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"innerHTML": "\n\u003cp>“A lot of the colors might seem a bit fantastical when, you know, it’s like a neon orange sun spot,” Rosenberg says. “But that actually happens when you’re looking and you see there’s a burst of a fluorescent.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Sometimes her inspiration isn’t literal at all, Rosenberg continues. “The way that we name moons, right? The pink moon, the blue moon. I was going with [how] all the places we find color are not just how we see it, but also in writing and language and feeling and music.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The mural, which will be up for a year, was commissioned by the Fort Mason Center for Arts and Culture as part of its \u003ca href=\"https://fortmason.org/event/fort-mason-art-walk-fall-2026/\">programming\u003c/a> geared towards its 50th anniversary in 2027. \u003c/p>\n",
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"innerHTML": "\n\u003cp>When the center opened in the ’70s, it hosted eclectic events including a Tahitian cultural celebration and a sculpture-making collaboration in the parking lot. While things quieted down during the pandemic, “the program since that moment has been constantly trying to dial up the intensity of arts experiences,” said Chief Curator and Director of Programming Frank Smigiel. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The opening reception for \u003cem>The Sea is But Another Sky \u003c/em>takes place Sept. 17 during Fort Mason’s \u003ca href=\"https://fortmason.org/event/fort-mason-art-walk-fall-2026/\">free art walk\u003c/a>. Rosenberg and Spiegel will give a talk about the mural, and nearby exhibitions and performances will activate the entire campus, including the group show \u003cem>250 Years, Indigenous Futures \u003c/em>at Haines Gallery, a new installation by Muzae Sesay and Alexcia Sundra in the gatehouse gallery run by FOR-SITE, and a performance by hip-hop artist Niko Otis.\u003c/p>\n",
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"excerpt": "Leah Rosenberg’s ‘The Sea Is But Another Sky’ is part of the multifaceted programming at the free Fort Mason art walk on Sept. 17. ",
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"title": "A Massive New Mural at Fort Mason Brings Otherworldly Colors to the Water’s Edge | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>When Leah Rosenberg arrives at a new location for a public artwork, she might spend up to a month studying the light, the natural environment and how the colors change depending on the time of day. Only then does she concoct a vivid palette that transforms a wall or building into something otherworldly. \u003c/p>\n\n\n\n\u003cp>“[Color is] an attraction, it gets attention,” Rosenberg says. “And then it is a tool to talk about deeper and important things. I think one of the important things now is to figure out how to be in the world and to treat each other well.”\u003c/p>\n\n\n\n\u003cp>The San Francisco-based artist has created numerous large-scale installations, including pieces for the San Francisco Museum of Modern Art and the San Francisco International Airport. Her latest project transforms 18 loading docks at Fort Mason with a mural inspired by the sunrise, sunset and moonrise on the waters of the Bay. It’s called \u003cem>The Sea is But Another Sky\u003c/em>, and its vivid oranges, seafoam greens and aquatic blues follow visitors as they make their way through Fort Mason’s former military buildings to the water’s edge to take in the stunning view. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1703\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-scaled.jpg\" alt=\"\" class=\"wp-image-13993816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC_2676-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" />\u003cfigcaption class=\"wp-element-caption\">Fort Mason visitors walk past Leah Rosenberg’s new mural, ‘The Sea Is But Another Sky.’ (Pat Mazzera)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>“A lot of the colors might seem a bit fantastical when, you know, it’s like a neon orange sun spot,” Rosenberg says. “But that actually happens when you’re looking and you see there’s a burst of a fluorescent.” \u003c/p>\n\n\n\n\u003cp>Sometimes her inspiration isn’t literal at all, Rosenberg continues. “The way that we name moons, right? The pink moon, the blue moon. I was going with [how] all the places we find color are not just how we see it, but also in writing and language and feeling and music.”\u003c/p>\n\n\n\n\u003cp>The mural, which will be up for a year, was commissioned by the Fort Mason Center for Arts and Culture as part of its \u003ca href=\"https://fortmason.org/event/fort-mason-art-walk-fall-2026/\">programming\u003c/a> geared towards its 50th anniversary in 2027. \u003c/p>\n\n\n\n\u003cp>When the center opened in the ’70s, it hosted eclectic events including a Tahitian cultural celebration and a sculpture-making collaboration in the parking lot. While things quieted down during the pandemic, “the program since that moment has been constantly trying to dial up the intensity of arts experiences,” said Chief Curator and Director of Programming Frank Smigiel. \u003c/p>\n\n\n\n\u003cp>The opening reception for \u003cem>The Sea is But Another Sky \u003c/em>takes place Sept. 17 during Fort Mason’s \u003ca href=\"https://fortmason.org/event/fort-mason-art-walk-fall-2026/\">free art walk\u003c/a>. Rosenberg and Spiegel will give a talk about the mural, and nearby exhibitions and performances will activate the entire campus, including the group show \u003cem>250 Years, Indigenous Futures \u003c/em>at Haines Gallery, a new installation by Muzae Sesay and Alexcia Sundra in the gatehouse gallery run by FOR-SITE, and a performance by hip-hop artist Niko Otis.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "‘African Stew,’ Set In Oakland, Reflects Playwright’s Own Bay Area Roots",
