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"content": "\u003cp>Kathak is one of eight distinct dance forms from ancient India, and it’s characterized by very fast footwork, complex rhythms, lightening speed pirouettes and improvised play with musicians.\u003c/p>\n\u003cp>The story of Kathak coming to the United States owes a lot to a teacher named Chitresh Das. Das arrived here in 1971 and taught legions of enthusiastic Americans about the classical dance form native to Northern India.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance Collective\u003c/a> formed shortly after Das died in 2015, and today, it continues to educate new dancers and entertain the public with works like \u003cem>Son of the Wind,\u003c/em> which gets its San Francisco premiere this month at the ODC Theater, presented by the Chhandam School of Kathak.\u003c/p>\n\u003cp>\u003ca href=\"http://rachnanivas.com\" target=\"_blank\" rel=\"noopener\">Rachna Nivas\u003c/a>, artistic director of the group along with \u003ca href=\"http://www.centerforinternationaldance.org/faculty/seibi-lee/\" target=\"_blank\" rel=\"noopener\">Seibi Lee\u003c/a> and \u003ca href=\"http://www.theleelainstitute.org/artists/\" target=\"_blank\" rel=\"noopener\">Rina Mehta\u003c/a>, says the piece is a family friendly emotional roller coaster. “It’s a great way to see every emotion possible from hate to greed fury honor jealousy to love all timeless concepts.”\u003c/p>\n\u003cp>\u003cem>Son of the Wind\u003c/em>, she says, also showcases the legacy of Chitresh Das.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XvvvD0jmpjA\u003c/p>\n\u003cp>The story comes from the epic Ramayan, focused on the character of Hanuman. Son of the celestial female spirit, Anjana and Vayu, the mighty wind god, Hanuman rescues the kidnapped princess Sita, thanks to his mischievous ingenuity and indomitable vigor. Ultimately, his actions lead to Ram, King of Ayodha, to prevail over the arrogant and powerful King of Lanka, Ravan.\u003c/p>\n\u003cp>The Collective introduces a little gender fluidity into the classical tale by featuring a cast of all-female Kathak dancers, even in the roles of male warriors. The choreographers are also women.\u003c/p>\n\u003cp>Diversity and inclusion was “very much part of the mission of our teacher,” says Nivas. “Many of [Das’s] disciples are from different backgrounds, and we are carrying it forward in that way as well.”\u003c/p>\n\u003cp>Nivas also noted that the inclusion extends not just to gender, but ethnicity as well. The dancers come from all over the country, and they’re not all Indian\u003c/p>\n\u003cp>\u003cem>Son of the Wind\u003c/em> runs April 27-28 at the ODC Theatre in San Francisco. \u003ca href=\"http://www.odc.dance/sonofthewind\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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\">\u003c/p>\n\n",
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"content": "\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "You may know her from such films as 'Black Panther', where she was director of photography. Now, Rachel Morrison is the first woman ever nominated for an Academy Award in cinematography, for her work on 'Mudbound', ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=tLna7S-iF7U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tLna7S-iF7U'\n title='//www.youtube.com/embed/tLna7S-iF7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\u003c/div>\u003c/p>",
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"content": "\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joby Talbot’s gorgeous choral work \u003cem>Path of Miracles \u003c/em>(2005) is about the Camino de Santiago, the pilgrimage route in Northern Spain dating back to medieval times. Some friends of ODC/Dance Co-Director KT Nelson introduced her to Talbot’s work a few years ago, and Nelson walked the route with her husband. Now she’s set a dance about her experiences to the music. \u003c/p>\n\u003cp>“And I am not religious,” Nelson told me before a rehearsal a few days ago. “But having taken the pilgrimage I got a sense of what the score meant.” \u003c/p>\n\u003cp>Nelson says her work traces the emotional stages that most pilgrims experience. “The first movement is about enthusiasm,” she says. “The second movement is hitting a wall emotionally. The third movement is about acts of kindness, and the fourth is a celebration of finishing and connecting with the community of other pilgrims.”\u003c/p>\n\u003cfigure id=\"attachment_13823371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823371\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg\" alt=\"ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acts of kindness were like subtle miracles. “Somewhere, out of nowhere, someone would help you find a place to stay, or bandage your foot, or tell you where to go to eat,” Nelson says. “And when you’re in the middle of nowhere, and you don’t speak the language, that is pretty wonderful.”