite\u003c/a> arranged for steel drum ensemble, wrung profound emotion from its minimalist score.)\u003c/p>\n\u003cp>\u003ca href=\"https://sanjoyroy.net/2003/03/antonia-franceschi-up-from-the-waste/\" target=\"_blank\" rel=\"noopener\">Antonia Franceschi\u003c/a> mined an electrifying composition by cellist Zoë Martlew for emotional information in \u003cem>Shift Trip\u003c/em>. Downstage, Martlew occasionally drew focus away from the trio of dancers in their skivvies, as her cello bristled, sobbed, scraped, and tangled with a recording that incorporated an array of percussion and sounds like the drone of car horns on a freeway at rush hour. The jagged choreography looked familiar, the rippling ribcages and cool sometimes combative partnering paying homage here and there to George Balanchine and William Forsythe; the score, however, made it seem new.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The magnetic Amanda Treiber proclaimed the arrival of spring in \u003ca href=\"https://afropunk.com/2017/09/male-ballet-dancer-breaking-barriers-moscow-new-york/\" target=\"_blank\" rel=\"noopener\">Gabe Stone Shayer’\u003c/a>s \u003cem>Of her union\u003c/em>, a sprightly, gracious solo inspired by Max Richter’s lush reworking of Vivaldi’s \u003cem>Four Seasons\u003c/em>. Skittering across the space, pointes lightly pricking the ground, arms generously sweeping aside clusters of cloud, Treiber (and Stone Shayer) made us forget for a moment that ballet may be on the verge of annihilation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Can hip-hop save ballet?”\u003c/p>\n\u003cp>It was a question recently asked on \u003ca href=\"https://www.bbc.co.uk/sounds/play/m0003rjc?fbclid=IwAR2DqR_u1yNHBEj9Jv5HHkFJn-83XwQFljxOYmrnmSaj2_fIEAVEG9rffA0\" target=\"_blank\" rel=\"noopener\">BBC Radio \u003c/a>by Eric Underwood. The former Royal Ballet soloist was talking with other prominent black dancers about the \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\" target=\"_blank\" rel=\"noopener\">systemic exclusion\u003c/a> of black dancers from the ballet world, and the need to keep the art form relevant. As ballet companies embrace \u003ca href=\"https://www.dancemagazine.com/iabd-auditions-for-dancers-of-color-2630923746.html?rebelltitem=4#rebelltitem4\" target=\"_blank\" rel=\"noopener\">assorted\u003c/a> \u003ca href=\"http://www.balletposition.com/blog/the-strange-case-of-the-missing-choreographers\" target=\"_blank\" rel=\"noopener\">strategies\u003c/a> to become \u003ca href=\"https://sfballet.blog/2019/04/01/marc-brew-creates-quicksilver-on-sf-ballet-school-trainees/?fbclid=IwAR2_-i0l2rQSEVYuCDCF5X5gUMk9Doyjscq5N4Z2TAmJW3n1q480YxGW3v8\" target=\"_blank\" rel=\"noopener\">more inclusive\u003c/a>, perhaps the real question is: can ballet save ballet?\u003c/p>\n\u003cp>It urgently needs a pipeline of new dance-makers, and platforms that give them the freedom to take risks. As Diana Byer, founder and artistic director of the acclaimed \u003ca href=\"https://www.nytimes.com/2018/04/29/arts/dance/new-york-theater-ballet-review-robbins-alston.html\" target=\"_blank\" rel=\"noopener\">New York Theatre Ballet\u003c/a>, and a stalwart champion of new dance-makers, tells me, “It is a constant struggle to find even extremely limited funds to nurture emerging choreographers.” Today, she says, “media drives a specific kind of artist and the texture of the dance scene tends to become one-dimensional.”\u003c/p>\n\u003cfigure id=\"attachment_13854499\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg\" alt=\"\" width=\"800\" height=\"351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-800x351.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-768x337.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1020x448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1200x527.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez-1920x843.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Melendez.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monica Lima with Bugsy Gabriel, Amanda Treiber, Khadijah Munajj, Giulia Faria, Carmella Lauer, and Michael Scales at the piano in Steven Melendez’ RAPIDLY AND FREELY, WITHOUT CONTROL at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>In this grim climate, Byer has persisted. Last weekend she chose \u003ca href=\"https://www.92y.org/event/dig-dance-ballet?fbclid=IwAR2GoUIHTz-bEOmoMomwM0iMIJSI3_gnQzdFiHJQ_EeEr90Ddkp2wkwXlp4\" target=\"_blank\" rel=\"noopener\">six rising choreographers\u003c/a> to present work at New York’s \u003ca href=\"https://www.92y.org/dance/past-present-future\" target=\"_blank\" rel=\"noopener\">storied 92nd Street Y\u003c/a>. All are current or former dancers with well-known companies (including New York City Ballet, American Ballet Theatre, New York Theatre Ballet, and Oakland Ballet), and all are New York-based—except for \u003ca href=\"http://milissapayne.com\" target=\"_blank\" rel=\"noopener\">Milissa Payne Bradley\u003c/a>, who hails from the Bay Area.