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"content": "\n\u003cp>Lisa B. Thompson sets her plays in cities that are personally meaningful. \u003cem>Monroe\u003c/em>, a Great Migration story, was inspired by her mother’s hometown in Louisiana. Her son was born in Albany, New York, which became the setting for \u003cem>Underground\u003c/em>, a political thriller about the movement for civil rights in the United States.\u003c/p>\n\n\n\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n\n\n\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Lisa B. Thompson, the playwright of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n\n\n\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n\n\n\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n\n\n\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg\" alt=\"\" class=\"wp-image-13993478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde (left), who plays Julie Lawson, and Titus VanHook (right), who plays Akintunde Ogunde, rehearse for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Since I live in Oakland, I have to ask: Why is Oakland the setting?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde ,who plays Julie Lawson, rehearses for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n\n\n\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n",
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"\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Lisa B. Thompson, the playwright of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n",
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"\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n",
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"\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n",
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"\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg\" alt=\"\" class=\"wp-image-13993478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde (left), who plays Julie Lawson, and Titus VanHook (right), who plays Akintunde Ogunde, rehearse for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg\" alt=\"\" class=\"wp-image-13993478\"/>\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde (left), who plays Julie Lawson, and Titus VanHook (right), who plays Akintunde Ogunde, rehearse for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n",
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"\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n",
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"\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\"/>\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Since I live in Oakland, I have to ask: Why is Oakland the setting?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n",
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"\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n",
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"\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde ,who plays Julie Lawson, rehearses for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993475\"/>\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde ,who plays Julie Lawson, rehearses for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n",
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"\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n"
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"innerHTML": "\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n",
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"\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"excerpt": "Lisa B. Thompson’s new play explores tensions between the African American and Nigerian families of an engaged couple.\n",
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"title": "‘African Stew,’ Set In Oakland, Reflects Lisa B. Thompson’s Bay Area Roots | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lisa B. Thompson sets her plays in cities that are personally meaningful. \u003cem>Monroe\u003c/em>, a Great Migration story, was inspired by her mother’s hometown in Louisiana. Her son was born in Albany, New York, which became the setting for \u003cem>Underground\u003c/em>, a political thriller about the movement for civil rights in the United States.\u003c/p>\n\n\n\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n\n\n\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Lisa B. Thompson, the playwright of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n\n\n\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n\n\n\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n\n\n\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg\" alt=\"\" class=\"wp-image-13993478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde (left), who plays Julie Lawson, and Titus VanHook (right), who plays Akintunde Ogunde, rehearse for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Since I live in Oakland, I have to ask: Why is Oakland the setting?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde ,who plays Julie Lawson, rehearses for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n\n\n\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF Camerawork, Legacy Photo Nonprofit, Avoids Closure",
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"content": "\n\u003cp>Nearly three weeks after \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">SF Camerawork announced\u003c/a> its sudden, permanent closure, the 52-year-old photography nonprofit now says it will remain open, thanks to a new interim executive director and a fully replaced board.\u003c/p>\n\n\n\n\u003cp>“After a period of uncertainty, we are thrilled to announce that SF Camerawork will continue,” the organization \u003ca href=\"http://www.instagram.com/p/DcmsaxLgkfE/\">announced\u003c/a> on social media and its website on Aug. 29. \u003c/p>\n\n\n\n\n\n\u003cp>Camerawork, which supports photographers with exhibitions, publications, critiques and other events, was founded in 1974 and has been a crucial space at the beginning of many artists’ careers.\u003c/p>\n\n\n\n\u003cp>The effort to avoid closure was led by photographer Hal Fischer, one of three original founders of the nonprofit, and Monique Deschaines, director of \u003ca href=\"https://www.euqinomgallery.com/about\">Euqinom Gallery\u003c/a> and a former Camerawork board member. \u003c/p>\n\n\n\n\u003cp>Fischer will now serve as board president; Deschaines is the interim executive director. Other \u003ca href=\"https://sfcamerawork.org/who-we-are\">new board members\u003c/a> include Alexis Gordon, Sarah Miller, Adrian Martinez, Alex Ramos, Dave Elfving and Erika Gentry. The group is a mixture of artists and arts professionals, many with long ties to the organization.