\u003c/p>\n\u003cp>The choral group Volti, led by Robert Geary, will sing \u003cem>Path of Miracles\u003c/em> for the two performances of Nelson’s new work at Grace Cathedral on Feb. 9 and 10. Details \u003ca href=\"https://www.odc.dance/Miracles\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And ODC Presents it’s home season at the Yerba Buena Center for the Arts March 15-18. Details \u003ca href=\"https://www.odc.dance/news\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13823365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg\" alt=\"Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson's Path of Miracles\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson’s Path of Miracles \u003ccite>(Photo: Robbie Sweeney/ODC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joby Talbot’s gorgeous choral work \u003cem>Path of Miracles \u003c/em>(2005) is about the Camino de Santiago, the pilgrimage route in Northern Spain dating back to medieval times. Some friends of ODC/Dance Co-Director KT Nelson introduced her to Talbot’s work a few years ago, and Nelson walked the route with her husband. Now she’s set a dance about her experiences to the music. \u003c/p>\n\u003cp>“And I am not religious,” Nelson told me before a rehearsal a few days ago. “But having taken the pilgrimage I got a sense of what the score meant.” \u003c/p>\n\u003cp>Nelson says her work traces the emotional stages that most pilgrims experience. “The first movement is about enthusiasm,” she says. “The second movement is hitting a wall emotionally. The third movement is about acts of kindness, and the fourth is a celebration of finishing and connecting with the community of other pilgrims.”\u003c/p>\n\u003cfigure id=\"attachment_13823371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823371\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg\" alt=\"ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acts of kindness were like subtle miracles. “Somewhere, out of nowhere, someone would help you find a place to stay, or bandage your foot, or tell you where to go to eat,” Nelson says. “And when you’re in the middle of nowhere, and you don’t speak the language, that is pretty wonderful.”\u003c/p>\n\u003cp>The choral group Volti, led by Robert Geary, will sing \u003cem>Path of Miracles\u003c/em> for the two performances of Nelson’s new work at Grace Cathedral on Feb. 9 and 10. Details \u003ca href=\"https://www.odc.dance/Miracles\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And ODC Presents it’s home season at the Yerba Buena Center for the Arts March 15-18. Details \u003ca href=\"https://www.odc.dance/news\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13823365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg\" alt=\"Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson's Path of Miracles\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson’s Path of Miracles \u003ccite>(Photo: Robbie Sweeney/ODC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "How One Company Navigates the Messy Ballet World",
"headTitle": "How One Company Navigates the Messy Ballet World | KQED",
"content": "\u003cp>Onstage, ballet appears to be a refined and noble art, yet offstage it has weathered myriad \u003ca href=\"https://www.newyorker.com/magazine/2013/03/18/danse-macabre\" target=\"_blank\" rel=\"noopener\">sordid\u003c/a> \u003ca href=\"https://www.theglobeandmail.com/arts/books-and-media/book-reviews/inside-the-hard-sad-and-beautiful-world-of-the-ballet-dancer/article4574273/\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a> through the centuries. Today, a handful of the standard-bearing companies around the world are reeling from allegations of \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/dance/peter-martins-ballet-harassment.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a>, \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/dance/no-more-gang-rape-scenes-in-ballets-please.html\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a>, \u003ca href=\"http://www.theartsdesk.com/dance/bolshois-controversial-nureyev-ballet-opens-%E2%80%93-ovations-and-bans\" target=\"_blank\" rel=\"noopener\">homophobia\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>. Dancers have long \u003ca href=\"http://www.nytimes.com/1986/11/15/arts/books-out-of-pain.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> the peculiarly \u003ca href=\"http://www.dancemagazine.com/wilhelmina-frankfurt-peter-martins-investigation-2516966253.html\" target=\"_blank\" rel=\"noopener\">autocratic regimes\u003c/a> in the ballet world, but there’s been little impetus for change in an industry where careers are fleeting, competition is brutal, and ancient traditions are revered.\u003c/p>\n\u003cp>The ballet world is highly stratified, however, and there are small companies that quietly thrive — as if occupying a separate ecosystem. On the threshold of the 24th season of \u003ca href=\"https://diabloballet.org\" target=\"_blank\" rel=\"noopener\">Diablo Ballet\u003c/a>, I spoke with co-founder and artistic director Lauren Jonas about the phenomenon.\u003c/p>\n\u003cp>“When I hear these stories, they feel so foreign to me now,” she muses. “I did experience some of that authoritarianism when I was dancing professionally… I knew when I started Diablo Ballet, I wanted to provide an atmosphere that was different.”\u003c/p>\n\u003cfigure id=\"attachment_13820239\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Farris and Christian Squires in ‘Hamlet and Ophelia’ by Val Caniparoli. (Photo by Bilha Sperlin)\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas points out: “Larger companies may have struggles with a director, but when the director is producing successful work, with strong ticket sales, the board may be reluctant to do anything. But I think there are definitely going to be changes in how some companies are run, not just who’s running them… This is a new movement. It’s fantastic that dancers have felt comfortable to come out and express their feelings.”