\u003c/p>\n\u003cp>It’s unusual for the West Coast to be invited to a New York dance party. New York City likes to think of itself as the world’s dance capital, and every other city in America as “regional.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve followed Payne Bradley’s work since she shoehorned an army of dancers onto the postage-stamp-sized stage at San Francisco’s legendary \u003ca href=\"https://www.huffpost.com/entry/milissa-payne-up-in-the-air_b_3030826\" target=\"_blank\" rel=\"noopener\">Garage\u003c/a> in 2013. The piece she shipped to the 92nd Street Y was tightly conceived and executed, sassy and provocative. It was the first in a two-part series called \u003cem>Enough Said\u003c/em>, developed initially for San Francisco’s \u003ca href=\"https://vimeo.com/194400670\" target=\"_blank\" rel=\"noopener\">West Wave Festival \u003c/a>and the \u003ca href=\"https://www.huffpost.com/entry/in-precarious-times-san-francisco-theater-artists_b_58d4c39ee4b0c0980ac0e4d7\" target=\"_blank\" rel=\"noopener\">Center for New Work \u003c/a>at the Harvey Milk Center for the Arts.\u003c/p>\n\u003cp>In it, Payne Bradley pitted a trio of female dancers, warming up at a ballet barre, against the voices of stand-up comics \u003ca href=\"https://www.youtube.com/watch?v=RGujNhUe4tw\" target=\"_blank\" rel=\"noopener\">Daniel Tosh\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=J-zFQ9fOTSU\" target=\"_blank\" rel=\"noopener\">Mitch Hedberg\u003c/a>, and \u003ca href=\"https://www.kqed.org/forum/2010101867018/metoos-complicated-relationship-with-redemption\" target=\"_blank\" rel=\"noopener\">Louis C.K.\u003c/a> in audio excerpts spliced together from recordings of live routines. In the tightly prescribed and aristocratic vocabulary of classical ballet, a dancer would peel off from the barre to amplify the absurd, throw a little shade, or express their skepticism at some outrage perpetrated by one of the comics. Riffing on Hedberg’s deadpan pronouncements (“rice is great if you’re hungry and want 2,000 of something”), Tosh’s bashing of jingoists in fly-over country, and Louis C.K.’s irreverent musings on God, Payne Bradley deployed the athletic precision of ballet and the ballerina’s cool, collected exterior to add layers of witty commentary to their no-holds-barred social critiques.\u003c/p>\n\u003cfigure id=\"attachment_13854498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854498\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg\" alt=\"\" width=\"800\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1200x487.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi-1920x780.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Franceschi.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Gilliland, Jonatan Lujan, and Dawn Gierling Milatin in Antonia Franceschi’s SHIFT TRIP at New York City’s 92nd Street Y (Photo: Elizabeth Schneider-Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>An equally riveting piece on the program deployed its score very differently, to dystopian effect. \u003ca href=\"https://www.nytimes.com/2003/12/14/arts/dance-this-week-a-truly-fairy-tale-prince.html\" target=\"_blank\" rel=\"noopener\">Stephen Melendez\u003c/a> positioned his dancers between the sparse, vertiginous chords of Erik Satie’s \u003cem>Ogives \u003c/em>(played live by pianist Michael Scales) that would come crashing down, then trail off. Six dancers made their way, in excruciatingly slow motion, from the piano side of the stage to the far side. Were they prisoners being driven from the shelter of the piano toward some unnameable horror? Or refugees struggling to reach a land of hope?\u003c/p>\n\u003cp>Halfway through their journey, Monica Lima broke away from the pack to roam the perimeter in brief, solo episodes of astonishing breadth and lyricism. She may have been an angel – or a messenger or border patrol agent from the dark side sent to make sure no one got away. The overwhelming impression was one of dread, contrasted with the angel’s serenity. The title of the piece, \u003cem>Rapidly and Freely, Without Control\u003c/em>, seemed freighted with irony.\u003c/p>\n\u003cp>The deliciously eclectic composition, ‘Bird in Paris’ – a nod to Claude Debussy and Charlie Parker, with hints of bluegrass, by the string players of PUBLIQuartet – fueled \u003ca href=\"https://www.abt.org/people/zhong-jing-fang/\" target=\"_blank\" rel=\"noopener\">Zhong-Jing Fang\u003c/a>’s ebullient \u003cem>Prince Street Fantaisie\u003c/em>. Fang illuminated her three young dancers’ vivacious personalities but skated over the complexities of the genre-bending score. (In contrast, her 2017 collaboration with Melendez, in which the pair tackled a \u003ca href=\"https://www.huffpost.com/entry/new-york-theatre-ballet-g_b_9324256\" target=\"_blank\" rel=\"noopener\">Philip Glass suite\u003c/a> arranged for steel drum ensemble, wrung profound emotion from its minimalist score.)