\u003c/p>\n\n\n\n\u003cp>“The last three weeks are really a blur,” Fischer told KQED. The group needed to work fast; Camerawork’s lease at Fort Mason Center was due to end Aug. 31. \u003c/p>\n\n\n\n\u003cp>Camerawork cited rising operating costs, declining public funding and changes to the “philanthropic landscape” as the reasons behind its closure. But few in the arts community had heard the organization was in trouble before the Aug. 10 announcement.\u003c/p>\n\n\n\n\u003cp>“Nobody knew really what was going on,” Fischer told KQED that day. “And I am getting emails, calls from all over, from LA. ‘We wanna help, we wanna stop this.’”\u003c/p>\n\n\n\n\u003cp>Over the past three weeks, Fischer, Deschaines and a working group of supporters made a proposal to the former board: let us look at the books and put forward a new board, and we can help fund the organization through early 2027. \u003c/p>\n\n\n\n\u003cp>The transition to new leadership has gone fairly smoothly, Fischer said. “I think they were pretty fatigued,” he said. “I think it’s been a really tough road.”\u003c/p>\n\n\n\n\u003cp>The reversal is happy news for an arts community that has suffered its fair share of \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">institutional closures\u003c/a> in recent years. For his part, Fischer is optimistic about the future: “What Camerawork does for emerging photographers, emerging curators, there’s more need for that than ever.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>SF Camerawork will reopen with a \u003ca href=\"https://sfcamerawork.org/upcoming\">members’ exhibition\u003c/a> Sept. 16–Oct. 4, 2026. An opening reception will take place Thursday, Sept. 17, 5–8 p.m.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Camerawork, which supports photographers with exhibitions, publications, critiques and other events, was founded in 1974 and has been a crucial space at the beginning of many artists’ careers.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Fischer will now serve as board president; Deschaines is the interim executive director. Other \u003ca href=\"https://sfcamerawork.org/who-we-are\">new board members\u003c/a> include Alexis Gordon, Sarah Miller, Adrian Martinez, Alex Ramos, Dave Elfving and Erika Gentry. The group is a mixture of artists and arts professionals, many with long ties to the organization.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The last three weeks are really a blur,” Fischer told KQED. The group needed to work fast; Camerawork’s lease at Fort Mason Center was due to end Aug. 31. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>SF Camerawork will reopen with a \u003ca href=\"https://sfcamerawork.org/upcoming\">members’ exhibition\u003c/a> Sept. 16–Oct. 4, 2026. An opening reception will take place Thursday, Sept. 17, 5–8 p.m.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Nearly three weeks after \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">SF Camerawork announced\u003c/a> its sudden, permanent closure, the 52-year-old photography nonprofit now says it will remain open, thanks to a new interim executive director and a fully replaced board.\u003c/p>\n\n\n\n\u003cp>“After a period of uncertainty, we are thrilled to announce that SF Camerawork will continue,” the organization \u003ca href=\"http://www.instagram.com/p/DcmsaxLgkfE/\">announced\u003c/a> on social media and its website on Aug. 29. \u003c/p>\n\n\n\n\n\n\u003cp>Camerawork, which supports photographers with exhibitions, publications, critiques and other events, was founded in 1974 and has been a crucial space at the beginning of many artists’ careers.\u003c/p>\n\n\n\n\u003cp>The effort to avoid closure was led by photographer Hal Fischer, one of three original founders of the nonprofit, and Monique Deschaines, director of \u003ca href=\"https://www.euqinomgallery.com/about\">Euqinom Gallery\u003c/a> and a former Camerawork board member. \u003c/p>\n\n\n\n\u003cp>Fischer will now serve as board president; Deschaines is the interim executive director. Other \u003ca href=\"https://sfcamerawork.org/who-we-are\">new board members\u003c/a> include Alexis Gordon, Sarah Miller, Adrian Martinez, Alex Ramos, Dave Elfving and Erika Gentry. The group is a mixture of artists and arts professionals, many with long ties to the organization.\u003c/p>\n\n\n\n\u003cp>“The last three weeks are really a blur,” Fischer told KQED. The group needed to work fast; Camerawork’s lease at Fort Mason Center was due to end Aug. 31. \u003c/p>\n\n\n\n\u003cp>Camerawork cited rising operating costs, declining public funding and changes to the “philanthropic landscape” as the reasons behind its closure. But few in the arts community had heard the organization was in trouble before the Aug. 10 announcement.\u003c/p>\n\n\n\n\u003cp>“Nobody knew really what was going on,” Fischer told KQED that day. “And I am getting emails, calls from all over, from LA. ‘We wanna help, we wanna stop this.’”\u003c/p>\n\n\n\n\u003cp>Over the past three weeks, Fischer, Deschaines and a working group of supporters made a proposal to the former board: let us look at the books and put forward a new board, and we can help fund the organization through early 2027. \u003c/p>\n\n\n\n\u003cp>The transition to new leadership has gone fairly smoothly, Fischer said. “I think they were pretty fatigued,” he said. “I think it’s been a really tough road.”\u003c/p>\n\n\n\n\u003cp>The reversal is happy news for an arts community that has suffered its fair share of \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">institutional closures\u003c/a> in recent years. For his part, Fischer is optimistic about the future: “What Camerawork does for emerging photographers, emerging curators, there’s more need for that than ever.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>SF Camerawork will reopen with a \u003ca href=\"https://sfcamerawork.org/upcoming\">members’ exhibition\u003c/a> Sept. 16–Oct. 4, 2026. An opening reception will take place Thursday, Sept. 17, 5–8 p.m.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fifteen years ago, a therapist suggested Tricia Rainwater explore self-portrait photography as a way to process early childhood abuse. What started as a therapeutic practice gradually evolved into the foundation of her work as a multimedia artist — or, as she describes it, “creating an archive of [her] life.”