\u003c/p>\n\u003cp>With just 10 dancers, Diablo presents top-flight classical and contemporary work at venues both large and intimate in Walnut Creek and farther afield. The company has survived a few economic downturns; today, grants from the California Arts Council and from private foundations and individuals augment ticket sales to the tune of about $780,000. (In comparison, mid-sized companies operate typically in the $5–$10 million range; the largest companies are pushing $50 million and up.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On this modest budget, Diablo continues to nurture young choreographers, as well as stage revivals of classic pieces by renowned choreographers like George Balanchine and Val Caniparoli. Performances consistently employ live music — an imperative that many larger companies jettison when money gets tight. And for the past 23 years it has run \u003ca href=\"https://diabloballet.org/peek-outreach/\" target=\"_blank\" rel=\"noopener\">outreach programs\u003c/a> at underserved schools and at juvenile hall.\u003c/p>\n\u003cfigure id=\"attachment_13820242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio-.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Jonas in the Diablo Ballet studio, rehearsing dancers Jordan Tilton and Felipe Leon (Photo courtesy Diablo Ballet).\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Jonas, I looked for insight into how Jonas has steered her company.\u003c/p>\n\u003cp>\u003cstrong>Your dancers have all had experience at larger, established companies, including San Francisco Ballet, Atlanta Ballet, Oregon Ballet Theatre. What do you look for when you hire? \u003c/strong>\u003c/p>\n\u003cp>I’ve always wanted our dancers to look different and to come from different backgrounds — that was my aspiration from the beginning. In a larger company, you often get niched into certain types of ballets, like classical or contemporary, whereas at Diablo you have to dance everything.\u003c/p>\n\u003cp>I have always looked for mature, experienced dancers. With young dancers, you have more training to do… You still have to train these dancers, but it’s not emotional training.\u003c/p>\n\u003cp>Most important, I want a positive working environment with absolutely no drama in the studio. With only four weeks to put on a performance, I’m asking a lot of people! We’ve had a few situations many years ago where one person has brought that tension, and it was hard.\u003c/p>\n\u003cfigure id=\"attachment_13820244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers of Diablo Ballet in ‘Happy Ending’ by Robert Dekkers. (Photo by Bilha Sperling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You went from being a dancer to a company founder. Did you have any role models?\u003c/strong>\u003c/p>\n\u003cp>I’d always had role models as a dancer, but not as a director. Our co-founder Ashraf Habibullah was really my mentor. He’s an industry giant in the field of earthquake engineering and founded a major international company. He not only gave me a business education, he also taught me how to get the most out of people and inspire them.\u003c/p>\n\u003cp>We raised funds and put everything in place step by step; we didn’t rush it. You have to really get to know your community. We don’t have a school, and we need to be a part of the community, so the arts education piece is extremely important. It’s not just about performing; with the educational outreach, you are becoming an investment in the community. When I hire dancers, I make sure that is something that is important to them as well.\u003c/p>\n\u003cfigure id=\"attachment_13820246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820246\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-240x334.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-520x723.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Christian Squires in ‘Tears from Above’ by Val Caniparoli. (Photo by Bilha Sterling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is particularly exciting to you about this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>I’m passionate about supporting the work of young choreographers, like Robert Dekkers, whose \u003cem>Red Shoes\u003c/em> premieres May 4.\u003c/p>\n\u003cp>While Robert in many ways represents our present and our future, I always try to bring back something from the past, and in March, I’m thrilled that Marina Eglevsky will return to the company to stage \u003cem>Solas\u003c/em> by Salvadore Aiello. It’s a solo, about a woman who has just had a major loss; it’s set to “Bachianas Brasileiras” No. 5, a haunting score by Villalobos, which will be performed live. Marina had coached me when I performed it in 1998. This time, she will set it on Rosselyn Ramirez.\u003c/p>\n\u003cp>When I danced this solo, I had just lost my grandfather. He and my parents together had raised me. You see the story evolve in this solo – it’s chilling. Marina’s process as a dancer and as a coach was so inspiring to me; she is very clear in every intention.