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"content": "\u003cp>To any artist that’s ever applied for a grant or a residency, this process will be familiar:\u003c/p>\n\u003cp>Step 1: Spend hours of unpaid time applying\u003cbr>\nStep 2: Don’t hear back for weeks or longer\u003cbr>\nStep 3: Receive rejection with no feedback or dialogue\u003c/p>\n\u003cp>San Francisco dance company FACT/SF wants to change that. The organization has announced a new series of grants, scholarships and performance opportunities — and, best of all, they’ll pay artists $25 just to apply.\u003c/p>\n\u003cp>FACT/SF is selecting performing artists looking either to present and produce work or participate in a nine-day dance workshop immersion with company founder and choreographer Charles Slender-White.\u003c/p>\n\u003cp>“It’s pretty uncommon for a dance company to be running a program like this,” White told KQED in an email. “I’m pretty sure we’re the only (or one of the only) organizations in the country that actually pays people to apply.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>FACT/SF’s \u003ca href=\"https://factsf.org/fieldworkhistory\" target=\"_blank\" rel=\"noopener noreferrer\">Fieldwork\u003c/a> initiative provides material resources and presenting opportunities in seven different programs, including fiscal sponsorship and artist consultation. Since its inception in 2014, Fieldwork’s programs have supported over 50 choreographers, dancers and teachers.\u003c/p>\n\u003cfigure id=\"attachment_13920193\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920193 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"Artist in pink tulle is dancing on stage in front of another performer who is watching them\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Hicks & Eric Garcia in a work by Sharp & Fine, previous Fieldwork recipients \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In FACT/SF’s characterization, artists don’t apply to the various opportunities, but “self-nominate” through an open-ended dialogue between nominees and FACT/SF’s curatorial panel, which consists of company members and Bay Area dancers. Part of the curation process is guided by the company’s goal in selecting at least 50% BIPOC and 50% LGBTQ+ artists.\u003c/p>\n\u003cp>White announced the new iteration of their Fieldwork programs in an \u003ca href=\"https://docs.google.com/document/d/1CO6DtNvLJCC8vcWp7_rRGsp7I4G5dHJ50ySTgA1HxM0/edit\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> that details the resource tracks. Those include production support grants ($1,000 each), paid performance opportunities in the August 2023 FACT/SF Summer Dance Festival at ODC in San Francisco ($1,250 stipend), and scholarships to attend the FACT/SF August 2023 Summer Dance Lab at ODC.\u003c/p>\n\u003cp>Opportunities also include tech and dress rehearsals for the Summer Dance Festival and, for those looking to instruct workshops in the Summer Dance Lab, $100/hour to teach.\u003c/p>\n\u003cp>“As we recognize that applying for opportunities is real work, we offer a $25 honorarium to all artists who nominate themselves for one or more of our programs,” White wrote in the open letter.\u003c/p>\n\u003cp>“We know that this sum is small, but we hope that it signifies our respect for your work and time, and that this resource inversion of the application process might nudge the larger field towards less extractive and more ethical practices,” White added.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Self-nominations for FACT/SF’s 2023 Fieldwork opportunities are due by Oct. 31, 2022. Artists can \u003c/i>\u003ca href=\"https://factsf.org/fieldwork\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>learn more and apply here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>FACT/SF’s \u003ca href=\"https://factsf.org/fieldworkhistory\" target=\"_blank\" rel=\"noopener noreferrer\">Fieldwork\u003c/a> initiative provides material resources and presenting opportunities in seven different programs, including fiscal sponsorship and artist consultation. Since its inception in 2014, Fieldwork’s programs have supported over 50 choreographers, dancers and teachers.\u003c/p>\n\u003cfigure id=\"attachment_13920193\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920193 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"Artist in pink tulle is dancing on stage in front of another performer who is watching them\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Hicks & Eric Garcia in a work by Sharp & Fine, previous Fieldwork recipients \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In FACT/SF’s characterization, artists don’t apply to the various opportunities, but “self-nominate” through an open-ended dialogue between nominees and FACT/SF’s curatorial panel, which consists of company members and Bay Area dancers. Part of the curation process is guided by the company’s goal in selecting at least 50% BIPOC and 50% LGBTQ+ artists.\u003c/p>\n\u003cp>White announced the new iteration of their Fieldwork programs in an \u003ca href=\"https://docs.google.com/document/d/1CO6DtNvLJCC8vcWp7_rRGsp7I4G5dHJ50ySTgA1HxM0/edit\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> that details the resource tracks. Those include production support grants ($1,000 each), paid performance opportunities in the August 2023 FACT/SF Summer Dance Festival at ODC in San Francisco ($1,250 stipend), and scholarships to attend the FACT/SF August 2023 Summer Dance Lab at ODC.\u003c/p>\n\u003cp>Opportunities also include tech and dress rehearsals for the Summer Dance Festival and, for those looking to instruct workshops in the Summer Dance Lab, $100/hour to teach.\u003c/p>\n\u003cp>“As we recognize that applying for opportunities is real work, we offer a $25 honorarium to all artists who nominate themselves for one or more of our programs,” White wrote in the open letter.\u003c/p>\n\u003cp>“We know that this sum is small, but we hope that it signifies our respect for your work and time, and that this resource inversion of the application process might nudge the larger field towards less extractive and more ethical practices,” White added.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Self-nominations for FACT/SF’s 2023 Fieldwork opportunities are due by Oct. 31, 2022. Artists can \u003c/i>\u003ca href=\"https://factsf.org/fieldwork\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>learn more and apply here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Activists and ecofeminists have discussed the parallels between the violence of women, working class migrant communities and nature for decades. Humankind’s harmful practices against nature are not unlike those perpetrated by capitalism against the laborers who work the land, advocates say.\u003c/p>\n\u003cp>The crossroads between land and laborers might be reaching a watershed moment in San Francisco: In 2021 labor rights advocates hailed \u003ca href=\"https://www.kqed.org/news/11900049/san-francisco-makes-it-easier-for-domestic-workers-to-get-paid-sick-time\" target=\"_blank\" rel=\"noopener noreferrer\">a new local measure\u003c/a> that makes it easier for domestic workers to take paid sick leave. And just this past August, the owner of one of the city’s most prominent taquerias \u003ca href=\"https://www.kqed.org/arts/13918088/bay-area-chefs-united-farm-workers-march-al-pastor-papi\" target=\"_blank\" rel=\"noopener noreferrer\">launched a campaign to support farm workers’ voting rights\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917757']On Sept. 24 at Dance Mission Theater, the intersections between labor rights, environmental protection and women’s rights are brought to the stage in a new multidisciplinary theater work, \u003ca href=\"https://dancemissiontheater.org/2022/07/28/sept-24-our-work-our-dignity/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Our Work, Our Dignity\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>The performance showcase is the culmination of a 2018 collaboration between Dance Mission and Healthy Bodies, Healthy Minds, a program whose mission is to create healing and empowering spaces for female domestic workers through leadership development, yoga and performance opportunities.\u003c/p>\n\u003cp>Directed by Venezuelan performing artist \u003ca href=\"https://www.andreinamaldonado.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Andreina Maldonado\u003c/a>, \u003ci>Our Work, Our Dignity\u003c/i> brings together San Francisco immigrant worker-led collectives and artists for an evening of performance meant to humanize the fight for environmental and labor justice. San Francisco’s immigrant domestic workers will share their own stories of migration and self-empowerment through music, dance and experimental theater. Audiences can expect live music from San Francisco latin fusion band Inti Batey and storytelling from workers in the California Domestic Worker Coalition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These artistic tools are critical in changing our perspective towards a vision where we determine the future of our communities, and our bodies,” says Maldonado.\u003c/p>\n\u003cfigure id=\"attachment_13919331\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919331 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1020x765.jpg\" alt=\"A group of 14 individuals are sitting and posing while wearing masks in what appears to be an art studio.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The use of theater, dance, and music allows immigrant communities and women to express our struggles in a liberating way,’ says Andreina Maldonado, director of ‘Our Work, Our Dignity,’ whose team is pictured above. \u003ccite>(Jose Lobo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Participating organizations include the San Francisco Day Labor Program and La Colectiva de Mujeres, two immigrant worker-led collectives of Dolores Street Community Services, located in San Francisco’s Mission District.\u003c/p>\n\u003cp>La Colectiva de Mujeres is a worker-led domestic worker collective that provides labor resources and job opportunities to primarily immigrant women—while using nontoxic chemicals to keep its workers and clients safe.\u003c/p>\n\u003cp>“(\u003ci>Our Work, Our Dignity\u003c/i>) will heal our wounds through a collective process that celebrates diversity and interconnection, shared leadership and aging with dignity,” Maldonado says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Our Work, Our Dignity premieres Sept. 24 at Dance Mission Theater in San Francisco. The program will be in Spanish with English translation. \u003c/i>\u003ca href=\"https://dancemissiontheater.org/2022/07/28/sept-24-our-work-our-dignity/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Activists and ecofeminists have discussed the parallels between the violence of women, working class migrant communities and nature for decades. Humankind’s harmful practices against nature are not unlike those perpetrated by capitalism against the laborers who work the land, advocates say.\u003c/p>\n\u003cp>The crossroads between land and laborers might be reaching a watershed moment in San Francisco: In 2021 labor rights advocates hailed \u003ca href=\"https://www.kqed.org/news/11900049/san-francisco-makes-it-easier-for-domestic-workers-to-get-paid-sick-time\" target=\"_blank\" rel=\"noopener noreferrer\">a new local measure\u003c/a> that makes it easier for domestic workers to take paid sick leave. And just this past August, the owner of one of the city’s most prominent taquerias \u003ca href=\"https://www.kqed.org/arts/13918088/bay-area-chefs-united-farm-workers-march-al-pastor-papi\" target=\"_blank\" rel=\"noopener noreferrer\">launched a campaign to support farm workers’ voting rights\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Sept. 24 at Dance Mission Theater, the intersections between labor rights, environmental protection and women’s rights are brought to the stage in a new multidisciplinary theater work, \u003ca href=\"https://dancemissiontheater.org/2022/07/28/sept-24-our-work-our-dignity/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Our Work, Our Dignity\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>The performance showcase is the culmination of a 2018 collaboration between Dance Mission and Healthy Bodies, Healthy Minds, a program whose mission is to create healing and empowering spaces for female domestic workers through leadership development, yoga and performance opportunities.\u003c/p>\n\u003cp>Directed by Venezuelan performing artist \u003ca href=\"https://www.andreinamaldonado.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Andreina Maldonado\u003c/a>, \u003ci>Our Work, Our Dignity\u003c/i> brings together San Francisco immigrant worker-led collectives and artists for an evening of performance meant to humanize the fight for environmental and labor justice. San Francisco’s immigrant domestic workers will share their own stories of migration and self-empowerment through music, dance and experimental theater. Audiences can expect live music from San Francisco latin fusion band Inti Batey and storytelling from workers in the California Domestic Worker Coalition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These artistic tools are critical in changing our perspective towards a vision where we determine the future of our communities, and our bodies,” says Maldonado.\u003c/p>\n\u003cfigure id=\"attachment_13919331\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919331 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1020x765.jpg\" alt=\"A group of 14 individuals are sitting and posing while wearing masks in what appears to be an art studio.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/OurWorkOurDignityTeambyJoseLobo_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The use of theater, dance, and music allows immigrant communities and women to express our struggles in a liberating way,’ says Andreina Maldonado, director of ‘Our Work, Our Dignity,’ whose team is pictured above. \u003ccite>(Jose Lobo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Participating organizations include the San Francisco Day Labor Program and La Colectiva de Mujeres, two immigrant worker-led collectives of Dolores Street Community Services, located in San Francisco’s Mission District.\u003c/p>\n\u003cp>La Colectiva de Mujeres is a worker-led domestic worker collective that provides labor resources and job opportunities to primarily immigrant women—while using nontoxic chemicals to keep its workers and clients safe.\u003c/p>\n\u003cp>“(\u003ci>Our Work, Our Dignity\u003c/i>) will heal our wounds through a collective process that celebrates diversity and interconnection, shared leadership and aging with dignity,” Maldonado says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Our Work, Our Dignity premieres Sept. 24 at Dance Mission Theater in San Francisco. The program will be in Spanish with English translation. \u003c/i>\u003ca href=\"https://dancemissiontheater.org/2022/07/28/sept-24-our-work-our-dignity/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One-of-a-Kind Release Party Combines Turf Dancing, Roller Skating and Beer",