\u003c/p>\n\u003cp>“I started to really unpack a lot of my own trauma, to look at it and piece it together,” Rainwater said. “I was able to look at a photograph, and be able to take a step back to look at it as an object that I was sorting out. Through that, I was able to process a lot of the pain and move past it, through it.”\u003c/p>\n\u003cfigure id=\"attachment_13983711\" class=\"wp-caption aligncenter\" style=\"max-width: 1618px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2.jpg\" alt=\"\" width=\"1618\" height=\"1354\" class=\"size-full wp-image-13983711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2.jpg 1618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2-1536x1285.jpg 1536w\" sizes=\"auto, (max-width: 1618px) 100vw, 1618px\">\u003cfigcaption class=\"wp-caption-text\">Tricia Rainwater, ‘Ardmore Has a Secret,’ 2022. \u003ccite>(Courtesy Tricia Rainwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Rainwater’s work has come to life in her first solo exhibition, \u003cem>The Tellings We Keep\u003c/em>, currently on view in the SF Camerawork gallery at Fort Mason through Nov. 29. The exhibit explores the long, nonlinear process of healing from trauma and the ways that storytelling, memory and identity intertwine in that process. \u003c/p>\n\u003cp>In many of her photographs, Rainwater’s hands become a central motif, a gesture of reclamation through touch. She holds objects heavy with memory: a Ziploc bag of earth from the Old Military Road trail in Arkansas, where her Native American ancestors walked the Trail of Tears. A Bible with the artist’s hair and razor blades attached. By holding these pieces, she makes the act of reclamation tangible, turning memory, pain and history into something she can grasp. \u003c/p>\n\u003cfigure id=\"attachment_13983715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Images from the series ‘Tikba Ihiya (To Keep Going),’ 2025. \u003ccite>(Courtesy Tricia Rainwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rainwater’s exhibit was made possible in part through a \u003ca href=\"https://www.baaits.org/\">Bay Area American Indian Two-Spirits\u003c/a> (BAAITS) mini-grant, which supports Indigenous artists advancing Two-Spirit and LQBTQ+ visibility through creative practice. She credits the grant not only for financial support, but for the community support that BAAITS has offered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve known of BAAITS for years, and it’s been a really beautiful place for me as an \u003ca href=\"https://www.tjcuthand.com/2017/05/12/indigequeerindigiqueer/\">indigequeer\u003c/a> person to go and feel seen,” she says, adding that it’s provided “a feeling of community and family.”\u003c/p>\n\u003cp>This year’s BAAITS grant also recognized Sage Noelle Tellez Ortiz, who plans to use the grant to host more cultural workshops with an emphasis on uplifting indigenous youth. \u003c/p>\n\u003cfigure id=\"attachment_13983713\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4.jpg\" alt=\"\" width=\"1850\" height=\"1180\" class=\"size-full wp-image-13983713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4.jpg 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4-1536x980.jpg 1536w\" sizes=\"auto, (max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Tricia Rainwater, ‘Sinners Can You Hate the Sin,’ 2022. \u003ccite>(Courtesy Tricia Rainwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the lens of being a queer Choctaw artist, Rainwater grounds her work in both personal and communal healing, meaning she doesn’t shy away from difficult subjects in her art.\u003c/p>\n\u003cp>In a previous large-scale exhibit at ICA San Jose, she created a piece addressing the crisis of missing and murdered Indigenous women, girls, and Two-Spirit people — a reality marked by systemic violence and often ignored by the mainstream.\u003c/p>\n\u003cp>In \u003cem>The Tellings We Keep\u003c/em>, she continues this approach, confronting trauma and injustice directly while shaping the narrative through her own lived experience. \u003c/p>\n\u003cp>“Stories are too often told by others,” Rainwater said. “Being able to have a solo exhibition is me telling my own story, in the way I want to.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcamerawork.org/tricia-rainwater-the-tellings-we-keep\">The Tellings We Keep\u003c/a>’ runs through Saturday, Nov. 29, at the SF Camerawork gallery at the Fort Mason Center for Arts and Culture. \u003ca href=\"https://sfcamerawork.org/tricia-rainwater-the-tellings-we-keep\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifteen years ago, a therapist suggested Tricia Rainwater explore self-portrait photography as a way to process early childhood abuse. What started as a therapeutic practice gradually evolved into the foundation of her work as a multimedia artist — or, as she describes it, “creating an archive of [her] life.”\u003c/p>\n\u003cp>“I started to really unpack a lot of my own trauma, to look at it and piece it together,” Rainwater said. “I was able to look at a photograph, and be able to take a step back to look at it as an object that I was sorting out. Through that, I was able to process a lot of the pain and move past it, through it.”\u003c/p>\n\u003cfigure id=\"attachment_13983711\" class=\"wp-caption aligncenter\" style=\"max-width: 1618px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2.jpg\" alt=\"\" width=\"1618\" height=\"1354\" class=\"size-full wp-image-13983711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2.jpg 1618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.2-1536x1285.jpg 1536w\" sizes=\"auto, (max-width: 1618px) 100vw, 1618px\">\u003cfigcaption class=\"wp-caption-text\">Tricia Rainwater, ‘Ardmore Has a Secret,’ 2022. \u003ccite>(Courtesy Tricia Rainwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Rainwater’s work has come to life in her first solo exhibition, \u003cem>The Tellings We Keep\u003c/em>, currently on view in the SF Camerawork gallery at Fort Mason through Nov. 29. The exhibit explores the long, nonlinear process of healing from trauma and the ways that storytelling, memory and identity intertwine in that process. \u003c/p>\n\u003cp>In many of her photographs, Rainwater’s hands become a central motif, a gesture of reclamation through touch. She holds objects heavy with memory: a Ziploc bag of earth from the Old Military Road trail in Arkansas, where her Native American ancestors walked the Trail of Tears. A Bible with the artist’s hair and razor blades attached. By holding these