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/252829391\u003cbr>\n\u003c/aside>\n\u003cp>\n\u003cstrong>The Bay Area has not been immune to ballet company woes. For instance, the messy \u003ca href=\"https://www.mercurynews.com/2016/03/08/silicon-valley-ballet-shutdown-the-writing-was-on-the-wall/\" target=\"_blank\" rel=\"noopener\">demise\u003c/a> of Silicon Valley Ballet — perhaps best known in its previous incarnation as Ballet San Jose and often considered the South Bay’s answer to San Francisco Ballet.\u003c/strong>\u003c/p>\n\u003cp>The loss of Ballet San Jose was devastating. I feel like, if it could happen to them, it could happen to anybody. For San Jose to not have a company is really sad — all that talent!\u003c/p>\n\u003cp>It’s tricky in San Jose because the tech industry is strong but I don’t know how interested they are in dance. Again, it ultimately comes down to knowing your community and what they want. And at the same time, trying to educate and develop audience tastes further, so you gain new audiences without losing the old.\u003c/p>\n\u003cp>\u003cstrong>Have you thought about your own succession at Diablo?\u003c/strong>\u003c/p>\n\u003cp>I think about succession all the time, in terms of management, artistic direction, and our outreach. An organization shouldn’t be dependent on one person, and it was always my desire from the beginning that the company continue beyond me. I’m trying to put the right people in the right seats – though of course it may not be my decision when the time comes.\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>Diablo Ballet’s 24th season kicks off Feb. 2 at the Del Valle Theatre in Walnut Creek. For more information, click \u003ca href=\"https://diabloballet.org/harmonious-beauty/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Onstage, ballet appears to be a refined and noble art, yet offstage it has weathered myriad \u003ca href=\"https://www.newyorker.com/magazine/2013/03/18/danse-macabre\" target=\"_blank\" rel=\"noopener\">sordid\u003c/a> \u003ca href=\"https://www.theglobeandmail.com/arts/books-and-media/book-reviews/inside-the-hard-sad-and-beautiful-world-of-the-ballet-dancer/article4574273/\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a> through the centuries. Today, a handful of the standard-bearing companies around the world are reeling from allegations of \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/dance/peter-martins-ballet-harassment.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a>, \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/dance/no-more-gang-rape-scenes-in-ballets-please.html\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a>, \u003ca href=\"http://www.theartsdesk.com/dance/bolshois-controversial-nureyev-ballet-opens-%E2%80%93-ovations-and-bans\" target=\"_blank\" rel=\"noopener\">homophobia\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>. Dancers have long \u003ca href=\"http://www.nytimes.com/1986/11/15/arts/books-out-of-pain.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> the peculiarly \u003ca href=\"http://www.dancemagazine.com/wilhelmina-frankfurt-peter-martins-investigation-2516966253.html\" target=\"_blank\" rel=\"noopener\">autocratic regimes\u003c/a> in the ballet world, but there’s been little impetus for change in an industry where careers are fleeting, competition is brutal, and ancient traditions are revered.\u003c/p>\n\u003cp>The ballet world is highly stratified, however, and there are small companies that quietly thrive — as if occupying a separate ecosystem. On the threshold of the 24th season of \u003ca href=\"https://diabloballet.org\" target=\"_blank\" rel=\"noopener\">Diablo Ballet\u003c/a>, I spoke with co-founder and artistic director Lauren Jonas about the phenomenon.\u003c/p>\n\u003cp>“When I hear these stories, they feel so foreign to me now,” she muses. “I did experience some of that authoritarianism when I was dancing professionally… I knew when I started Diablo Ballet, I wanted to provide an atmosphere that was different.”\u003c/p>\n\u003cfigure id=\"attachment_13820239\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Farris and Christian Squires in ‘Hamlet and Ophelia’ by Val Caniparoli. (Photo by Bilha Sperlin)\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas points out: “Larger companies may have struggles with a director, but when the director is producing successful work, with strong ticket sales, the board may be reluctant to do anything. But I think there are definitely going to be changes in how some companies are run, not just who’s running them… This is a new movement. It’s fantastic that dancers have felt comfortable to come out and express their feelings.”\u003c/p>\n\u003cp>With just 10 dancers, Diablo presents top-flight classical and contemporary work at venues both large and intimate in Walnut Creek and farther afield. The company has survived a few economic downturns; today, grants from the California Arts Council and from private foundations and individuals augment ticket sales to the tune of about $780,000. (In comparison, mid-sized companies operate typically in the $5–$10 million range; the largest companies are pushing $50 million and up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On this modest budget, Diablo continues to nurture young choreographers, as well as stage revivals of classic pieces by renowned choreographers like George Balanchine and Val Caniparoli. Performances consistently employ live music — an imperative that many larger companies jettison when money gets tight. And for the past 23 years it has run \u003ca href=\"https://diabloballet.org/peek-outreach/\" target=\"_blank\" rel=\"noopener\">outreach programs\u003c/a> at underserved schools and at juvenile hall.