"headTitle": "One-of-a-Kind Release Party Combines Turf Dancing, Roller Skating and Beer | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">When \u003c/span>\u003ca href=\"https://www.instagram.com/icecold3000/\">\u003cspan style=\"font-weight: 400\">Gary “Ice Cold 3000” Morgan\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—a member of Oakland’s globally recognized \u003c/span>\u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\">\u003cspan style=\"font-weight: 400\">dance crew, TurfFeinz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—was growing up, he would attend the Boys and Girls Club on 85th and E.14th in East Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There, he met Stick, an OG community mentor who looked out for Morgan and his friends, encouraging the young men to use the basketball gym and dance room despite not being members. For years, Morgan jokingly told Stick that he would one day donate money to the Club so that other young Oaklanders could benefit from it, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a decade later, Morgan is keeping his word by hosting a one-of-a-kind event: \u003c/span>\u003ca href=\"https://drinkbaybeer.com/profiles/aleindustries/ale-industries-turf-skate-brewski\">\u003cspan style=\"font-weight: 400\">Turf Skate Brewski\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Not only will the evening feature a special-edition beer release from \u003c/span>\u003ca href=\"https://www.aleindustries.com/\">\u003cspan style=\"font-weight: 400\">Ale Industries\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, but the TurfFeinz are also throwing \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=E0kaLabJOv8\">\u003cspan style=\"font-weight: 400\">a turf battle\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring dancers and roller skaters. Each turf dancer will pair up with a skater in a team-elimination style dance-off—something Morgan says has never been done. It’s a function that Morgan and his crew hope will merge Bay Area communities that don’t often overlap: turfers, roller skaters and beer drinkers.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/ChqIdIJgzIK/?hl=en\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A portion of the proceeds from the beer sales will go to the East Oakland chapter of the Boys and Girls Club, which Morgan says is in honor of Stick and other positive influences who looked out for him and his crew while they were coming up. Additional donations can be made at the event with a QR code, and will go towards TurfFeinz building a dance studio in their community—though they are only in the planning stages of this concept.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are a part of this community so we’re looking out for each other and merging different groups together,” says Morgan. “We just want people to come to the space to dance and enjoy themselves. Stick always made sure we stayed positive, so this is something we can do for him.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The beer—appropriately titled “Town Feinz”—is a crisp Kolsch with 5.10 percent ABV (as a tribute to the 510 area code). It’s a typical release for Ale Industries, which continually puts out beers that represent Oakland’s cultural fabrics. Specifically, the brewery’s \u003c/span>\u003ca href=\"https://www.aleindustries.com/beer-tbk\">\u003cspan style=\"font-weight: 400\">Town Beer Collaboration Project\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> partners with local orgs and businesses including \u003c/span>\u003ca href=\"https://www.aleindustries.com/blog-news/townroots\">\u003cspan style=\"font-weight: 400\">Oakland’s professional soccer team, Roots SC\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, LGBT nonprofit Town Pride and even the Oakland Zoo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">We are a small brewery, but we had one clear goal for a concept of Oakland at the front and center,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Jonathan Acosta Rosales, the brewery’s director of marketing and distribution. “\u003c/span>\u003cspan style=\"font-weight: 400\">We wanted to do a limited edition label for specific organizations. We felt like we could do more in telling the stories with the labels, social media and elevating their platform.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/feinz-mock-800x1067.jpg\" alt=\"a white beer can with a colorful image of the facial silhouettes of local dancers and information about the beer\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mock up design for the limited edition “Town Feinz” Kolsch. \u003ccite>(Courtesy of Ale Industries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ale Industries’ involvement with TurfFeinz is monumental, since the dance group has been at the forefront of turfing for decades. The group has been immortalized in murals around Oakland and regularly appears in music videos for rappers, most recently with LA’s YG, as well as \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=sp3697UNemg\">\u003cspan style=\"font-weight: 400\">local favorites like ALLBLACK and G-Eazy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The dance form is unique to the East Bay and, with the help of TurfFeinz, has gone on to represent Northern California culture in international competitions and popular media such as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fortnite\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13902507,arts_13914400,arts_13917398']This Saturday night won’t just be about an ice-cold beer drop. It’ll equally be about Ice Cold 3000 and fellow TurfFeinz crew members—\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=qqkECFUbi7g\">\u003cspan style=\"font-weight: 400\">Chonkie (who created the “Smeez” dance)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, T7, Aktive, Kurry, Yaya and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=uOzwlrR5uc4\">\u003cspan style=\"font-weight: 400\">Looney (founder of TurfFeinz)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—spilling their dance moves and unifying with roller skaters in a playful battle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It felt like an interesting idea to explore,” Morgan explains. “It’s gonna be a new thing for everybody, including us. This is the first time these three categories are coming together. We’re willing to take that risk.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it comes to originality and innovation, leave it up to these Bay Area favorites to brew up dance moves \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> beer notes that are truly expressive.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">It’s about elevating the presence of these Oakland legends in our community and aiding their goal to have a band studio for kids who don’t have an outlet to be creative,” Acosta Rosales adds. “Hopefully this helps them and helps us. Like the TurfFeinz say, ‘I shine, you shine, we shine together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://drinkbaybeer.com/profiles/aleindustries/ale-industries-turf-skate-brewski\">\u003ci>\u003cspan style=\"font-weight: 400\">Turf Skate Brewski\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is happening at Ale Industries (3096 E 10th St, Oakland) on Saturday, Sept. 13, from 4–7pm. Free.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">When \u003c/span>\u003ca href=\"https://www.instagram.com/icecold3000/\">\u003cspan style=\"font-weight: 400\">Gary “Ice Cold 3000” Morgan\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—a member of Oakland’s globally recognized \u003c/span>\u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\">\u003cspan style=\"font-weight: 400\">dance crew, TurfFeinz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—was growing up, he would attend the Boys and Girls Club on 85th and E.14th in East Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There, he met Stick, an OG community mentor who looked out for Morgan and his friends, encouraging the young men to use the basketball gym and dance room despite not being members. For years, Morgan jokingly told Stick that he would one day donate money to the Club so that other young Oaklanders could benefit from it, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a decade later, Morgan is keeping his word by hosting a one-of-a-kind event: \u003c/span>\u003ca href=\"https://drinkbaybeer.com/profiles/aleindustries/ale-industries-turf-skate-brewski\">\u003cspan style=\"font-weight: 400\">Turf Skate Brewski\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Not only will the evening feature a special-edition beer release from \u003c/span>\u003ca href=\"https://www.aleindustries.com/\">\u003cspan style=\"font-weight: 400\">Ale Industries\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, but the TurfFeinz are also throwing \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=E0kaLabJOv8\">\u003cspan style=\"font-weight: 400\">a turf battle\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring dancers and roller skaters. Each turf dancer will pair up with a skater in a team-elimination style dance-off—something Morgan says has never been done. It’s a function that Morgan and his crew hope will merge Bay Area communities that don’t often overlap: turfers, roller skaters and beer drinkers.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A portion of the proceeds from the beer sales will go to the East Oakland chapter of the Boys and Girls Club, which Morgan says is in honor of Stick and other positive influences who looked out for him and his crew while they were coming up. Additional donations can be made at the event with a QR code, and will go towards TurfFeinz building a dance studio in their community—though they are only in the planning stages of this concept.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are a part of this community so we’re looking out for each other and merging different groups together,” says Morgan. “We just want people to come to the space to dance and enjoy themselves. Stick always made sure we stayed positive, so this is something we can do for him.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The beer—appropriately titled “Town Feinz”—is a crisp Kolsch with 5.10 percent ABV (as a tribute to the 510 area code). It’s a typical release for Ale Industries, which continually puts out beers that represent Oakland’s cultural fabrics. Specifically, the brewery’s \u003c/span>\u003ca href=\"https://www.aleindustries.com/beer-tbk\">\u003cspan style=\"font-weight: 400\">Town Beer Collaboration Project\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> partners with local orgs and businesses including \u003c/span>\u003ca href=\"https://www.aleindustries.com/blog-news/townroots\">\u003cspan style=\"font-weight: 400\">Oakland’s professional soccer team, Roots SC\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, LGBT nonprofit Town Pride and even the Oakland Zoo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">We are a small brewery, but we had one clear goal for a concept of Oakland at the front and center,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Jonathan Acosta Rosales, the brewery’s director of marketing and distribution. “\u003c/span>\u003cspan style=\"font-weight: 400\">We wanted to do a limited edition label for specific organizations. We felt like we could do more in telling the stories with the labels, social media and elevating their platform.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/feinz-mock-800x1067.jpg\" alt=\"a white beer can with a colorful image of the facial silhouettes of local dancers and information about the beer\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/feinz-mock-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mock up design for the limited edition “Town Feinz” Kolsch. \u003ccite>(Courtesy of Ale Industries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ale Industries’ involvement with TurfFeinz is monumental, since the dance group has been at the forefront of turfing for decades. The group has been immortalized in murals around Oakland and regularly appears in music videos for rappers, most recently with LA’s YG, as well as \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=sp3697UNemg\">\u003cspan style=\"font-weight: 400\">local favorites like ALLBLACK and G-Eazy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The dance form is unique to the East Bay and, with the help of TurfFeinz, has gone on to represent Northern California culture in international competitions and popular media such as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fortnite\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This Saturday night won’t just be about an ice-cold beer drop. It’ll equally be about Ice Cold 3000 and fellow TurfFeinz crew members—\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=qqkECFUbi7g\">\u003cspan style=\"font-weight: 400\">Chonkie (who created the “Smeez” dance)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, T7, Aktive, Kurry, Yaya and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=uOzwlrR5uc4\">\u003cspan style=\"font-weight: 400\">Looney (founder of TurfFeinz)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—spilling their dance moves and unifying with roller skaters in a playful battle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It felt like an interesting idea to explore,” Morgan explains. “It’s gonna be a new thing for everybody, including us. This is the first time these three categories are coming together. We’re willing to take that risk.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it comes to originality and innovation, leave it up to these Bay Area favorites to brew up dance moves \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> beer notes that are truly expressive.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">It’s about elevating the presence of these Oakland legends in our community and aiding their goal to have a band studio for kids who don’t have an outlet to be creative,” Acosta Rosales adds. “Hopefully this helps them and helps us. Like the TurfFeinz say, ‘I shine, you shine, we shine together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://drinkbaybeer.com/profiles/aleindustries/ale-industries-turf-skate-brewski\">\u003ci>\u003cspan style=\"font-weight: 400\">Turf Skate Brewski\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is happening at Ale Industries (3096 E 10th St, Oakland) on Saturday, Sept. 13, from 4–7pm. Free.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At CounterPulse, Keith Hennessy's 'Back' Is a Contemplative, 'Gentler' Work",