pieces, she makes the act of reclamation tangible, turning memory, pain and history into something she can grasp. \u003c/p>\n\u003cfigure id=\"attachment_13983715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rainwater10-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Images from the series ‘Tikba Ihiya (To Keep Going),’ 2025. \u003ccite>(Courtesy Tricia Rainwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rainwater’s exhibit was made possible in part through a \u003ca href=\"https://www.baaits.org/\">Bay Area American Indian Two-Spirits\u003c/a> (BAAITS) mini-grant, which supports Indigenous artists advancing Two-Spirit and LQBTQ+ visibility through creative practice. She credits the grant not only for financial support, but for the community support that BAAITS has offered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve known of BAAITS for years, and it’s been a really beautiful place for me as an \u003ca href=\"https://www.tjcuthand.com/2017/05/12/indigequeerindigiqueer/\">indigequeer\u003c/a> person to go and feel seen,” she says, adding that it’s provided “a feeling of community and family.”\u003c/p>\n\u003cp>This year’s BAAITS grant also recognized Sage Noelle Tellez Ortiz, who plans to use the grant to host more cultural workshops with an emphasis on uplifting indigenous youth. \u003c/p>\n\u003cfigure id=\"attachment_13983713\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4.jpg\" alt=\"\" width=\"1850\" height=\"1180\" class=\"size-full wp-image-13983713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4.jpg 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Tricia.4-1536x980.jpg 1536w\" sizes=\"auto, (max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Tricia Rainwater, ‘Sinners Can You Hate the Sin,’ 2022. \u003ccite>(Courtesy Tricia Rainwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the lens of being a queer Choctaw artist, Rainwater grounds her work in both personal and communal healing, meaning she doesn’t shy away from difficult subjects in her art.\u003c/p>\n\u003cp>In a previous large-scale exhibit at ICA San Jose, she created a piece addressing the crisis of missing and murdered Indigenous women, girls, and Two-Spirit people — a reality marked by systemic violence and often ignored by the mainstream.\u003c/p>\n\u003cp>In \u003cem>The Tellings We Keep\u003c/em>, she continues this approach, confronting trauma and injustice directly while shaping the narrative through her own lived experience. \u003c/p>\n\u003cp>“Stories are too often told by others,” Rainwater said. “Being able to have a solo exhibition is me telling my own story, in the way I want to.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcamerawork.org/tricia-rainwater-the-tellings-we-keep\">The Tellings We Keep\u003c/a>’ runs through Saturday, Nov. 29, at the SF Camerawork gallery at the Fort Mason Center for Arts and Culture. \u003ca href=\"https://sfcamerawork.org/tricia-rainwater-the-tellings-we-keep\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been almost 20 years since Judy Irving’s \u003cem>The Wild Parrots of Telegraph Hill \u003c/em>made her something of a local folk hero. OK, the real folk hero who emerged from the documentary was Mark Bittner, the endearing, erstwhile Telegraph Hill philosopher who befriended the parrots. But what’s a star without a director?\u003c/p>\n\u003cp>Irving reclaimed the spotlight last month when the winged wildlife she made internationally famous topped the \u003ca href=\"https://www.sfchronicle.com/projects/2023/sf-official-animal-vote/\">\u003cem>Chronicle\u003c/em> contest to choose San Francisco’s official animal\u003c/a>. \u003cem>The Washington Post\u003c/em> quoted the filmmaker extensively in a lengthy article, and the Board of Supervisors scheduled a vote to turn the \u003cem>Chron\u003c/em>’s online tally into an official proclamation. (Cue the unofficial song of San Francisco, “\u003ca href=\"https://www.youtube.com/watch?v=1Cin0QzuEss\">White Bird\u003c/a>,” except the color scheme doesn’t match.)[aside postID='arts_10144277']\u003c/p>\n\u003cp>Irving and Bittner fell in love and married in the course of making what became one of the top-grossing docs of 2005. Following in the wake of \u003cem>Pelican Dreams\u003c/em> (2014), which circles outward from the rescue of an off-course bird that tied up traffic on the Golden Gate Bridge, Irving has a new film that solidifies her standing as the Bay Area’s preeminent environmental filmmaker.\u003c/p>\n\u003cp>\u003cem>Cold Refuge\u003c/em> (receiving its world premiere Sunday, April 16 at Cowell Theater in Fort Mason in the \u003ca href=\"https://intloceanfilmfest.org/2023-film-schedule\">International Ocean Film Festival\u003c/a>) recounts the journeys of half a dozen local swimmers to the open waters of San Francisco Bay. Friends of the filmmaker from the South End Rowing Club, where Irving has been a member since 1989, each hurdled a potentially debilitating event via immersing themselves in the quintessential postcard shot.\u003c/p>\n\u003cfigure id=\"attachment_13927806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png\" alt=\"a man with brown skin stands with his shirt off and hands clasped in a yellow swim cap and goggles\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1536x1139.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1920x1424.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Naji Ali, a member of the South End Rowing Club, contemplates the water. \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you go in, you have to be completely focused on what you’re doing,” Irving says, leaning forward in a chair in her North Beach office. “There’s no multi-tasking. You’re paying attention to the tides and the currents and the waves and the wind and you are looking around to see if there are predators, or other swimmers or boats that might knock into you.”\u003c/p>\n\u003cp>Irving swam long distances in the Bay three or four times a week in the 1990s, including not-infrequent forays from the Bay Bridge to the club and around Alcatraz and back. She continues to swim in and around Aquatic Park, albeit less often, and \u003cem>Cold Refuge\u003c/em> combines that insider’s understanding with a birds-eye view of the landscape as well as the static perspective of someone sittin’ on the dock of the Bay watching the tide roll away.