\u003c/p>\n\u003cfigure id=\"attachment_13820242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio-.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Jonas in the Diablo Ballet studio, rehearsing dancers Jordan Tilton and Felipe Leon (Photo courtesy Diablo Ballet).\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Jonas, I looked for insight into how Jonas has steered her company.\u003c/p>\n\u003cp>\u003cstrong>Your dancers have all had experience at larger, established companies, including San Francisco Ballet, Atlanta Ballet, Oregon Ballet Theatre. What do you look for when you hire? \u003c/strong>\u003c/p>\n\u003cp>I’ve always wanted our dancers to look different and to come from different backgrounds — that was my aspiration from the beginning. In a larger company, you often get niched into certain types of ballets, like classical or contemporary, whereas at Diablo you have to dance everything.\u003c/p>\n\u003cp>I have always looked for mature, experienced dancers. With young dancers, you have more training to do… You still have to train these dancers, but it’s not emotional training.\u003c/p>\n\u003cp>Most important, I want a positive working environment with absolutely no drama in the studio. With only four weeks to put on a performance, I’m asking a lot of people! We’ve had a few situations many years ago where one person has brought that tension, and it was hard.\u003c/p>\n\u003cfigure id=\"attachment_13820244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers of Diablo Ballet in ‘Happy Ending’ by Robert Dekkers. (Photo by Bilha Sperling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You went from being a dancer to a company founder. Did you have any role models?\u003c/strong>\u003c/p>\n\u003cp>I’d always had role models as a dancer, but not as a director. Our co-founder Ashraf Habibullah was really my mentor. He’s an industry giant in the field of earthquake engineering and founded a major international company. He not only gave me a business education, he also taught me how to get the most out of people and inspire them.\u003c/p>\n\u003cp>We raised funds and put everything in place step by step; we didn’t rush it. You have to really get to know your community. We don’t have a school, and we need to be a part of the community, so the arts education piece is extremely important. It’s not just about performing; with the educational outreach, you are becoming an investment in the community. When I hire dancers, I make sure that is something that is important to them as well.\u003c/p>\n\u003cfigure id=\"attachment_13820246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820246\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-240x334.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-520x723.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Christian Squires in ‘Tears from Above’ by Val Caniparoli. (Photo by Bilha Sterling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is particularly exciting to you about this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>I’m passionate about supporting the work of young choreographers, like Robert Dekkers, whose \u003cem>Red Shoes\u003c/em> premieres May 4.\u003c/p>\n\u003cp>While Robert in many ways represents our present and our future, I always try to bring back something from the past, and in March, I’m thrilled that Marina Eglevsky will return to the company to stage \u003cem>Solas\u003c/em> by Salvadore Aiello. It’s a solo, about a woman who has just had a major loss; it’s set to “Bachianas Brasileiras” No. 5, a haunting score by Villalobos, which will be performed live. Marina had coached me when I performed it in 1998. This time, she will set it on Rosselyn Ramirez.\u003c/p>\n\u003cp>When I danced this solo, I had just lost my grandfather. He and my parents together had raised me. You see the story evolve in this solo – it’s chilling. Marina’s process as a dancer and as a coach was so inspiring to me; she is very clear in every intention.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/252829391\u003cbr>\n\u003c/aside>\n\u003cp>\n\u003cstrong>The Bay Area has not been immune to ballet company woes. For instance, the messy \u003ca href=\"https://www.mercurynews.com/2016/03/08/silicon-valley-ballet-shutdown-the-writing-was-on-the-wall/\" target=\"_blank\" rel=\"noopener\">demise\u003c/a> of Silicon Valley Ballet — perhaps best known in its previous incarnation as Ballet San Jose and often considered the South Bay’s answer to San Francisco Ballet.\u003c/strong>\u003c/p>\n\u003cp>The loss of Ballet San Jose was devastating. I feel like, if it could happen to them, it could happen to anybody. For San Jose to not have a company is really sad — all that talent!\u003c/p>\n\u003cp>It’s tricky in San Jose because the tech industry is strong but I don’t know how interested they are in dance. Again, it ultimately comes down to knowing your community and what they want. And at the same time, trying to educate and develop audience tastes further, so you gain new audiences without losing the old.\u003c/p>\n\u003cp>\u003cstrong>Have you thought about your own succession at Diablo?\u003c/strong>\u003c/p>\n\u003cp>I think about succession all the time, in terms of management, artistic direction, and our outreach. An organization shouldn’t be dependent on one person, and it was always my desire from the beginning that the company continue beyond me. I’m trying to put the right people in the right seats – though of course it may not be my decision when the time comes.\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>Diablo Ballet’s 24th season kicks off Feb. 2 at the Del Valle Theatre in Walnut Creek. For more information, click \u003ca href=\"https://diabloballet.org/harmonious-beauty/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Dance and theater combine for a moving healing ritual in another episode of 'House/Full of BlackWomen.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "KAMBARA + DANCERS Revisit Japanese Internment in 'IKKAI:Once'",