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"content": "\u003cp>In the contemporary dance world, a new solo by Keith Hennessy would normally open with some ballyhoo, and on a weekend evening, around 8pm. That’s not happening this time.\u003c/p>\n\u003cp>For all the forthrightness of its title, \u003cem>Back (all I wanna do is dance and fuck and swim with you)\u003c/em> is presented modestly and almost furtively, over a cluster of six odd days (one purposefully not listed but only advertised by word-of-mouth), at off hours, and for a ticket price that starts at a judgment-free zero.\u003c/p>\n\u003cp>The audience that shows up, amid \u003cem>Back\u003c/em>’s low-key promotion and off-kilter schedule, will huddle on the floor of the CounterPulse stage for an hour, in the semi-round, before the mostly naked, mostly silent sixty-something dancer-choreographer.\u003c/p>\n\u003cp>The near-silence will be the most conspicuous detail for admirers of Hennessy’s work, which frequently features dazzling torrents of words, whether as monologue, rhyme, lecture or screed. He is a master of the extended curtain speech, a form of audience ambuscade few besides Hennessy can really get away with. (This time, he says, he’s limiting himself to five minutes.)\u003c/p>\n\u003cp>Almost nothing about Hennessy’s new work is typical. Frantic, screaming, dizzying and doomy times like these, he seems to be suggesting, call for something altogether softer, subtler, and bare. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted it to be this thing that’s outside the grid a little bit,” he says.\u003c/p>\n\u003ch2>Nature’s Sensuality\u003c/h2>\n\u003cp>The piece—created for Oslo’s LATERNA Festival, where it premiered in June—comes out of an exceptional set of circumstances, not least the pandemic. Covid upended or stalled everything on Hennessy’s professional calendar for 12 months. Hennessy channeled his energies accordingly.\u003c/p>\n\u003cp>“There were a whole bunch of [photo- and video-based] experiments I did of dancing naked outdoors during Covid,” he explains during a recent visit to his Mission District flat.\u003c/p>\n\u003cp>“First by myself, then with Nathaniel Moore, and one little project with Nathaniel and Brontez Purnell. Those pieces were, in a way, thinking through what it means to be outside because we can’t be inside. Being outside puts you into a relationship with nature and the urban environment, colliding realities that overlap. \u003c/p>\n\u003cp>[aside postID='arts_13917757']“What’s touch? What’s the erotic body? There started to become almost an eco-sexual aspect to it, rolling in sand and being in the ocean, the sensuality of being outside, on the rocks of the Yuba River.”\u003c/p>\n\u003cp>Meanwhile, Hennessy says turning 60 spurred self-reflection and exploration, including an express re-acquaintance with his libido. Then Covid pushed him for the first time onto apps like SCRUFF and Grindr. \u003c/p>\n\u003cp>“It hadn’t been my thing,” he explains. “I meet people through my work, through my politics, through social life, and I’d been partnered for many years. All of a sudden I was single, horny, trying to pick up my sex life, and going online. I now entered this world of visual porn through the naked selfie that you share with other people.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, worlds started to merge.\u003c/p>\n\u003ch2>Always Moving\u003c/h2>\n\u003cp>\u003cem>Back\u003c/em> represents the confluence of many rivers, the Yuba being the most literal. In the front room of his apartment, Hennessy lays out some of the costumes and properties for the show, explaining that most are intentionally recycled from past works. \u003c/p>\n\u003cp>There are, for instance, pieces from 2016’s \u003cem>Sara (the smuggler)\u003c/em> and 2015’s \u003cem>Bear/Skin\u003c/em>, and a costume of plastic shopping bags used just last year in his choreography for Latvian dancers at the Homo Novus festival in Riga.\u003c/p>\n\u003cp>There’s also an original piece by costumer and longtime collaborator Jack Davis that repurposes sections of the wedding dresses doused in pink house paint for \u003cem>The Pink Party\u003c/em> (2001-2002), ingeniously weaving the salvaged pieces together to form a toreador jacket. \u003c/p>\n\u003cp>\u003cem>Back\u003c/em> even includes repurposed music—a piece by Joel St. Julien that Hennessy danced to in Larry Arrington and Alexa Burrell’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview\" rel=\"noopener noreferrer\" target=\"_blank\">w o w m o m\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13872290']That work, which capped dancer-choreographer Arrington’s residency at ODC in April, featured the normally kinetic Hennessy seated in a chair against a giant video projection and rivetingly moving sideways through a glacial Butohesque arc.\u003c/p>\n\u003cp>Arrington—who was an ensemble member in Hennessy’s monumental and continually self-destructing \u003cem>Turbulence (a dance about the economy)\u003c/em>, which shook the rafters at YBCA in 2012—has seen \u003cem>Back\u003c/em> in rehearsal and registers a purity in it.\u003c/p>\n\u003cp>“I sometimes think dance can be really cynical,” she says, “especially if you think about nonprofits and funding and grants. It’s always about what ‘impact’ can dance make. Dance is always this method for something else. Keith is someone who believes that dance-ing is enough in a way. \u003c/p>\n\u003cp>“I think that’s part of what this piece is. In the midst of what feels like overwhelming crisis, he’s said, ‘Ok, so then I have to dance.’ A lot of people said, ‘I have to stop for a while,’ at least in the beginning of Covid. That’s not the case with him.”\u003c/p>\n\u003cp>At his core, Arrington sees Hennessy “as a dance person, a body person, a movement person. I think it’s extraordinarily difficult, especially under late-stage Covid-era capitalism,” she adds, “but Keith has never let alienation become a force that stops him from moving towards things.” \u003c/p>\n\u003ch2>A Short, Guided Dance Trip\u003c/h2>\n\u003cp>“In making a piece contemplative of the erotic body,” says Hennessy, there follows the question, “How do we think through the mental instability of the world? The increasing anxiety and depression that have one hundred percent intensified because of the neoliberal impact on the psyche as well as the psychological professions?” \u003c/p>\n\u003cp>Instead, Hennessy decided to make something without thinking. “I’ve ended up making this piece that’s gentler on my body, gentler on the mind. It’s not without its subtle provocations, but it’s a gentler work than I’ve made before.”\u003c/p>\n\u003cp>[aside postID='arts_13916333']The music, Hennessy says, is “very ambient and dreamscape-y. There’s a bit more space to feel. Things aren’t just coming at you quickly.” \u003c/p>\n\u003cp>Amid the mayhem of the moment, \u003cem>Back\u003c/em> is a short, guided dance trip, then, a measure of art medicine for a microdosing age. The gesture feels exactly right. The sense will be in the unfolding, for audience and artist alike.\u003c/p>\n\u003cp>“I didn’t make the piece to mean something,“ Hennessy makes clear. “I made the work, and now I’m learning what it means.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Back (all I wanna do is dance and fuck and swim with you)’ runs Sept. 14–24 at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/back/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the contemporary dance world, a new solo by Keith Hennessy would normally open with some ballyhoo, and on a weekend evening, around 8pm. That’s not happening this time.\u003c/p>\n\u003cp>For all the forthrightness of its title, \u003cem>Back (all I wanna do is dance and fuck and swim with you)\u003c/em> is presented modestly and almost furtively, over a cluster of six odd days (one purposefully not listed but only advertised by word-of-mouth), at off hours, and for a ticket price that starts at a judgment-free zero.\u003c/p>\n\u003cp>The audience that shows up, amid \u003cem>Back\u003c/em>’s low-key promotion and off-kilter schedule, will huddle on the floor of the CounterPulse stage for an hour, in the semi-round, before the mostly naked, mostly silent sixty-something dancer-choreographer.\u003c/p>\n\u003cp>The near-silence will be the most conspicuous detail for admirers of Hennessy’s work, which frequently features dazzling torrents of words, whether as monologue, rhyme, lecture or screed. He is a master of the extended curtain speech, a form of audience ambuscade few besides Hennessy can really get away with. (This time, he says, he’s limiting himself to five minutes.)\u003c/p>\n\u003cp>Almost nothing about Hennessy’s new work is typical. Frantic, screaming, dizzying and doomy times like these, he seems to be suggesting, call for something altogether softer, subtler, and bare. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted it to be this thing that’s outside the grid a little bit,” he says.\u003c/p>\n\u003ch2>Nature’s Sensuality\u003c/h2>\n\u003cp>The piece—created for Oslo’s LATERNA Festival, where it premiered in June—comes out of an exceptional set of circumstances, not least the pandemic. Covid upended or stalled everything on Hennessy’s professional calendar for 12 months. Hennessy channeled his energies accordingly.\u003c/p>\n\u003cp>“There were a whole bunch of [photo- and video-based] experiments I did of dancing naked outdoors during Covid,” he explains during a recent visit to his Mission District flat.\u003c/p>\n\u003cp>“First by myself, then with Nathaniel Moore, and one little project with Nathaniel and Brontez Purnell. Those pieces were, in a way, thinking through what it means to be outside because we can’t be inside. Being outside puts you into a relationship with nature and the urban environment, colliding realities that overlap. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What’s touch? What’s the erotic body? There started to become almost an eco-sexual aspect to it, rolling in sand and being in the ocean, the sensuality of being outside, on the rocks of the Yuba River.”\u003c/p>\n\u003cp>Meanwhile, Hennessy says turning 60 spurred self-reflection and exploration, including an express re-acquaintance with his libido. Then Covid pushed him for the first time onto apps like SCRUFF and Grindr. \u003c/p>\n\u003cp>“It hadn’t been my thing,” he explains. “I meet people through my work, through my politics, through social life, and I’d been partnered for many years. All of a sudden I was single, horny, trying to pick up my sex life, and going online. I now entered this world of visual porn through the naked selfie that you share with other people.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, worlds started to merge.\u003c/p>\n\u003ch2>Always Moving\u003c/h2>\n\u003cp>\u003cem>Back\u003c/em> represents the confluence of many rivers, the Yuba being the most literal. In the front room of his apartment, Hennessy lays out some of the costumes and properties for the show, explaining that most are intentionally recycled from past works. \u003c/p>\n\u003cp>There are, for instance, pieces from 2016’s \u003cem>Sara (the smuggler)\u003c/em> and 2015’s \u003cem>Bear/Skin\u003c/em>, and a costume of plastic shopping bags used just last year in his choreography for Latvian dancers at the Homo Novus festival in Riga.\u003c/p>\n\u003cp>There’s also an original piece by costumer and longtime collaborator Jack Davis that repurposes sections of the wedding dresses doused in pink house paint for \u003cem>The Pink Party\u003c/em> (2001-2002), ingeniously weaving the salvaged pieces together to form a toreador jacket. \u003c/p>\n\u003cp>\u003cem>Back\u003c/em> even includes repurposed music—a piece by Joel St. Julien that Hennessy danced to in Larry Arrington and Alexa Burrell’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview\" rel=\"noopener noreferrer\" target=\"_blank\">w o w m o m\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That work, which capped dancer-choreographer Arrington’s residency at ODC in April, featured the normally kinetic Hennessy seated in a chair against a giant video projection and rivetingly moving sideways through a glacial Butohesque arc.\u003c/p>\n\u003cp>Arrington—who was an ensemble member in Hennessy’s monumental and continually self-destructing \u003cem>Turbulence (a dance about the economy)\u003c/em>, which shook the rafters at YBCA in 2012—has seen \u003cem>Back\u003c/em> in rehearsal and registers a purity in it.\u003c/p>\n\u003cp>“I sometimes think dance can be really cynical,” she says, “especially if you think about nonprofits and funding and grants. It’s always about what ‘impact’ can dance make. Dance is always this method for something else. Keith is someone who believes that dance-ing is enough in a way. \u003c/p>\n\u003cp>“I think that’s part of what this piece is. In the midst of what feels like overwhelming crisis, he’s said, ‘Ok, so then I have to dance.’ A lot of people said, ‘I have to stop for a while,’ at least in the beginning of Covid. That’s not the case with him.”\u003c/p>\n\u003cp>At his core, Arrington sees Hennessy “as a dance person, a body person, a movement person. I think it’s extraordinarily difficult, especially under late-stage Covid-era capitalism,” she adds, “but Keith has never let alienation become a force that stops him from moving towards things.” \u003c/p>\n\u003ch2>A Short, Guided Dance Trip\u003c/h2>\n\u003cp>“In making a piece contemplative of the erotic body,” says Hennessy, there follows the question, “How do we think through the mental instability of the world? The increasing anxiety and depression that have one hundred percent intensified because of the neoliberal impact on the psyche as well as the psychological professions?” \u003c/p>\n\u003cp>Instead, Hennessy decided to make something without thinking. “I’ve ended up making this piece that’s gentler on my body, gentler on the mind. It’s not without its subtle provocations, but it’s a gentler work than I’ve made before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The music, Hennessy says, is “very ambient and dreamscape-y. There’s a bit more space to feel. Things aren’t just coming at you quickly.” \u003c/p>\n\u003cp>Amid the mayhem of the moment, \u003cem>Back\u003c/em> is a short, guided dance trip, then, a measure of art medicine for a microdosing age. The gesture feels exactly right. The sense will be in the unfolding, for audience and artist alike.\u003c/p>\n\u003cp>“I didn’t make the piece to mean something,“ Hennessy makes clear. “I made the work, and now I’m learning what it means.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back (all I wanna do is dance and fuck and swim with you)’ runs Sept. 14–24 at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/back/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "South Bay’s Naatak Debuts Its 100th Theater Production: The Epic ‘Ramayan’",