\u003c/p>\n\u003cp>The pleasure of watching \u003cem>Cold Refuge \u003c/em>— which provides a collage of inspiring characters, an irresistible bowl of eye candy for jaded locals and a timeless tribute to the revitalizing power of nature — consists of floating from vicarious observer of other folks’ shivery activities to experiencing their triumph and head-clearing submersion alongside them.\u003c/p>\n\u003cp>The cast includes cancer survivor and artist Zina Deretsky as well as Dr. Myles Cope, who was paralyzed from the waist down in a trench accident at 24. Nearly blind and deaf software engineer Corvin Bazgan swims tethered to a guide, while stressed-out employee benefits attorney Lisa Serebin serves as a stand-in for the overcommitted high achievers drowning (metaphorically) in details.\u003c/p>\n\u003cfigure id=\"attachment_13927801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13927801 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg\" alt=\"a man in a red shirt sits in a wheelchair with his back to the camera looking out at the bay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Myles Cope in a still from ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving appears briefly in \u003cem>Cold Refuge\u003c/em>, offscreen, to introduce each swimmer, and delivers a few choice observations at the end. Yet she’s fully present throughout, every frame dripping with her deep connection to her subjects. At the beginning of her career, she hired people to narrate her traditional short documentaries about Bay Area open space and wildlife.\u003c/p>\n\u003cp>The turning point was \u003cem>Dark Circle\u003c/em> (1982), the Emmy-winning exposé she made with Christopher Beaver and Ruth Landy about the links between nuclear power and nuclear weapons. Irving wanted Ellen Burstyn to narrate, but the actress watched the cut and said, “You’re nuts. You have to narrate this thing.”\u003c/p>\n\u003cp>Next time around, Irving felt comfortable including herself in \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>. “I ask pointed questions of Mark, off-screen, like, ‘Why don’t you get a job?’ and ‘Why don’t you cut your hair?’ And then we got together at the end.”\u003c/p>\n\u003cp>Irving’s docs serve as personal expressions in another way: she subconsciously put her late grandfather’s passions in three of them. The filmmaker grew up in New Jersey and spent summers with her family on the north fork of Long Island at her grandparents’ house. “He was so important to my young life as a budding birder,” Irving recalls.\u003c/p>\n\u003cfigure id=\"attachment_13927803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg\" alt=\"a harbor seal is seen poking its face out of blue water, following a swimmer in goggles and a swim cap \" width=\"800\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-2048x978.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1920x917.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A curious seal follows a swimmer in ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving’s four features, consequently, play like personal films, even though she isn’t the protagonist. It’s a delicate balance that doesn’t feel self-indulgent; to the contrary, her emotional investment in each story raises the stakes.\u003c/p>\n\u003cp>Irving came west in 1970 after working in Montreal trying to make a living as a freelance writer of magazine articles. She hitchhiked across the country and lived on the Queen Charlotte Islands in British Columbia in a hut on a raft for a bit before applying to Stanford’s master’s program in documentary. Irving notes that she made her thesis film in 1973, and this year marks her 50th anniversary behind the camera and the editing table.\u003c/p>\n\u003cp>While Irving has adapted and adjusted to the dramatic changes in technology across the decades, her values haven’t shifted. Nor has her ability to laugh at her quirks.\u003c/p>\n\u003cp>“I am one of the few people left in the world, probably, who does not have a cell phone,” Irving says. “I do not want a cell phone. I don’t want to spend my life looking at a screen, especially a small screen. The irony is that I make movies and people watch them on screens. So they’re watching a mediated experience that I’ve made for them. And I’m sorry about that,” Irving says, laughing, “but I’m a filmmaker.”\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>\u003cem>‘Cold Refuge’ premieres at 10 a.m. on Sunday, April 16 at the Fort Mason Center’s Cowell Theater (2 Marina Blvd., San Francisco) as part of the International Ocean Film Festival. \u003ca href=\"https://intloceanfilmfest.org/\">More info and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been almost 20 years since Judy Irving’s \u003cem>The Wild Parrots of Telegraph Hill \u003c/em>made her something of a local folk hero. OK, the real folk hero who emerged from the documentary was Mark Bittner, the endearing, erstwhile Telegraph Hill philosopher who befriended the parrots. But what’s a star without a director?\u003c/p>\n\u003cp>Irving reclaimed the spotlight last month when the winged wildlife she made internationally famous topped the \u003ca href=\"https://www.sfchronicle.com/projects/2023/sf-official-animal-vote/\">\u003cem>Chronicle\u003c/em> contest to choose San Francisco’s official animal\u003c/a>. \u003cem>The Washington Post\u003c/em> quoted the filmmaker extensively in a lengthy article, and the Board of Supervisors scheduled a vote to turn the \u003cem>Chron\u003c/em>’s online tally into an official proclamation. (Cue the unofficial song of San Francisco, “\u003ca href=\"https://www.youtube.com/watch?v=1Cin0QzuEss\">White Bird\u003c/a>,” except the color scheme doesn’t match.)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Irving and Bittner fell in love and married in the course of making what became one of the top-grossing docs of 2005. Following in the wake of \u003cem>Pelican Dreams\u003c/em> (2014), which circles outward from the rescue of an off-course bird that tied up traffic on the Golden Gate Bridge, Irving has a new film that solidifies her standing as the Bay Area’s preeminent environmental filmmaker.\u003c/p>\n\u003cp>\u003cem>Cold Refuge\u003c/em> (receiving its world premiere Sunday, April 16 at Cowell Theater in Fort Mason in the \u003ca href=\"https://intloceanfilmfest.org/2023-film-schedule\">International Ocean Film Festival\u003c/a>) recounts the journeys of half a dozen local swimmers to the open waters of San Francisco Bay. Friends of the filmmaker from the South End Rowing Club, where Irving has been a member since 1989, each hurdled a potentially debilitating event via immersing themselves in the quintessential postcard shot.