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"content": "\u003cp>It’s a week before opening night when, during a break in rehearsal, dancer-choreographer Yayoi Kambara reminisces about the 2011 ceremony at Oakland’s glamorous Paramount Theater in which she became a naturalized U.S. citizen. “I was really moved,” she recalls. “We were such a large group of people of so many languages, colors and hopes.”\u003c/p>\n\u003cp>The memory is ever more meaningful to her current work. When we talk, Kambara is in preparations for her new dance work titled \u003ca href=\"http://www.kambaraplus.org/work/\" target=\"_blank\" rel=\"noopener\">\u003cem>IKKAI: Once\u003c/em>\u003c/a>, running Jan. 19–20 at ODC Theater, which reflects on the \u003ca href=\"http://densho.org/core-story/\" target=\"_blank\" rel=\"noopener\">internment of Japanese Americans\u003c/a> during World War II. As Kambara guides the fledgling ensemble of eight, formally known as \u003ca href=\"http://www.kambaraplus.org\" target=\"_blank\" rel=\"noopener\">KAMBARA + DANCERS\u003c/a>, through intriguing formations and alternately tender and menacing interactions in a studio at the ODC Dance Commons, I note their striking individuality.\u003c/p>\n\u003cp>“I do like having dancers of different colors and shapes,” Kambara declares. “I think they like to work with me because we have a mutual understanding about being ‘other’ in this country. We all speak different languages — some are biracial, genderqueer, gay, coffee-colored, chocolate-colored, tan.”\u003c/p>\n\u003cfigure id=\"attachment_13819203\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0665-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Kung with Amy Foley, Leesha Zieber, Wailana Simcock, Edisnel Rodriguez, Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance marks the \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">inaugural home season\u003c/a> for KAMBARA + DANCERS at the ODC Theater. As it turns out, the idea of ‘home’ is a fluid one for Kambara. Born in Japan, her family moved to the U.S. when she was six, and also lived for a time in England. She says that issues around citizenship have increasingly preoccupied her as she witnesses the ugly confrontations around immigration in this country, and she worries about the future that awaits her young bi-racial daughters. “Though I feel we’re safe in San Francisco,” she adds, though her expression remains quizzical, as if she isn’t entirely sure.\u003c/p>\n\u003cp>Her own extended family, mostly in Japan, were not caught up in the American internments. But Kambara rightly notes that many Americans, especially outside California, are unfamiliar with this infamous episode in World War II history, which capped a long surge in anti-Japanese sentiment. And she shares growing fear over the demonization of immigrant communities, of the ‘other,’ in the era of Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says, lately, she has seen more about the wartime internments in the Japanese press. Japan is spooked by unstable leaders in both North Korea and the U.S. Thus, she believes “the fear of war and nuclear holocaust is on our collective minds. So, I think we feel the urge to revisit history.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/240263314\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the Bay Area, Kambara has been a compelling presence onstage not just with her 12-year stint with ODC Dance but as a freelance artist with other area troupes. As a \u003ca href=\"http://www.sfgate.com/art/article/After-decade-growing-up-with-ODC-a-dancer-moves-6119018.php\" target=\"_blank\" rel=\"noopener\">performer\u003c/a>, she enjoys a devoted following, many of whom eagerly support her \u003ca href=\"http://dancersgroup.org/2018/01/speak-5/\" target=\"_blank\" rel=\"noopener\">new endeavors\u003c/a> in choreography.\u003c/p>\n\u003cp>One such piece is \u003ca href=\"http://www.dailyserving.com/2017/05/who-do-you-trust-at-the-asian-art-museum/\" target=\"_blank\" rel=\"noopener\">\u003cem>On Trust\u003c/em>\u003c/a>, an interactive performance piece created last year at the Asian Art Museum. (It will be restaged for this upcoming season.) Danced to a soundtrack incorporating audio clips of people describing, often haltingly, what trust means to them, it was performed at the museum repeatedly within the span of two hours, as people walked through the performance exhibit space. Between the formal performances, the dancers wandered around the museum asking attendees to cut a piece of their costume away and write the name of someone they trusted on the strip. They collected the ragged strips and used them like confetti in their dance.