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"content": "\u003cp>The Bay Area is home to one of the largest Indian American communities in the country\u003cspan style=\"font-weight: 400\">—\u003c/span>and, as it happens, one of the largest amateur Indian American theater companies. \u003ca href=\"https://www.naatak.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak\u003c/a>\u003cspan style=\"font-weight: 400\">—\u003c/span>which means theater, or drama, in Hindi—is about to stage its 100th production.\u003c/p>\n\u003cp>In this COVID-era world, where small arts organizations continue to struggle, it’s worth taking a moment to note the remarkable resiliency of a theater troupe launched by a couple of college students back in 1996. One of them was Sujit Saraf, who is still today the artistic director of Naatak.\u003c/p>\n\u003cp>“A close friend of mine and I were doing our Ph.D.s at Berkeley and Stanford. We had done a fair amount of theater as undergraduates in India, in Delhi. We thought it would be wonderful to recreate those days,” he says at a recent rehearsal in the modest warehouse space the theater rents in Santa Clara. “And we held an audition, and the first audition was held in my dorm at U.C. Berkeley.”\u003c/p>\n\u003cp>27 years later, Naatak is still going strong—as a volunteer operation. There’s nobody on payroll. Ticket sales go to covering costs.\u003c/p>\n\u003cfigure id=\"attachment_13918340\" class=\"wp-caption aligncenter\" style=\"max-width: 2541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg\" alt=\"Three Indian dancers in bright orange costumes pose together\" width=\"2541\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg 2541w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1524x1536.jpg 1524w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-2032x2048.jpg 2032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1920x1935.jpg 1920w\" sizes=\"(max-width: 2541px) 100vw, 2541px\">\u003cfigcaption class=\"wp-caption-text\">Medha Acharya, Archana Kamath and Sushmita Shrikanth will perform in ‘Ramayan,’ the 100th production by South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Kyle Adler )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I run a little software development company. I do this [Naatak] in my off hours,” says Saraf. “I’m a techie, I’m an engineer, like, I would say, 90% of Nataak members and perhaps even 80% of Naatak’s audience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, Silicon Valley has provided the free labor, and also the \u003ca href=\"https://www.kqed.org/arts/11511800/south-indian-arts-scene-booms-in-silicon-valley\" target=\"_blank\" rel=\"noopener noreferrer\">audiences\u003c/a>, for a host of productions over the years that include original work, Western classics with Indian American flair and Indian classics.\u003c/p>\n\u003cp>Naatak’s 100th production will be \u003cem>Ramayan\u003c/em>, attributed to the poet Valmiki (who may be a composite of several poets, not unlike the ancient Greek Homer). The version Naatak will be performing is known as the \u003cem>Tulasi Ramayan\u003c/em> by the poet Tulsidas, an abridged version crafted by Saraf himself. [aside postid='arts_13918445']\u003c/p>\n\u003cp>“We chose one of our two great epics which have permeated into the Indian consciousness over 2,500 years,” says Saraf, who added you cannot grow up in India without being exposed to \u003cem>Ramayan\u003c/em>.\u003c/p>\n\u003cp>It’s about a prince’s quest to rescue his beloved wife from the clutches of a demon king with the help of an army of monkeys and bears.\u003c/p>\n\u003cfigure id=\"attachment_13918344\" class=\"wp-caption aligncenter\" style=\"max-width: 2191px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-1-scaled.jpeg\" alt=\"Two men in classical Indian costume pretend to fight each other\" width=\"2191\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-scaled.jpeg 2191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-800x935.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1020x1192.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-160x187.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-768x897.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1314x1536.jpeg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1753x2048.jpeg 1753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1920x2244.jpeg 1920w\" sizes=\"(max-width: 2191px) 100vw, 2191px\">\u003cfigcaption class=\"wp-caption-text\">Abhishek Sharma and Dinesh Rao will play the brothers Bali and Sugreev in ‘Ramayan,’ the 100th production of South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grew up with stories of the \u003cem>Ramayan\u003c/em>,” he adds. “My mother recited one of the seven chapters in \u003cem>Ramayan\u003c/em> every day of her life, from the age of 12, when she learned it, to the age of 61 when she died.”\u003c/p>\n\u003cp>Saraf says the story resonates with Indian and Indian American audience members alike, who have demonstrated an appetite for a wide variety of works in a wide variety of of languages; in Hindi, Tamil and Telugu, as well as ancient Awadhi. “However, the vast majority of our plays are in Hindi,” Saraf says.\u003c/p>\n\u003cp>[aside postid='arts_13866378']And pre-COVID, he observed that, the bigger the Naatak production, the bigger the audience. “People like musicals.” People also like to \u003cem>perform\u003c/em> musicals, and as the troupe has become more experienced over the years, Naatak is game to produce ever more ambitious works. “This play would not be possible at this scale 15 years ago,” Saraf says.\u003c/p>\n\u003cp>Soumya Agastya, the producer and dance director for this production of \u003cem>Ramayan\u003c/em>, says that, here in the South Bay, there’s a wealth of classically trained musicians and dancers to call upon.\u003c/p>\n\u003cfigure id=\"attachment_13918342\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Pic-1-Musicians.png\" alt=\"A row of singers and musicians rehearses in a warehouse\" width=\"1286\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-800x435.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-1020x555.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-768x418.png 768w\" sizes=\"(max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Ambhranee Yakkundi, Tanmayi Rao, Savitha Gayathri, Nachiketa Yakkundi, Anitha Dixit, Surya Saraf, Amit Shenoy, Ajay Sundar Raj (partially cut off) rehearse ‘Ramayan’ ahead of its performance in September 2022. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I host the dance auditions and I always ask them to be six years classically trained, in Bharatanatyam or Kuchipudi,” she says. “Those are the two dance forms of classical dance that we’re using today.”\u003c/p>\n\u003cp>[aside postid='arts_12808122']By day, Agastya’s an account manager in sales for Synopsis, a software company in Mountain View. Nights and weekends? Her heart belongs to Naatak. For the last 25 years, in fact. “When you do all of this hard work, and you put out a product and you have, like, 3-4,000 people who watch it and they come to you and say that was an outstanding production, or you guys did a fabulous job. Oh, it’s so rewarding. So satisfying. It’s really worth it, every bit of sweat that we put into this I think is all worth that,” Agastya says.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ganapriya.com/ny/ny.html\" target=\"_blank\" rel=\"noopener noreferrer\">Nachiketa Yakkundi\u003c/a> would agree. The Oracle software engineer has performed all over India and North America, and runs a music school in Cupertino. And he’s also in charge of the music for this production. “It is so fulfilling. It touches the heart,” he says. “It is very much what I love doing, and applying what I love already to something that is so tangible. And we have all these youngsters who are so enthusiastic.”\u003c/p>\n\u003cp>An estimated 1,000 people have worked with Naatak over the years. “Our musicians and dancers are very well trained,” Saraf says, adding most of Naatak’s actors are experienced too, having performed in dozens of plays over the years. “You obviously acquire certain skills. We’ve done this many, many, many times, so we do feel that the quality of our productions is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13918343\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-scaled.jpeg\" alt=\"A headshot of a middle-aged, Indian-American man\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sujit Saraf is co-founder and artistic director of the South Bay theater company, Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_10971776']The pandemic has been hard on Naatak. Like other theater companies, they switched to Zoom for a year and a half. Even after a year after lockdowns lifted, Saraf estimates ticket sales are off by about 30%. But there’s nobody on the company’s payroll and no overhead except for the warehouse space in Santa Clara. “When we shut down, our only loss was the useless rent we were paying in these two spaces,” says Saraf. “Also over the years, we have been extremely frugal with our money. So we are not in any danger of shutting down.”\u003c/p>\n\u003cp>As other live entertainment operations wheeze on their last legs, Saraf says he can see the volunteer-run Naatak outlasting two or three more pandemics, and maybe even his own retirement, when that day comes. [aside postid='arts_13917757']\u003c/p>\n\u003cp>“Well, I’ve become older, but the average age in Naatak has not increased much,” Saraf says. “Some of the new people call me ‘sir’ because they see my gray hair, and they are aware of my age, so they feel a certain distance from me. I’m waiting for the day they call me ‘uncle.’ That’s when I think it will be the time to hang up!”\u003c/p>\n\u003cp>But not quite yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak performs \u003c/a>\u003c/em>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Ramayan\u003c/a>\u003cem> at Cubberley Theatre in Palo Alto September 4-25, 2022. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is home to one of the largest Indian American communities in the country\u003cspan style=\"font-weight: 400\">—\u003c/span>and, as it happens, one of the largest amateur Indian American theater companies. \u003ca href=\"https://www.naatak.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak\u003c/a>\u003cspan style=\"font-weight: 400\">—\u003c/span>which means theater, or drama, in Hindi—is about to stage its 100th production.\u003c/p>\n\u003cp>In this COVID-era world, where small arts organizations continue to struggle, it’s worth taking a moment to note the remarkable resiliency of a theater troupe launched by a couple of college students back in 1996. One of them was Sujit Saraf, who is still today the artistic director of Naatak.\u003c/p>\n\u003cp>“A close friend of mine and I were doing our Ph.D.s at Berkeley and Stanford. We had done a fair amount of theater as undergraduates in India, in Delhi. We thought it would be wonderful to recreate those days,” he says at a recent rehearsal in the modest warehouse space the theater rents in Santa Clara. “And we held an audition, and the first audition was held in my dorm at U.C. Berkeley.”\u003c/p>\n\u003cp>27 years later, Naatak is still going strong—as a volunteer operation. There’s nobody on payroll. Ticket sales go to covering costs.\u003c/p>\n\u003cfigure id=\"attachment_13918340\" class=\"wp-caption aligncenter\" style=\"max-width: 2541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg\" alt=\"Three Indian dancers in bright orange costumes pose together\" width=\"2541\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg 2541w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1524x1536.jpg 1524w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-2032x2048.jpg 2032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1920x1935.jpg 1920w\" sizes=\"(max-width: 2541px) 100vw, 2541px\">\u003cfigcaption class=\"wp-caption-text\">Medha Acharya, Archana Kamath and Sushmita Shrikanth will perform in ‘Ramayan,’ the 100th production by South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Kyle Adler )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I run a little software development company. I do this [Naatak] in my off hours,” says Saraf. “I’m a techie, I’m an engineer, like, I would say, 90% of Nataak members and perhaps even 80% of Naatak’s audience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, Silicon Valley has provided the free labor, and also the \u003ca href=\"https://www.kqed.org/arts/11511800/south-indian-arts-scene-booms-in-silicon-valley\" target=\"_blank\" rel=\"noopener noreferrer\">audiences\u003c/a>, for a host of productions over the years that include original work, Western classics with Indian American flair and Indian classics.\u003c/p>\n\u003cp>Naatak’s 100th production will be \u003cem>Ramayan\u003c/em>, attributed to the poet Valmiki (who may be a composite of several poets, not unlike the ancient Greek Homer). The version Naatak will be performing is known as the \u003cem>Tulasi Ramayan\u003c/em> by the poet Tulsidas, an abridged version crafted by Saraf himself. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We chose one of our two great epics which have permeated into the Indian consciousness over 2,500 years,” says Saraf, who added you cannot grow up in India without being exposed to \u003cem>Ramayan\u003c/em>.\u003c/p>\n\u003cp>It’s about a prince’s quest to rescue his beloved wife from the clutches of a demon king with the help of an army of monkeys and bears.\u003c/p>\n\u003cfigure id=\"attachment_13918344\" class=\"wp-caption aligncenter\" style=\"max-width: 2191px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-1-scaled.jpeg\" alt=\"Two men in classical Indian costume pretend to fight each other\" width=\"2191\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-scaled.jpeg 2191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-800x935.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1020x1192.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-160x187.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-768x897.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1314x1536.jpeg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1753x2048.jpeg 1753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1920x2244.jpeg 1920w\" sizes=\"(max-width: 2191px) 100vw, 2191px\">\u003cfigcaption class=\"wp-caption-text\">Abhishek Sharma and Dinesh Rao will play the brothers Bali and Sugreev in ‘Ramayan,’ the 100th production of South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grew up with stories of the \u003cem>Ramayan\u003c/em>,” he adds. “My mother recited one of the seven chapters in \u003cem>Ramayan\u003c/em> every day of her life, from the age of 12, when she learned it, to the age of 61 when she died.”\u003c/p>\n\u003cp>Saraf says the story resonates with Indian and Indian American audience members alike, who have demonstrated an appetite for a wide variety of works in a wide variety of of languages; in Hindi, Tamil and Telugu, as well as ancient Awadhi. “However, the vast majority of our plays are in Hindi,” Saraf says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And pre-COVID, he observed that, the bigger the Naatak production, the bigger the audience. “People like musicals.” People also like to \u003cem>perform\u003c/em> musicals, and as the troupe has become more experienced over the years, Naatak is game to produce ever more ambitious works. “This play would not be possible at this scale 15 years ago,” Saraf says.\u003c/p>\n\u003cp>Soumya Agastya, the producer and dance director for this production of \u003cem>Ramayan\u003c/em>, says that, here in the South Bay, there’s a wealth of classically trained musicians and dancers to call upon.