\u003c/p>\n\u003cp>\u003ca href=\"https://sanjoyroy.net/2003/03/antonia-franceschi-up-from-the-waste/\" target=\"_blank\" rel=\"noopener\">Antonia Franceschi\u003c/a> mined an electrifying composition by cellist Zoë Martlew for emotional information in \u003cem>Shift Trip\u003c/em>. Downstage, Martlew occasionally drew focus away from the trio of dancers in their skivvies, as her cello bristled, sobbed, scraped, and tangled with a recording that incorporated an array of percussion and sounds like the drone of car horns on a freeway at rush hour. The jagged choreography looked familiar, the rippling ribcages and cool sometimes combative partnering paying homage here and there to George Balanchine and William Forsythe; the score, however, made it seem new.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The magnetic Amanda Treiber proclaimed the arrival of spring in \u003ca href=\"https://afropunk.com/2017/09/male-ballet-dancer-breaking-barriers-moscow-new-york/\" target=\"_blank\" rel=\"noopener\">Gabe Stone Shayer’\u003c/a>s \u003cem>Of her union\u003c/em>, a sprightly, gracious solo inspired by Max Richter’s lush reworking of Vivaldi’s \u003cem>Four Seasons\u003c/em>. Skittering across the space, pointes lightly pricking the ground, arms generously sweeping aside clusters of cloud, Treiber (and Stone Shayer) made us forget for a moment that ballet may be on the verge of annihilation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Worlds collide in\u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">\u003ci> Fury\u003c/i>\u003c/a>, a ballet that takes inspiration from the post-apocalyptic blockbuster \u003ca href=\"https://www.youtube.com/watch?v=hEJnMQG9ev8\" target=\"_blank\" rel=\"noopener\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>. The show comes to San Francisco’s August Hall on Feb. 1 and 2, and features an original score by North Bay art pop band Yassou, string arrangements by composer Kristina Dutton and immersive visuals by lighting designers Michael Straun, Luke Acret and Brandon McFarland. [contextly_sidebar id=”uxjZ1PBzSEgQapoMHIc5IRobRdn8RkZc”]\u003c/p>\n\u003cp>About a band of rogue adventurers fleeing an evil cult leader through a desert wasteland, \u003cem>Mad Max: Fury Road\u003c/em> received rave reviews upon its release in 2015 for its clever script, hair-raising action sequences and dark sense of humor. \u003cem>Fury\u003c/em> gives the concept a completely different spin, with choreography by Danielle Rowe and performances from top-tier dancers from \u003ca href=\"https://linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> (and special guests), including Adji Cissoko, Babatunji and Michael Montgomery.\u003c/p>\n\u003cp>August Hall, typically a standing-room music venue, is an unusual and intimate location for the performance, which aims to be more accessible than your typical ballet performance inside of a theater. The show sold out when it was previously presented at The Midway in September, but tickets are still available for this year’s rendition.\u003c/p>\n\u003cp>\u003cem>Details \u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://vimeo.com/301097555\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Worlds collide in\u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">\u003ci> Fury\u003c/i>\u003c/a>, a ballet that takes inspiration from the post-apocalyptic blockbuster \u003ca href=\"https://www.youtube.com/watch?v=hEJnMQG9ev8\" target=\"_blank\" rel=\"noopener\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>. The show comes to San Francisco’s August Hall on Feb. 1 and 2, and features an original score by North Bay art pop band Yassou, string arrangements by composer Kristina Dutton and immersive visuals by lighting designers Michael Straun, Luke Acret and Brandon McFarland. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>About a band of rogue adventurers fleeing an evil cult leader through a desert wasteland, \u003cem>Mad Max: Fury Road\u003c/em> received rave reviews upon its release in 2015 for its clever script, hair-raising action sequences and dark sense of humor. \u003cem>Fury\u003c/em> gives the concept a completely different spin, with choreography by Danielle Rowe and performances from top-tier dancers from \u003ca href=\"https://linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> (and special guests), including Adji Cissoko, Babatunji and Michael Montgomery.\u003c/p>\n\u003cp>August Hall, typically a standing-room music venue, is an unusual and intimate location for the performance, which aims to be more accessible than your typical ballet performance inside of a theater. The show sold out when it was previously presented at The Midway in September, but tickets are still available for this year’s rendition.\u003c/p>\n\u003cp>\u003cem>Details \u003ca href=\"https://www.augusthallsf.com/events/2019/2/1/fury\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”ekQu5Mcdt76Qwes7ptosdcH9bWh9LDYB”]\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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