\u003c/p>\n\u003cp>“It was an homage of sorts to Yoko Ono,” says Kambara, referring to Ono’s 1964 \u003ca href=\"https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964\" target=\"_blank\" rel=\"noopener\">\u003cem>Cut Piece\u003c/em>\u003c/a>. “Some people were excited to use scissors so near the dancers’ skin, while others were nervous.”\u003c/p>\n\u003cp>It’s this kind of visceral curiosity, coupled with an impishness and generosity of spirit, that has infused Kambara’s work to date.\u003c/p>\n\u003cfigure id=\"attachment_13819204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0697-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wailana Simcock and Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>IKKAI:Once\u003c/em> may be her most ambitious. For this, she mined the \u003ca href=\"http://densho.org/archives/\" target=\"_blank\" rel=\"noopener\">Densho Archives\u003c/a> and interviewed survivors of the internment camps – third-generation Japanese-Americans including poet and activist \u003ca href=\"https://theculturetrip.com/north-america/usa/california/articles/what-you-didnt-know-about-janice-mirikitani/\" target=\"_blank\" rel=\"noopener\">Janice Mirikitani,\u003c/a> \u003ca href=\"http://www.pbs.org/childofcamp/project/index.html\" target=\"_blank\" rel=\"noopener\">Dr. Satsuki Ina\u003c/a>, and Norman Fumiyo Ikeda. The interview clips reveal in poignant and stark detail the humiliations, the dislocations and deprivations suffered by the camp detainees. And, in the aftermath, the culture of silence, the desperate need to “not make a fuss,” the pressure to become model citizens. First names were changed and eyelids were scotch-taped – all in the struggle to fit in with white society. A track from spoken word artist and rapper \u003ca href=\"http://colinresponse.tumblr.com/senbei\" target=\"_blank\" rel=\"noopener\">Colin Masashi “Senbei” Ehara\u003c/a> further drives home some scathing truths.\u003c/p>\n\u003cp>The performance’s mood, at least in rehearsal, is far from tragic. A vein of optimism shines through the darker material, and Kambara’s wit is evident in many intimate encounters between the dancers, as well as their manipulation of visual artist Dana Kawano’s eye-catching oil-paper umbrellas. Whether these elements coalesce onstage to serve as the wake-up call Kambara intends, the program as a whole – which includes the reprise of two very different pieces, \u003cem>Near and Dear\u003c/em> and \u003cem>To.Get.Her\u003c/em> – gives San Francisco audiences a look at the protean inventiveness of a young choreographic mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on KAMBARA + DANCERS’ inaugural home season, running Jan. 19–20 at the ODC Theater in San Francisco, see \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a week before opening night when, during a break in rehearsal, dancer-choreographer Yayoi Kambara reminisces about the 2011 ceremony at Oakland’s glamorous Paramount Theater in which she became a naturalized U.S. citizen. “I was really moved,” she recalls. “We were such a large group of people of so many languages, colors and hopes.”\u003c/p>\n\u003cp>The memory is ever more meaningful to her current work. When we talk, Kambara is in preparations for her new dance work titled \u003ca href=\"http://www.kambaraplus.org/work/\" target=\"_blank\" rel=\"noopener\">\u003cem>IKKAI: Once\u003c/em>\u003c/a>, running Jan. 19–20 at ODC Theater, which reflects on the \u003ca href=\"http://densho.org/core-story/\" target=\"_blank\" rel=\"noopener\">internment of Japanese Americans\u003c/a> during World War II. As Kambara guides the fledgling ensemble of eight, formally known as \u003ca href=\"http://www.kambaraplus.org\" target=\"_blank\" rel=\"noopener\">KAMBARA + DANCERS\u003c/a>, through intriguing formations and alternately tender and menacing interactions in a studio at the ODC Dance Commons, I note their striking individuality.\u003c/p>\n\u003cp>“I do like having dancers of different colors and shapes,” Kambara declares. “I think they like to work with me because we have a mutual understanding about being ‘other’ in this country. We all speak different languages — some are biracial, genderqueer, gay, coffee-colored, chocolate-colored, tan.”\u003c/p>\n\u003cfigure id=\"attachment_13819203\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0665-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Kung with Amy Foley, Leesha Zieber, Wailana Simcock, Edisnel Rodriguez, Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance marks the \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">inaugural home season\u003c/a> for KAMBARA + DANCERS at the ODC Theater. As it turns out, the idea of ‘home’ is a fluid one for Kambara. Born in Japan, her family moved to the U.S. when she was six, and also lived for a time in England. She says that issues around citizenship have increasingly preoccupied her as she witnesses the ugly confrontations around immigration in this country, and she worries about the future that awaits her young bi-racial daughters. “Though I feel we’re safe in San Francisco,” she adds, though her expression remains quizzical, as if she isn’t entirely sure.