\u003c/p>\n\u003cfigure id=\"attachment_13918342\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Pic-1-Musicians.png\" alt=\"A row of singers and musicians rehearses in a warehouse\" width=\"1286\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-800x435.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-1020x555.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-768x418.png 768w\" sizes=\"(max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Ambhranee Yakkundi, Tanmayi Rao, Savitha Gayathri, Nachiketa Yakkundi, Anitha Dixit, Surya Saraf, Amit Shenoy, Ajay Sundar Raj (partially cut off) rehearse ‘Ramayan’ ahead of its performance in September 2022. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I host the dance auditions and I always ask them to be six years classically trained, in Bharatanatyam or Kuchipudi,” she says. “Those are the two dance forms of classical dance that we’re using today.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By day, Agastya’s an account manager in sales for Synopsis, a software company in Mountain View. Nights and weekends? Her heart belongs to Naatak. For the last 25 years, in fact. “When you do all of this hard work, and you put out a product and you have, like, 3-4,000 people who watch it and they come to you and say that was an outstanding production, or you guys did a fabulous job. Oh, it’s so rewarding. So satisfying. It’s really worth it, every bit of sweat that we put into this I think is all worth that,” Agastya says.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ganapriya.com/ny/ny.html\" target=\"_blank\" rel=\"noopener noreferrer\">Nachiketa Yakkundi\u003c/a> would agree. The Oracle software engineer has performed all over India and North America, and runs a music school in Cupertino. And he’s also in charge of the music for this production. “It is so fulfilling. It touches the heart,” he says. “It is very much what I love doing, and applying what I love already to something that is so tangible. And we have all these youngsters who are so enthusiastic.”\u003c/p>\n\u003cp>An estimated 1,000 people have worked with Naatak over the years. “Our musicians and dancers are very well trained,” Saraf says, adding most of Naatak’s actors are experienced too, having performed in dozens of plays over the years. “You obviously acquire certain skills. We’ve done this many, many, many times, so we do feel that the quality of our productions is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13918343\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-scaled.jpeg\" alt=\"A headshot of a middle-aged, Indian-American man\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sujit Saraf is co-founder and artistic director of the South Bay theater company, Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pandemic has been hard on Naatak. Like other theater companies, they switched to Zoom for a year and a half. Even after a year after lockdowns lifted, Saraf estimates ticket sales are off by about 30%. But there’s nobody on the company’s payroll and no overhead except for the warehouse space in Santa Clara. “When we shut down, our only loss was the useless rent we were paying in these two spaces,” says Saraf. “Also over the years, we have been extremely frugal with our money. So we are not in any danger of shutting down.”\u003c/p>\n\u003cp>As other live entertainment operations wheeze on their last legs, Saraf says he can see the volunteer-run Naatak outlasting two or three more pandemics, and maybe even his own retirement, when that day comes. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Well, I’ve become older, but the average age in Naatak has not increased much,” Saraf says. “Some of the new people call me ‘sir’ because they see my gray hair, and they are aware of my age, so they feel a certain distance from me. I’m waiting for the day they call me ‘uncle.’ That’s when I think it will be the time to hang up!”\u003c/p>\n\u003cp>But not quite yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak performs \u003c/a>\u003c/em>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Ramayan\u003c/a>\u003cem> at Cubberley Theatre in Palo Alto September 4-25, 2022. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Look Around You This Fall for These Bay Area Dance Events",
"headTitle": "Look Around You This Fall for These Bay Area Dance Events | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The most compelling dance performances challenge the audience experience, whether with atypical stages or by blurring lines between genres. All the better if the performance carries an urgent story. The Bay Area dance events selected in this year’s fall preview extend beyond the black box theater, whether by activating waterways or scaling building facades. Many of these events also weave today’s pressing social issues into their choreography. It’s the Bay Area, after all, and today’s local dancers and choreographers proudly carry the torch of the region’s legacy in art as activism.\u003c/p>\n\u003cfigure id=\"attachment_13917765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg\" alt=\"a man in red dances inside a dimly lit building, against a white wall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen of Lenora Lee Dance, which premieres ‘In the Movement’ Sept. 1-11 at ODC in San Francisco. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://odc.secure.force.com/ticket/?_ga=2.241490244.713335932.1660175872-1110366481.1660175872#/events/a0S5b00000CTNJYEA5\">‘In the Movement’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>ODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 1-11, 2022\u003c/em>\u003c/p>\n\u003cp>How can dance embody the separation of families caused by incarceration and mass detention of immigrants? Lenora Lee Dance’s world premiere of \u003cem>In the Movement\u003c/em>, produced in collaboration with Asian Improv aRTs and the API Cultural Center, ventures to choreograph these topics. The work incorporates recorded interviews with currently or formerly incarcerated individuals and advocates, as well as recorded music, live vocals and video filmed on Alcatraz Island. In responding to this source material, \u003cem>In the Movement\u003c/em> employs dance to illustrate systemic cycles of oppression.\u003c/p>\n\u003cfigure id=\"attachment_13917767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg\" alt=\"a bright gold rose sculpture in Golden Gate Park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Slow Show’ takes place Sept. 15 take place at the ‘La Rose des Vents’ sculpture in the Conservatory of Flowers in Golden Gate Park. \u003ccite>(Courtesy of the SF Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://836m.org/la-rose-des-vents/\">‘Slow Show’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Conservatory of Flowers, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15, 2022\u003c/em>\u003c/p>\n\u003cp>Choreographer Dimitri Chamblas wants to slow down. He describes his internationally touring work, \u003cem>Slow Show\u003c/em>, as an “intensive and agitated” practice of stretching time through micro-movements that adapt to the dancer’s location—previously, a frozen lake in Minneapolis, or an outdoor amphitheater in Ouagadougou. In San Francisco, the work will take place at the “La Rose des Vents” sculpture in the Conservatory of Flowers in Golden Gate Park. The site-specific performance and dedication to the gilded kinetic sculpture, created by French artist Jean-Michel Othoniel, will feature an ensemble of 50 dancers who respond to the site through a series of “intense, concentrated and trance-like operations.”\u003c/p>\n\u003cfigure id=\"attachment_13917766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Hewett and \u003cspan style=\"font-weight: 400\">brontë \u003c/span>velez in ‘SPIN,’ part of Joe Goode Performance Group’s Gush Festival running Sept. 15-18 in San Francisco. \u003ccite>(Jade Begay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://joegoode.org/event/gush-2022/\">Gush Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Joe Goode Performance Group, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-18, 2022\u003c/em>\u003c/p>\n\u003cp>Joe Goode Performance Group’s second bi-annual GUSH Festival explores queer intergenerational interconnection and ancestral cultural identity. brontë velez’s SPIN promises to use aerial dance to illustrate “the ways Black folks spin and get spun out,” and Gizeh Muñiz Vengel & Ernesto Peart Falcón’s dance duet ‘islas breves’ questions a blurred ancestral lineage. The festival also welcomes three longtime Joe Goode artists—Gabriele Christian, Molly Katzman and Joe Goode himself—for a duet that choreographs each collaborator’s partnership with a queer guest elder or youth performer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13917768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg\" alt=\"an aerial dancer in red performs against a black and white backdrop\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-2048x1338.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jhia Jackson in ‘Apparatus of Repair,’ which takes place around UC Hastings’ Tenderloin campus Sept. 15-25. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://flyawayproductions.com/upcoming-events/\">‘Apparatus of Repair’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Hastings College of the Law, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-25, 2022\u003c/em>\u003c/p>\n\u003cp>It’s only fitting that a performance about the prison industrial complex takes place at a law school. Flyaway Productions’ \u003cem>Apparatus of Repair\u003c/em> is the final installment of \u003cem>The Decarceration Trilogy: Dismantling the Prison Industrial Complex One Dance at a Time\u003c/em>. The site-specific aerial dance performance activates vertical surfaces of UC Hastings’ buildings as a means to explore the devastating effects of mass incarceration and the healing process of restorative justice. \u003cem>Apparatus of Repair\u003c/em> can be viewed from several vantage points surrounding UC Hastings’ Tenderloin campus. Just don’t forget to look up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CtcwfJdPvsY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.santacruzmah.org/commonground\">CommonGround Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, Santa Cruz County\u003cbr>\nSept. 16-25, 2022\u003c/em>\u003c/p>\n\u003cp>Some of the most exciting performance “stages” aren’t actually stages at all. The biennial 10-day CommonGround Festival is hosted in outdoor locations throughout Santa Cruz County, aiming to connect audiences with the region’s natural and built environments through installation art and site-specific performance. Oakland’s aerial arts company BANDALOOP will present \u003cem>LOOM:FIELD\u003c/em>, a vertical dance work that weaves climbing tech with ecological stewardship to transform the facade of the Santa Cruz Museum of Art & History into a giant loom. Other locations include a raft on Soquel Creek, the Evergreen Cemetery and the Davenport Jail.\u003c/p>\n\u003cfigure id=\"attachment_13917770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917770 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg\" alt=\"a blurry image of a group of dancers standing in front of the ocean\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-1020x691.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-768x520.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438.jpeg 1455w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Farallonites will perform at Fort Mason Center for the Arts in San Francisco Sept. 16-18. \u003ccite>(Piro Patten)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://danalawtondances.org/\">‘The Farallonites’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Fort Mason Center for the Arts, San Francisco\u003cbr>\nSept. 16-18, 2022\u003c/em>\u003c/p>\n\u003cp>“Fortitude and resilience.” That’s how the multidisciplinary performance group Dana Lawton Dances describe the lives of the lighthouse keepers and their families who lived on the Farallon Islands from the mid-1850s to the early 1900s. The work weaves dance with an original musical score, spoken word and visual art to build a world of “harsh physical conditions, repetitive hard labor and near total isolation.” If you’ve never considered the human spirit of lighthouse keepers and their loved ones, this performance is sure to make you think the next time you hear San Francisco’s fog horns.\u003c/p>\n\u003cfigure id=\"attachment_13917762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kanyon (Cayote Woman) Sayers-Roods in ‘‘sii agua sí.’ \u003ccite>(Fernando Gallegos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/flacc-2022-sii-agua-si-tickets-396312520417\">‘sii agua sí’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Between Dolores St. & Church St., San Francisco\u003cbr>\nOct. 1, 2022\u003c/em>\u003c/p>\n\u003cp>Did you know Dolores Park is a Native American heritage site? (To be clear, \u003ca href=\"https://www.kqed.org/arts/13916457/youre-on-native-land-the-cultural-district-honoring-urban-native-history\">all of San Francisco is on Native land\u003c/a>.) Dance Mission has partnered with the Festival of Latin American Contemporary Choreographers, Ohlone leaders, local artists, Mission High School and the American Indian Cultural District to honor Yelamu’s Inidigenous history. The free ritual performance intervention, sii agua sí, will memorialize the Indigenous ancestors buried in the Mission Dolores cemetery during early colonization. The event will include water prayers, traditional dance, a guided tour around the park and an “Ask a Native” session in an educational, Ohlone-led space.\u003c/p>\n\u003cfigure id=\"attachment_13917760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg\" alt=\"a woman with closed eyes against a backdrop of knotted rope\" width=\"800\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-1020x1226.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-160x192.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-768x923.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Gorospe Cole in ‘Quake.’ \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/quake/\">‘Quake’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 13-15, 2022\u003c/em>\u003c/p>\n\u003cp>The stigma about mental health has begun to erode in the past few years, and Asian American celebrities are \u003ca href=\"https://www.kqed.org/arts/13916258/constance-wus-reveal-speaks-to-the-profound-pressure-asian-american-women-face\">speaking out about the profound pressure\u003c/a> they face from the media and public. But often missing from the conversation are stories about Asian-American communities’ resilience and healing practices. Kat Gorospe Cole & Jeffrey Yip’s multidisciplinary project \u003cem>Quake\u003c/em> provides a lens into the alternative mental health practices of some of these communities by immersing audiences in an audio installation that replicates a form of sound healing known as Vibroacoustic Therapy.\u003c/p>\n\u003cfigure id=\"attachment_13917771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-768x384.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Summer Dance Music Series offers free, family-friendly dance events at San Francisco’s Union Square on Saturdays through Sept. 24. \u003ccite>(Courtesy of Union Square Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/summer-dance-music-series-tickets-289832515857\">Summer Dance Music Series\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Union Square Park, San Francisco\u003cbr>\nSaturdays, Aug. 12-Sept. 24, 2022\u003c/em>\u003c/p>\n\u003cp>Many of the Bay Area’s dance events this fall dig into some heavy—and worthy—topics. But there are also options for those hoping to simply catch some free, lighthearted outdoor performances. Union Square Alliance’s Summer Dance Music Series brings live music and dance to San Francisco’s Union Square every Saturday through Sept. 24 for some family-friendly relaxation. The Bay Area dance scene can be heavy; it’s OK to take a breather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The season's most exciting dance offerings respond to pressing social issues—and challenge their audiences' notions of the stage. ",