\u003c/p>\n\u003cfigure id=\"attachment_13927806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png\" alt=\"a man with brown skin stands with his shirt off and hands clasped in a yellow swim cap and goggles\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1536x1139.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1920x1424.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Naji Ali, a member of the South End Rowing Club, contemplates the water. \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you go in, you have to be completely focused on what you’re doing,” Irving says, leaning forward in a chair in her North Beach office. “There’s no multi-tasking. You’re paying attention to the tides and the currents and the waves and the wind and you are looking around to see if there are predators, or other swimmers or boats that might knock into you.”\u003c/p>\n\u003cp>Irving swam long distances in the Bay three or four times a week in the 1990s, including not-infrequent forays from the Bay Bridge to the club and around Alcatraz and back. She continues to swim in and around Aquatic Park, albeit less often, and \u003cem>Cold Refuge\u003c/em> combines that insider’s understanding with a birds-eye view of the landscape as well as the static perspective of someone sittin’ on the dock of the Bay watching the tide roll away.\u003c/p>\n\u003cp>The pleasure of watching \u003cem>Cold Refuge \u003c/em>— which provides a collage of inspiring characters, an irresistible bowl of eye candy for jaded locals and a timeless tribute to the revitalizing power of nature — consists of floating from vicarious observer of other folks’ shivery activities to experiencing their triumph and head-clearing submersion alongside them.\u003c/p>\n\u003cp>The cast includes cancer survivor and artist Zina Deretsky as well as Dr. Myles Cope, who was paralyzed from the waist down in a trench accident at 24. Nearly blind and deaf software engineer Corvin Bazgan swims tethered to a guide, while stressed-out employee benefits attorney Lisa Serebin serves as a stand-in for the overcommitted high achievers drowning (metaphorically) in details.\u003c/p>\n\u003cfigure id=\"attachment_13927801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13927801 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg\" alt=\"a man in a red shirt sits in a wheelchair with his back to the camera looking out at the bay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Myles Cope in a still from ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving appears briefly in \u003cem>Cold Refuge\u003c/em>, offscreen, to introduce each swimmer, and delivers a few choice observations at the end. Yet she’s fully present throughout, every frame dripping with her deep connection to her subjects. At the beginning of her career, she hired people to narrate her traditional short documentaries about Bay Area open space and wildlife.\u003c/p>\n\u003cp>The turning point was \u003cem>Dark Circle\u003c/em> (1982), the Emmy-winning exposé she made with Christopher Beaver and Ruth Landy about the links between nuclear power and nuclear weapons. Irving wanted Ellen Burstyn to narrate, but the actress watched the cut and said, “You’re nuts. You have to narrate this thing.”\u003c/p>\n\u003cp>Next time around, Irving felt comfortable including herself in \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>. “I ask pointed questions of Mark, off-screen, like, ‘Why don’t you get a job?’ and ‘Why don’t you cut your hair?’ And then we got together at the end.”\u003c/p>\n\u003cp>Irving’s docs serve as personal expressions in another way: she subconsciously put her late grandfather’s passions in three of them. The filmmaker grew up in New Jersey and spent summers with her family on the north fork of Long Island at her grandparents’ house. “He was so important to my young life as a budding birder,” Irving recalls.\u003c/p>\n\u003cfigure id=\"attachment_13927803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg\" alt=\"a harbor seal is seen poking its face out of blue water, following a swimmer in goggles and a swim cap \" width=\"800\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-2048x978.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1920x917.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A curious seal follows a swimmer in ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving’s four features, consequently, play like personal films, even though she isn’t the protagonist. It’s a delicate balance that doesn’t feel self-indulgent; to the contrary, her emotional investment in each story raises the stakes.\u003c/p>\n\u003cp>Irving came west in 1970 after working in Montreal trying to make a living as a freelance writer of magazine articles. She hitchhiked across the country and lived on the Queen Charlotte Islands in British Columbia in a hut on a raft for a bit before applying to Stanford’s master’s program in documentary. Irving notes that she made her thesis film in 1973, and this year marks her 50th anniversary behind the camera and the editing table.\u003c/p>\n\u003cp>While Irving has adapted and adjusted to the dramatic changes in technology across the decades, her values haven’t shifted. Nor has her ability to laugh at her quirks.\u003c/p>\n\u003cp>“I am one of the few people left in the world, probably, who does not have a cell phone,” Irving says. “I do not want a cell phone. I don’t want to spend my life looking at a screen, especially a small screen. The irony is that I make movies and people watch them on screens. So they’re watching a mediated experience that I’ve made for them. And I’m sorry about that,” Irving says, laughing, “but I’m a filmmaker.”\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>\u003cem>‘Cold Refuge’ premieres at 10 a.m. on Sunday, April 16 at the Fort Mason Center’s Cowell Theater (2 Marina Blvd., San Francisco) as part of the International Ocean Film Festival. \u003ca href=\"https://intloceanfilmfest.org/\">More info and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"title": "Dancing Through the Summer Solstice with Sara Shelton Mann",