\u003c/p>\n\u003cp>Her own extended family, mostly in Japan, were not caught up in the American internments. But Kambara rightly notes that many Americans, especially outside California, are unfamiliar with this infamous episode in World War II history, which capped a long surge in anti-Japanese sentiment. And she shares growing fear over the demonization of immigrant communities, of the ‘other,’ in the era of Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says, lately, she has seen more about the wartime internments in the Japanese press. Japan is spooked by unstable leaders in both North Korea and the U.S. Thus, she believes “the fear of war and nuclear holocaust is on our collective minds. So, I think we feel the urge to revisit history.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/240263314\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the Bay Area, Kambara has been a compelling presence onstage not just with her 12-year stint with ODC Dance but as a freelance artist with other area troupes. As a \u003ca href=\"http://www.sfgate.com/art/article/After-decade-growing-up-with-ODC-a-dancer-moves-6119018.php\" target=\"_blank\" rel=\"noopener\">performer\u003c/a>, she enjoys a devoted following, many of whom eagerly support her \u003ca href=\"http://dancersgroup.org/2018/01/speak-5/\" target=\"_blank\" rel=\"noopener\">new endeavors\u003c/a> in choreography.\u003c/p>\n\u003cp>One such piece is \u003ca href=\"http://www.dailyserving.com/2017/05/who-do-you-trust-at-the-asian-art-museum/\" target=\"_blank\" rel=\"noopener\">\u003cem>On Trust\u003c/em>\u003c/a>, an interactive performance piece created last year at the Asian Art Museum. (It will be restaged for this upcoming season.) Danced to a soundtrack incorporating audio clips of people describing, often haltingly, what trust means to them, it was performed at the museum repeatedly within the span of two hours, as people walked through the performance exhibit space. Between the formal performances, the dancers wandered around the museum asking attendees to cut a piece of their costume away and write the name of someone they trusted on the strip. They collected the ragged strips and used them like confetti in their dance.\u003c/p>\n\u003cp>“It was an homage of sorts to Yoko Ono,” says Kambara, referring to Ono’s 1964 \u003ca href=\"https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964\" target=\"_blank\" rel=\"noopener\">\u003cem>Cut Piece\u003c/em>\u003c/a>. “Some people were excited to use scissors so near the dancers’ skin, while others were nervous.”\u003c/p>\n\u003cp>It’s this kind of visceral curiosity, coupled with an impishness and generosity of spirit, that has infused Kambara’s work to date.\u003c/p>\n\u003cfigure id=\"attachment_13819204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0697-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wailana Simcock and Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>IKKAI:Once\u003c/em> may be her most ambitious. For this, she mined the \u003ca href=\"http://densho.org/archives/\" target=\"_blank\" rel=\"noopener\">Densho Archives\u003c/a> and interviewed survivors of the internment camps – third-generation Japanese-Americans including poet and activist \u003ca href=\"https://theculturetrip.com/north-america/usa/california/articles/what-you-didnt-know-about-janice-mirikitani/\" target=\"_blank\" rel=\"noopener\">Janice Mirikitani,\u003c/a> \u003ca href=\"http://www.pbs.org/childofcamp/project/index.html\" target=\"_blank\" rel=\"noopener\">Dr. Satsuki Ina\u003c/a>, and Norman Fumiyo Ikeda. The interview clips reveal in poignant and stark detail the humiliations, the dislocations and deprivations suffered by the camp detainees. And, in the aftermath, the culture of silence, the desperate need to “not make a fuss,” the pressure to become model citizens. First names were changed and eyelids were scotch-taped – all in the struggle to fit in with white society. A track from spoken word artist and rapper \u003ca href=\"http://colinresponse.tumblr.com/senbei\" target=\"_blank\" rel=\"noopener\">Colin Masashi “Senbei” Ehara\u003c/a> further drives home some scathing truths.\u003c/p>\n\u003cp>The performance’s mood, at least in rehearsal, is far from tragic. A vein of optimism shines through the darker material, and Kambara’s wit is evident in many intimate encounters between the dancers, as well as their manipulation of visual artist Dana Kawano’s eye-catching oil-paper umbrellas. Whether these elements coalesce onstage to serve as the wake-up call Kambara intends, the program as a whole – which includes the reprise of two very different pieces, \u003cem>Near and Dear\u003c/em> and \u003cem>To.Get.Her\u003c/em> – gives San Francisco audiences a look at the protean inventiveness of a young choreographic mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on KAMBARA + DANCERS’ inaugural home season, running Jan. 19–20 at the ODC Theater in San Francisco, see \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "for-the-holidays-two-plays-adapted-from-movies-plus-one-winner",
"title": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner",
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"content": "\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.",
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"title": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner | KQED",
"description": "'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.",
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"headline": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
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