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"title": "Look Around You This Fall for These Bay Area Dance Events | KQED",
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"headline": "Look Around You This Fall for These Bay Area Dance Events",
"datePublished": "2022-08-29T12:40:33-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The most compelling dance performances challenge the audience experience, whether with atypical stages or by blurring lines between genres. All the better if the performance carries an urgent story. The Bay Area dance events selected in this year’s fall preview extend beyond the black box theater, whether by activating waterways or scaling building facades. Many of these events also weave today’s pressing social issues into their choreography. It’s the Bay Area, after all, and today’s local dancers and choreographers proudly carry the torch of the region’s legacy in art as activism.\u003c/p>\n\u003cfigure id=\"attachment_13917765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg\" alt=\"a man in red dances inside a dimly lit building, against a white wall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen of Lenora Lee Dance, which premieres ‘In the Movement’ Sept. 1-11 at ODC in San Francisco. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://odc.secure.force.com/ticket/?_ga=2.241490244.713335932.1660175872-1110366481.1660175872#/events/a0S5b00000CTNJYEA5\">‘In the Movement’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>ODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 1-11, 2022\u003c/em>\u003c/p>\n\u003cp>How can dance embody the separation of families caused by incarceration and mass detention of immigrants? Lenora Lee Dance’s world premiere of \u003cem>In the Movement\u003c/em>, produced in collaboration with Asian Improv aRTs and the API Cultural Center, ventures to choreograph these topics. The work incorporates recorded interviews with currently or formerly incarcerated individuals and advocates, as well as recorded music, live vocals and video filmed on Alcatraz Island. In responding to this source material, \u003cem>In the Movement\u003c/em> employs dance to illustrate systemic cycles of oppression.\u003c/p>\n\u003cfigure id=\"attachment_13917767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg\" alt=\"a bright gold rose sculpture in Golden Gate Park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Slow Show’ takes place Sept. 15 take place at the ‘La Rose des Vents’ sculpture in the Conservatory of Flowers in Golden Gate Park. \u003ccite>(Courtesy of the SF Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://836m.org/la-rose-des-vents/\">‘Slow Show’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Conservatory of Flowers, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15, 2022\u003c/em>\u003c/p>\n\u003cp>Choreographer Dimitri Chamblas wants to slow down. He describes his internationally touring work, \u003cem>Slow Show\u003c/em>, as an “intensive and agitated” practice of stretching time through micro-movements that adapt to the dancer’s location—previously, a frozen lake in Minneapolis, or an outdoor amphitheater in Ouagadougou. In San Francisco, the work will take place at the “La Rose des Vents” sculpture in the Conservatory of Flowers in Golden Gate Park. The site-specific performance and dedication to the gilded kinetic sculpture, created by French artist Jean-Michel Othoniel, will feature an ensemble of 50 dancers who respond to the site through a series of “intense, concentrated and trance-like operations.”\u003c/p>\n\u003cfigure id=\"attachment_13917766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Hewett and \u003cspan style=\"font-weight: 400\">brontë \u003c/span>velez in ‘SPIN,’ part of Joe Goode Performance Group’s Gush Festival running Sept. 15-18 in San Francisco. \u003ccite>(Jade Begay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://joegoode.org/event/gush-2022/\">Gush Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Joe Goode Performance Group, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-18, 2022\u003c/em>\u003c/p>\n\u003cp>Joe Goode Performance Group’s second bi-annual GUSH Festival explores queer intergenerational interconnection and ancestral cultural identity. brontë velez’s SPIN promises to use aerial dance to illustrate “the ways Black folks spin and get spun out,” and Gizeh Muñiz Vengel & Ernesto Peart Falcón’s dance duet ‘islas breves’ questions a blurred ancestral lineage. The festival also welcomes three longtime Joe Goode artists—Gabriele Christian, Molly Katzman and Joe Goode himself—for a duet that choreographs each collaborator’s partnership with a queer guest elder or youth performer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13917768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg\" alt=\"an aerial dancer in red performs against a black and white backdrop\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-2048x1338.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jhia Jackson in ‘Apparatus of Repair,’ which takes place around UC Hastings’ Tenderloin campus Sept. 15-25. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://flyawayproductions.com/upcoming-events/\">‘Apparatus of Repair’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Hastings College of the Law, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-25, 2022\u003c/em>\u003c/p>\n\u003cp>It’s only fitting that a performance about the prison industrial complex takes place at a law school. Flyaway Productions’ \u003cem>Apparatus of Repair\u003c/em> is the final installment of \u003cem>The Decarceration Trilogy: Dismantling the Prison Industrial Complex One Dance at a Time\u003c/em>. The site-specific aerial dance performance activates vertical surfaces of UC Hastings’ buildings as a means to explore the devastating effects of mass incarceration and the healing process of restorative justice. \u003cem>Apparatus of Repair\u003c/em> can be viewed from several vantage points surrounding UC Hastings’ Tenderloin campus. Just don’t forget to look up.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CtcwfJdPvsY'\n title='//www.youtube.com/embed/CtcwfJdPvsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.santacruzmah.org/commonground\">CommonGround Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, Santa Cruz County\u003cbr>\nSept. 16-25, 2022\u003c/em>\u003c/p>\n\u003cp>Some of the most exciting performance “stages” aren’t actually stages at all. The biennial 10-day CommonGround Festival is hosted in outdoor locations throughout Santa Cruz County, aiming to connect audiences with the region’s natural and built environments through installation art and site-specific performance. Oakland’s aerial arts company BANDALOOP will present \u003cem>LOOM:FIELD\u003c/em>, a vertical dance work that weaves climbing tech with ecological stewardship to transform the facade of the Santa Cruz Museum of Art & History into a giant loom. Other locations include a raft on Soquel Creek, the Evergreen Cemetery and the Davenport Jail.\u003c/p>\n\u003cfigure id=\"attachment_13917770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917770 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg\" alt=\"a blurry image of a group of dancers standing in front of the ocean\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-1020x691.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-768x520.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438.jpeg 1455w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Farallonites will perform at Fort Mason Center for the Arts in San Francisco Sept. 16-18. \u003ccite>(Piro Patten)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://danalawtondances.org/\">‘The Farallonites’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Fort Mason Center for the Arts, San Francisco\u003cbr>\nSept. 16-18, 2022\u003c/em>\u003c/p>\n\u003cp>“Fortitude and resilience.” That’s how the multidisciplinary performance group Dana Lawton Dances describe the lives of the lighthouse keepers and their families who lived on the Farallon Islands from the mid-1850s to the early 1900s. The work weaves dance with an original musical score, spoken word and visual art to build a world of “harsh physical conditions, repetitive hard labor and near total isolation.” If you’ve never considered the human spirit of lighthouse keepers and their loved ones, this performance is sure to make you think the next time you hear San Francisco’s fog horns.\u003c/p>\n\u003cfigure id=\"attachment_13917762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kanyon (Cayote Woman) Sayers-Roods in ‘‘sii agua sí.’ \u003ccite>(Fernando Gallegos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/flacc-2022-sii-agua-si-tickets-396312520417\">‘sii agua sí’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Between Dolores St. & Church St., San Francisco\u003cbr>\nOct. 1, 2022\u003c/em>\u003c/p>\n\u003cp>Did you know Dolores Park is a Native American heritage site? (To be clear, \u003ca href=\"https://www.kqed.org/arts/13916457/youre-on-native-land-the-cultural-district-honoring-urban-native-history\">all of San Francisco is on Native land\u003c/a>.) Dance Mission has partnered with the Festival of Latin American Contemporary Choreographers, Ohlone leaders, local artists, Mission High School and the American Indian Cultural District to honor Yelamu’s Inidigenous history. The free ritual performance intervention, sii agua sí, will memorialize the Indigenous ancestors buried in the Mission Dolores cemetery during early colonization. The event will include water prayers, traditional dance, a guided tour around the park and an “Ask a Native” session in an educational, Ohlone-led space.\u003c/p>\n\u003cfigure id=\"attachment_13917760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg\" alt=\"a woman with closed eyes against a backdrop of knotted rope\" width=\"800\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-1020x1226.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-160x192.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-768x923.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Gorospe Cole in ‘Quake.’ \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/quake/\">‘Quake’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 13-15, 2022\u003c/em>\u003c/p>\n\u003cp>The stigma about mental health has begun to erode in the past few years, and Asian American celebrities are \u003ca href=\"https://www.kqed.org/arts/13916258/constance-wus-reveal-speaks-to-the-profound-pressure-asian-american-women-face\">speaking out about the profound pressure\u003c/a> they face from the media and public. But often missing from the conversation are stories about Asian-American communities’ resilience and healing practices. Kat Gorospe Cole & Jeffrey Yip’s multidisciplinary project \u003cem>Quake\u003c/em> provides a lens into the alternative mental health practices of some of these communities by immersing audiences in an audio installation that replicates a form of sound healing known as Vibroacoustic Therapy.\u003c/p>\n\u003cfigure id=\"attachment_13917771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-768x384.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Summer Dance Music Series offers free, family-friendly dance events at San Francisco’s Union Square on Saturdays through Sept. 24. \u003ccite>(Courtesy of Union Square Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/summer-dance-music-series-tickets-289832515857\">Summer Dance Music Series\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Union Square Park, San Francisco\u003cbr>\nSaturdays, Aug. 12-Sept. 24, 2022\u003c/em>\u003c/p>\n\u003cp>Many of the Bay Area’s dance events this fall dig into some heavy—and worthy—topics. But there are also options for those hoping to simply catch some free, lighthearted outdoor performances. Union Square Alliance’s Summer Dance Music Series brings live music and dance to San Francisco’s Union Square every Saturday through Sept. 24 for some family-friendly relaxation. The Bay Area dance scene can be heavy; it’s OK to take a breather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On Black Imagination at the 2022 San Francisco Aerial Arts Festival",
"headTitle": "On Black Imagination at the 2022 San Francisco Aerial Arts Festival | KQED",
"content": "\u003cp>When I interviewed San Francisco dance choreographer Robert Moses, I expected to use the recording to write a preview about his upcoming show. I didn’t expect that he would ask to incorporate the audio from our interview into a rehearsal for that very show. But Moses is big on challenging expectations.\u003c/p>\n\u003cp>Moses is the founder and artistic director of the San Francisco dance company Robert Moses’ Kin. His first aerial arts work will be performed at the \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Aerial Arts Festival\u003c/a> (SFAAF), taking place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.\u003c/p>\n\u003cp>“I said yes to this because it’s a risk,” Moses tells me about taking his choreography aloft. The festival, first held in 2014, commissions new work from Black choreographers, circus and aerial artists and centers their stories in what SFAAF founder Joanna Haigood calls a historically racist yet rapidly evolving field.\u003c/p>\n\u003cfigure id=\"attachment_13917528\" class=\"wp-caption alignnone\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg\" alt=\"Man in rehearsal with dancing woman\" width=\"625\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof-160x77.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses and dancer Crystaldawn Bell in Rehearsal \u003ccite>(Steven Disenhof.jpg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses’ work for the festival was originally conceived as “an oral history of God’s disappointment in man’s spiritual decline,” according to its press release. He began to dream a narrative of being on top of the world and speaking with God—with aerial artists challenging a higher deity.\u003c/p>\n\u003cp>“We assume that being heavenly is somewhat elevated,” Moses explains about the original vision for his work. “Off the ground, everything changes, right? And what does that represent? What if I put God on the ground?” he adds. “What is it like to talk down to God?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In our conversation, it became clear his work was constantly evolving and inspired by the world around him—including our interview.\u003c/p>\n\u003cp>In a sense, this is another story about Black artists reclaiming a historically-exclusionary art form. Yet Moses implores us to envisage beyond the platitude of what it means to be a Black artist in a historically white space. “Fuck the new area,” says Moses. “This is the old area that we’re claiming a right to.”\u003c/p>\n\u003ch2>\u003cb>Diversifying the field\u003c/b>\u003c/h2>\n\u003cp>Joanna Haigood, the artistic director of San Francisco’s Zaccho Dance Theatre and the founder and curator of SFAAF (which is supported by the Gerbode Foundation and San Francisco Arts Commission), says Black artists have been historically barred from entering the fields of circus and contemporary dance\u003cb>. \u003c/b>\u003c/p>\n\u003cp>There’s been “a fair amount of racism” in circus, says Haigood. “So it’s been difficult to break in for reasons of, you know, ‘Your skin’s too dark,’ or whatever ideas of what the perfect body is.” Aerial arts is a relatively new art form, she says, where the prejudice is perhaps less explicit—but there are fewer productions and therefore fewer artist opportunities.\u003c/p>\n\u003cp>Haigood is proud of the genre-defying artists who are actively diversifying the field and making work for the festival, which, beyond Moses, includes artists like Veronica Blair, Susan Voytickyand and the young aerialists of the SFAAF Youth Revelry.\u003c/p>\n\u003cfigure id=\"attachment_13917526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg\" alt=\"Aerial artists are suspended on building\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Aerial Arts Festival commissions new work from artists who seamlessly merge contemporary dance with circus and aerial arts, like BANDALOOP \u003ccite>(Austin Forbord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m bringing all these people together because they inspire me,” Haigood says. “These artists are not only calling out racism but celebrating their differences and finding voice in their cultural lives and personal experiences.”\u003c/p>\n\u003cp>Aerialists Veronica Blair and Susan Voyticky’s offering to SFAAF plays homage to a classic Black story. Seven stories, in fact.\u003c/p>\n\u003cp>Their project, \u003ci>The Rainbow is Enuf\u003c/i>, reimagines Ntozake Shange’s acclaimed choreopoem \u003ci>for colored girls who have considered suicide/ when the rainbow is enuf\u003c/i>. The 1975 source material peers into the lives of seven women of African descent, telling their individual stories and shared experiences in a world shaped by patriarchy, sexism and racism.\u003c/p>\n\u003cp>Blair and Voyticky connect the text to modern-day circus by channeling the contemporary experiences of the six women of color in the ensemble. “With our bodies, we’re able to interpret the work and ask … what does it mean to be a woman of color in 2022?” Blair asks. “What kind of things are we facing as a demographic, as individuals, generationally, ancestrally?”\u003c/p>\n\u003cfigure id=\"attachment_13917530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg\" alt=\"Aerial dancer suspended in fabric\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Blair and Susan Voytick’s work for SFAAF reimagines Ntozake Shange’s acclaimed choreopoem ‘for colored girls who have considered suicide/ when the rainbow is enuf’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Veronica is trying to tell a uniquely Black story through the lens of circus,” says Haigood. “I think that’s fantastic.”\u003c/p>\n\u003cp>While the festival centers artists who seamlessly merge contemporary dance with circus and aerial arts, it’s only recently that these fields have become less fragmented. “For a long while they were very separate, circus and dance. And that’s changing,” says Haigood. “I really wanted to help facilitate finding new ways to be in conversation.”\u003c/p>\n\u003ch2>‘This is a new kind of clay for me’\u003c/h2>\n\u003cp>Moses, for his part, doesn’t seem interested in creating cohesion or diversifying the field. He envisions Black futures from a higher plane of existence, an “intergalactic universe” that literally elevates Black people from the ground. Hence, aerial art.\u003c/p>\n\u003cp>“This is a new kind of clay for me … you’re unhinged from the things you have known,” Moses says of working in aerial choreography for the first time, describing the experience as disorienting. “The use of weights, how you manage rhythm and quality … the poetry and aesthetic is reconfigured.”\u003c/p>\n\u003cp>Moses references Afrofuturism when describing his work, a paradigm where the African American experience and ancestry is carried into limitless visions of an alternative or future universe—yes, beyond arts diversity and inclusion. “There’s a whole intergalactic empire,” he says. “That stretch of the imagination is what this [work] is, in a way.”\u003c/p>\n\u003cp>The festival can be seen as part of an encouraging recent trend in fiscal support in the Bay Area contemporary arts world for work that supports Black artists in visionary ways, such as SOMArts’ 2019 exhibition \u003ca href=\"https://somarts.org/event/foreveramoment/\">\u003ci>Forever, A Moment: Black Meditations on Time and Space\u003c/i>\u003c/a>. Haigood feels “blessed” SFAAF artists are receiving recent grant support to “really let their imaginations stretch.” Blair, too, describes such recent fiscal support as a “dramatic turn” in the kinds of aerial projects supported by the industry.\u003c/p>\n\u003cp>Indeed, if the arts ecology is making strides to expand its lens beyond identity politics into more imaginative territory, so should arts coverage. In reflecting on our conversation after Moses asked to use it in rehearsal, I realized that asking a Black choreographer about creating dance in a historically white space is reductionist at best.\u003c/p>\n\u003cp>“You asked that kind of question because you know what the answer is gonna be,” Moses told me in response to a question on race and art. And maybe he was right.\u003c/p>\n\u003cp>“If I’m thinking about the work in being an African American then I want to do that in a place of control,” Moses says. “And if I’m directing this conversation, then I’m in control of God. And that’s heresy, because how the fuck can a Black man be more in important and powerful than God?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The 2022 San Francisco Aerial Arts Festival takes place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse. \u003c/i>\u003ca href=\"https://fortmason.org/event/sf-aerial-arts-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I interviewed San Francisco dance choreographer Robert Moses, I expected to use the recording to write a preview about his upcoming show. I didn’t expect that he would ask to incorporate the audio from our interview into a rehearsal for that very show. But Moses is big on challenging expectations.\u003c/p>\n\u003cp>Moses is the founder and artistic director of the San Francisco dance company Robert Moses’ Kin. His first aerial arts work will be performed at the \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Aerial Arts Festival\u003c/a> (SFAAF), taking place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.\u003c/p>\n\u003cp>“I said yes to this because it’s a risk,” Moses tells me about taking his choreography aloft. The festival, first held in 2014, commissions new work from Black choreographers, circus and aerial artists and centers their stories in what SFAAF founder Joanna Haigood calls a historically racist yet rapidly evolving field.\u003c/p>\n\u003cfigure id=\"attachment_13917528\" class=\"wp-caption alignnone\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg\" alt=\"Man in rehearsal with dancing woman\" width=\"625\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof-160x77.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses and dancer Crystaldawn Bell in Rehearsal \u003ccite>(Steven Disenhof.jpg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses’ work for the festival was originally conceived as “an oral history of God’s disappointment in man’s spiritual decline,” according to its press release. He began to dream a narrative of being on top of the world and speaking with God—with aerial artists challenging a higher deity.\u003c/p>\n\u003cp>“We assume that being heavenly is somewhat elevated,” Moses explains about the original vision for his work. “Off the ground, everything changes, right? And what does that represent? What if I put God on the ground?” he adds. “What is it like to talk down to God?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In our conversation, it became clear his work was constantly evolving and inspired by the world around him—including our interview.\u003c/p>\n\u003cp>In a sense, this is another story about Black artists reclaiming a historically-exclusionary art form. Yet Moses implores us to envisage beyond the platitude of what it means to be a Black artist in a historically white space. “Fuck the new area,” says Moses. “This is the old area that we’re claiming a right to.”\u003c/p>\n\u003ch2>\u003cb>Diversifying the field\u003c/b>\u003c/h2>\n\u003cp>Joanna Haigood, the artistic director of San Francisco’s Zaccho Dance Theatre and the founder and curator of SFAAF (which is supported by the Gerbode Foundation and San Francisco Arts Commission), says Black artists have been historically barred from entering the fields of circus and contemporary dance\u003cb>. \u003c/b>\u003c/p>\n\u003cp>There’s been “a fair amount of racism” in circus, says Haigood. “So it’s been difficult to break in for reasons of, you know, ‘Your skin’s too dark,’ or whatever ideas of what the perfect body is.” Aerial arts is a relatively new art form, she says, where the prejudice is perhaps less explicit—but there are fewer productions and therefore fewer artist opportunities.\u003c/p>\n\u003cp>Haigood is proud of the genre-defying artists who are actively diversifying the field and making work for the festival, which, beyond Moses, includes artists like Veronica Blair, Susan Voytickyand and the young aerialists of the SFAAF Youth Revelry.\u003c/p>\n\u003cfigure id=\"attachment_13917526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg\" alt=\"Aerial artists are suspended on building\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Aerial Arts Festival commissions new work from artists who seamlessly merge contemporary dance with circus and aerial arts, like BANDALOOP \u003ccite>(Austin Forbord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m bringing all these people together because they inspire me,” Haigood says. “These artists are not only calling out racism but celebrating their differences and finding voice in their cultural lives and personal experiences.”\u003c/p>\n\u003cp>Aerialists Veronica Blair and Susan Voyticky’s offering to SFAAF plays homage to a classic Black story. Seven stories, in fact.\u003c/p>\n\u003cp>Their project, \u003ci>The Rainbow is Enuf\u003c/i>, reimagines Ntozake Shange’s acclaimed choreopoem \u003ci>for colored girls who have considered suicide/ when the rainbow is enuf\u003c/i>. The 1975 source material peers into the lives of seven women of African descent, telling their individual stories and shared experiences in a world shaped by patriarchy, sexism and racism.\u003c/p>\n\u003cp>Blair and Voyticky connect the text to modern-day circus by channeling the contemporary experiences of the six women of color in the ensemble. “With our bodies, we’re able to interpret the work and ask … what does it mean to be a woman of color in 2022?” Blair asks. “What kind of things are we facing as a demographic, as individuals, generationally, ancestrally?”\u003c/p>\n\u003cfigure id=\"attachment_13917530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg\" alt=\"Aerial dancer suspended in fabric\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Blair and Susan Voytick’s work for SFAAF reimagines Ntozake Shange’s acclaimed choreopoem ‘for colored girls who have considered suicide/ when the rainbow is enuf’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Veronica is trying to tell a uniquely Black story through the lens of circus,” says Haigood. “I think that’s fantastic.”\u003c/p>\n\u003cp>While the festival centers artists who seamlessly merge contemporary dance with circus and aerial arts, it’s only recently that these fields have become less fragmented. “For a long while they were very separate, circus and dance. And that’s changing,” says Haigood. “I really wanted to help facilitate finding new ways to be in conversation.”\u003c/p>\n\u003ch2>‘This is a new kind of clay for me’\u003c/h2>\n\u003cp>Moses, for his part, doesn’t seem interested in creating cohesion or diversifying the field. He envisions Black futures from a higher plane of existence, an “intergalactic universe” that literally elevates Black people from the ground. Hence, aerial art.\u003c/p>\n\u003cp>“This is a new kind of clay for me … you’re unhinged from the things you have known,” Moses says of working in aerial choreography for the first time, describing the experience as disorienting. “The use of weights, how you manage rhythm and quality … the poetry and aesthetic is reconfigured.”\u003c/p>\n\u003cp>Moses references Afrofuturism when describing his work, a paradigm where the African American experience and ancestry is carried into limitless visions of an alternative or future universe—yes, beyond arts diversity and inclusion. “There’s a whole intergalactic empire,” he says. “That stretch of the imagination is what this [work] is, in a way.”\u003c/p>\n\u003cp>The festival can be seen as part of an encouraging recent trend in fiscal support in the Bay Area contemporary arts world for work that supports Black artists in visionary ways, such as SOMArts’ 2019 exhibition \u003ca href=\"https://somarts.org/event/foreveramoment/\">\u003ci>Forever, A Moment: Black Meditations on Time and Space\u003c/i>\u003c/a>. Haigood feels “blessed” SFAAF artists are receiving recent grant support to “really let their imaginations stretch.” Blair, too, describes such recent fiscal support as a “dramatic turn” in the kinds of aerial projects supported by the industry.\u003c/p>\n\u003cp>Indeed, if the arts ecology is making strides to expand its lens beyond identity politics into more imaginative territory, so should arts coverage. In reflecting on our conversation after Moses asked to use it in rehearsal, I realized that asking a Black choreographer about creating dance in a historically white space is reductionist at best.\u003c/p>\n\u003cp>“You asked that kind of question because you know what the answer is gonna be,” Moses told me in response to a question on race and art. And maybe he was right.\u003c/p>\n\u003cp>“If I’m thinking about the work in being an African American then I want to do that in a place of control,” Moses says. “And if I’m directing this conversation, then I’m in control of God. And that’s heresy, because how the fuck can a Black man be more in important and powerful than God?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The 2022 San Francisco Aerial Arts Festival takes place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse. \u003c/i>\u003ca href=\"https://fortmason.org/event/sf-aerial-arts-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Not everyone’s a sun gazer,” Sara Shelton Mann said softly just before the curtains rose on a glaringly vivid sunset. The Golden Gate Bridge appeared through the windows of Fort Mason Center’s Gallery 308, as audiences squinted and gasped. “If you don’t like what you see, turn around and wake up,” Mann added.\u003c/p>\n\u003cp>[aside postID='arts_13914237']The choreographer’s foreboding house note was an overture to an enveloping summer solstice performance of \u003ci>\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" target=\"_blank\" rel=\"noopener noreferrer\">7 Excavations / at the edge of the shore and the edge of the world\u003c/a>\u003c/i>. The work activated the Fort Mason Center for Arts & Culture campus to investigate our relationship to the region’s landscape and its history of ecological transformation.\u003c/p>\n\u003cp>Throughout the evening of June 21, dancers populated space as a mosaic of colors and patterns, falling and finding themselves in forlorn duets. Props on the cement floor waited to be activated; chalk created a hopscotch grid. A guttural synth grew louder as live percussion crescendoed and waned. Film was projected and poetry was whispered as dialogue to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13915454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png\" alt=\"Dancers in gallery space with large open windows\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bag Productions’ dancers performing at Fort Mason Center’s Gallery 308. \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>7 Excavations\u003c/i> by Mixed Bag Productions (dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence) was the culminating work of the ensemble’s 21-day activation of the Fort Mason campus. But the performance was also the result of scores developed over two decades by Mann, a longtime Bay Area dancer, choreographer and healer.\u003c/p>\n\u003cp>The evening was an experimental dance in collaboration with the sun, the view and all of the dancers’ surroundings. Sitting in the audience, which surrounded the “stage” on three sides, I had difficulty parsing reality from performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I forgot to mention there is a pre-show, show, post-show and second show,” Mann told the audience midway through \u003ci>7 Excavations\u003c/i>. “This is the second show.”\u003c/p>\n\u003cfigure id=\"attachment_13915452\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png\" alt=\"A Black person in a green dress poses with their arms outstretched\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performer Gabriel Christian in ‘7 Excavations.’ \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show involved dancer Jesse Zaritt being pushed to the limits of his physicality. He read from a page held by Mann as he lifted himself above a stool with only his arm strength. His palpable discomfort juxtaposed with Mann’s calm demeanor. Next, he joined the other dancers who slapped flower bouquets to the ground, spilling petals across the stage.\u003c/p>\n\u003cp>The sequence was interrupted by another kind of house note: the voice of Frank Smigiel, director of arts programming and partnerships for Fort Mason. As his voice echoed in the gallery space, we learned it was part of the theatrics. His speech shared historical insight into the site’s history of colonization and army-caused ecological destruction, both at Fort Mason and across San Francisco. Meanwhile, dancers sparred with themselves in struggling motion, embodying the history of the land we were occupying.\u003c/p>\n\u003cfigure id=\"attachment_13915457\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg\" alt=\"A woman with white hair with two performers in background\" width=\"801\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-768x604.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leading up to the solstice, the public could witness and participate in open rehearsals of Mann’s choreographic process on the Fort Mason campus. That process included activities like “Chi Cultivation,” “Movement Alchemy” physical training, and a writing and movement workshop. Filmmaker Tori Lawrence led a class that made a black-and-white film of the desert that later became part of \u003ci>7 excavations. \u003c/i>Watching the performance, I wondered how much the public contributed to the final product over the course of the residency.\u003c/p>\n\u003cp>\u003ci>7 Excavations\u003c/i>’ site-specific process was subtly displayed through performance vignettes. Unlike many pandemic-era performances, the June 21 audience wasn’t roving through an outdoor site to follow dancers as they jumped on benches or out of buildings. Rather, the ensemble’s relationship to the Fort Mason campus felt more intimate and contained.\u003c/p>\n\u003cp>At first I was surprised to be seated, but Mann later invited audiences to navigate the world she and her collaborators created, expanding the stage to include more of the world beyond Galley 308, with the dramatic Bay as its backdrop. We separated ourselves into indoor and outdoor viewers. Outside, dancers chased one another and scribbled chalk on the blacktop while Ira Echo played her violin. Inside, we explored the traces of the performance and set pieces constructed during the residency: projected prose about racism, a forgotten game of hopscotch, chalked poetry.\u003c/p>\n\u003cfigure id=\"attachment_13915456\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg\" alt=\"8 artists in colorful clothing smile in green meadow\" width=\"801\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-768x561.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bags Productions includes dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the art activations and culminating performance, \u003ci>7 Excavations \u003c/i>mined motifs of our relationship (or lack thereof) to nature. The work yearned for ecological and communal harmony without didacticism. And it succeeded; there was an acute whimsy at play with the gravity of the performance. The audience chuckled. Violin strings were plucked like a wink. Poetic choices were met with brevity, such as a voice that repeated, “Congratulations, you got the job!” alongside Miles Lassi’s lush, synth-drenched soundscore.\u003c/p>\n\u003cp>Watching the ensemble animate the Fort Mason campus, time seemed to stretch as it got dark. It felt like days ago I was squinting at the sunset through newly uncovered windows—always a good sign. \u003ci>7 Excavations / at the edge of the shore and the edge of the world\u003c/i> found innovative ways to collaborate with its setting, leaving me contemplating how “the rules” of a performance can evolve to match the evolution of the landscape around it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘7 Excavations / at the edge of the shore and the edge of the world’ took place on Tuesday, June 21 at Fort Mason Center for Arts & Culture. For more information on the venue’s summer programming, \u003ca href=\"https://fortmason.org/events\">click here\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The choreographer’s foreboding house note was an overture to an enveloping summer solstice performance of \u003ci>\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" target=\"_blank\" rel=\"noopener noreferrer\">7 Excavations / at the edge of the shore and the edge of the world\u003c/a>\u003c/i>. The work activated the Fort Mason Center for Arts & Culture campus to investigate our relationship to the region’s landscape and its history of ecological transformation.\u003c/p>\n\u003cp>Throughout the evening of June 21, dancers populated space as a mosaic of colors and patterns, falling and finding themselves in forlorn duets. Props on the cement floor waited to be activated; chalk created a hopscotch grid. A guttural synth grew louder as live percussion crescendoed and waned. Film was projected and poetry was whispered as dialogue to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13915454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png\" alt=\"Dancers in gallery space with large open windows\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bag Productions’ dancers performing at Fort Mason Center’s Gallery 308. \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>7 Excavations\u003c/i> by Mixed Bag Productions (dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence) was the culminating work of the ensemble’s 21-day activation of the Fort Mason campus. But the performance was also the result of scores developed over two decades by Mann, a longtime Bay Area dancer, choreographer and healer.\u003c/p>\n\u003cp>The evening was an experimental dance in collaboration with the sun, the view and all of the dancers’ surroundings. Sitting in the audience, which surrounded the “stage” on three sides, I had difficulty parsing reality from performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I forgot to mention there is a pre-show, show, post-show and second show,” Mann told the audience midway through \u003ci>7 Excavations\u003c/i>. “This is the second show.”\u003c/p>\n\u003cfigure id=\"attachment_13915452\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png\" alt=\"A Black person in a green dress poses with their arms outstretched\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performer Gabriel Christian in ‘7 Excavations.’ \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show involved dancer Jesse Zaritt being pushed to the limits of his physicality. He read from a page held by Mann as he lifted himself above a stool with only his arm strength. His palpable discomfort juxtaposed with Mann’s calm demeanor. Next, he joined the other dancers who slapped flower bouquets to the ground, spilling petals across the stage.\u003c/p>\n\u003cp>The sequence was interrupted by another kind of house note: the voice of Frank Smigiel, director of arts programming and partnerships for Fort Mason. As his voice echoed in the gallery space, we learned it was part of the theatrics. His speech shared historical insight into the site’s history of colonization and army-caused ecological destruction, both at Fort Mason and across San Francisco. Meanwhile, dancers sparred with themselves in struggling motion, embodying the history of the land we were occupying.\u003c/p>\n\u003cfigure id=\"attachment_13915457\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg\" alt=\"A woman with white hair with two performers in background\" width=\"801\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-768x604.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leading up to the solstice, the public could witness and participate in open rehearsals of Mann’s choreographic process on the Fort Mason campus. That process included activities like “Chi Cultivation,” “Movement Alchemy” physical training, and a writing and movement workshop. Filmmaker Tori Lawrence led a class that made a black-and-white film of the desert that later became part of \u003ci>7 excavations. \u003c/i>Watching the performance, I wondered how much the public contributed to the final product over the course of the residency.\u003c/p>\n\u003cp>\u003ci>7 Excavations\u003c/i>’ site-specific process was subtly displayed through performance vignettes. Unlike many pandemic-era performances, the June 21 audience wasn’t roving through an outdoor site to follow dancers as they jumped on benches or out of buildings. Rather, the ensemble’s relationship to the Fort Mason campus felt more intimate and contained.\u003c/p>\n\u003cp>At first I was surprised to be seated, but Mann later invited audiences to navigate the world she and her collaborators created, expanding the stage to include more of the world beyond Galley 308, with the dramatic Bay as its backdrop. We separated ourselves into indoor and outdoor viewers. Outside, dancers chased one another and scribbled chalk on the blacktop while Ira Echo played her violin. Inside, we explored the traces of the performance and set pieces constructed during the residency: projected prose about racism, a forgotten game of hopscotch, chalked poetry.\u003c/p>\n\u003cfigure id=\"attachment_13915456\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg\" alt=\"8 artists in colorful clothing smile in green meadow\" width=\"801\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-768x561.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bags Productions includes dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the art activations and culminating performance, \u003ci>7 Excavations \u003c/i>mined motifs of our relationship (or lack thereof) to nature. The work yearned for ecological and communal harmony without didacticism. And it succeeded; there was an acute whimsy at play with the gravity of the performance. The audience chuckled. Violin strings were plucked like a wink. Poetic choices were met with brevity, such as a voice that repeated, “Congratulations, you got the job!” alongside Miles Lassi’s lush, synth-drenched soundscore.\u003c/p>\n\u003cp>Watching the ensemble animate the Fort Mason campus, time seemed to stretch as it got dark. It felt like days ago I was squinting at the sunset through newly uncovered windows—always a good sign. \u003ci>7 Excavations / at the edge of the shore and the edge of the world\u003c/i> found innovative ways to collaborate with its setting, leaving me contemplating how “the rules” of a performance can evolve to match the evolution of the landscape around it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘7 Excavations / at the edge of the shore and the edge of the world’ took place on Tuesday, June 21 at Fort Mason Center for Arts & Culture. For more information on the venue’s summer programming, \u003ca href=\"https://fortmason.org/events\">click here\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ybca-sf-gipa-guaranteed-income-artists-phase-two",
"title": "60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA",
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"headTitle": "60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA | KQED",
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"content": "\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. [aside postid='arts_13913890']\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\n\u003cp>https://youtu.be/AGMXdl9Rjq0\u003c/p>\n\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. [aside postid='arts_13914743']\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\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/AGMXdl9Rjq0'\n title='//www.youtube.com/embed/AGMXdl9Rjq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"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",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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