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"headTitle": "Dancing Through the Summer Solstice with Sara Shelton Mann | KQED",
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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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"title": "Sara Shelton Mann at Fort Mason: A Dance with Site and Solstice | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"title": "Two Distinctly San Francisco Theater Companies Announce Bold Leadership Changes",
"headTitle": "Two Distinctly San Francisco Theater Companies Announce Bold Leadership Changes | KQED",
"content": "\u003cp>In a year of massive fluctuation throughout the Bay Area theatrical ecosystem, several leadership transitions at notable companies have been announced—most recently the appointment of Sean San José as the new Artistic Director of Magic Theatre, and the stepping down of Allison Page, currently both the Executive Director and Artistic Director of Killing My Lobster.\u003c/p>\n\u003cp>For Sean San José, stepping in as Artistic Director of Magic Theatre is a full-circle moment. He’d first acquired his equity card at Magic Theatre in 1990, while working on Erin Cressida Wilson’s \u003cem>Soiled Eyes of a Ghost\u003c/em>—a significant flex for a working-class kid from the Mission district of San Francisco.\u003c/p>\n\u003cp>“San Francisco (is) such a union town, the idea of a union meant a lot to me,” San José reminisces. Three years later, during an early production of \u003cem>Giants Have Us in Their Books\u003c/em>, by José Rivera, San José met actor Margo Hall, and the rest, one could say, is history. As founding members (with Michael Torres and Luis Saguar) of Campo Santo, a theatre collective dedicated to community development of new work, the two have been collaborators and artistic leaders for over 25 years.\u003c/p>\n\u003cfigure id=\"attachment_13898100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJose%CC%81_photocredit_JenniferReiley-800x610.jpg\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1536x1171.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley.jpg 1818w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gendell Hing-Hernandez and Sean San José in Oedipus El Rey, the 2019 revival, at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San José’s affinity for new works complements the Magic Theatre’s own emphasis on new plays and cultivating long-term relationships with various playwrights. In fact, many of Magic Theatre’s most artistically exciting collaborations in recent years have been with playwrights who’ve developed significant work with Campo Santo—including Octavio Solis, Luis Alfaro, Jessica Hagedorn, and Richard Montoya.\u003c/p>\n\u003cp>A welcome outcome of San José’s appointment is that of making Campo Santo a company-in-residence—ending a long period of homelessness precipitated by their loss of their long residency with Intersection for the Arts. And it’s this idea of making Magic Theatre a home—not just for Campo but for the greater Bay Area—that really has San José excited for the future of the space. A future that includes public readings, live music, creative partnerships, and a concentrated push to make Fort Mason and Magic Theatre the destination place that San José remembers it as being.\u003c/p>\n\u003cfigure id=\"attachment_13898101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>(courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t believe in the sustainability of the LORT season structure,” he explains. “’We do a play and we’re open when the play’s happening. And then we’re not doing the play (so) nothing’s happening.’ But to me, like, some of the most beautiful stuff happens when you’re building, when you’re creating, when you’re learning. And then the dance at the end of the night is the premiere of the play.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while San José stresses that he didn’t “set out” to lead an institution like Magic Theatre, he’s confident in the necessity of a vision centering BIPOC experiences and voices. A “POC power move,” as one of his collaborators termed his ascendancy.[aside postID='arts_13889584']\u003c/p>\n\u003cp>“People have to understand that empowerment is beauty,” he emphasizes. “Empowerment is love and creativity and openness. That’s a beautiful gesture, that’s a beautiful act…I don’t want to be so bold as to say ‘revolutionary,’ but in a certain respect it is, in that we’re going to believe in that over brick-and-mortar, over finance, over a known history.”\u003c/p>\n\u003cp>For Allison Page, the Executive Artistic Director for Killing My Lobster, San Francisco’s 24 year-old sketch comedy company, the pandemic brought an unexpected realization. Accustomed to operating in almost constant motion (in addition to her myriad duties with Killing My Lobster (KML), Page is also a playwright and sometime performer), being stuck in what she describes as the “limbo” of the slow, uncertain push towards reopening live performances exhausted her in new ways.\u003c/p>\n\u003cp>The pandemic shutdown gave her time to examine other aspects of her life, too, leading to her and her musician husband Al Kong to decide to move to Nashville, Tennessee in 2022. While Page’s announcement of her pending retirement from the company she’s called her artistic home for over a decade comes a full year before her departure, the search for her replacements has already begun. The company plans to hire an Executive Director in July, and then an Artistic Director by January of 2022, giving each new leader time to overlap with Page, whose institutional knowledge of the company and its many operations runs deep.\u003c/p>\n\u003cfigure id=\"attachment_13898102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898102\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in her award-winning role in ‘How Does That Make You Feel,’ with Killing My Lobster. \u003ccite>(Clinton Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Page is no stranger to the work of leading a company with limited resources and staff. At the age of 18 she applied to direct the high school fall production in her hometown of Thief River Falls, Minn., after the theater teacher retired. This early success gave her the momentum to found her own community theater company—Big Al’s Traveling Theatre— which she ran for five years until moving to San Francisco in 2008. To raise money for her productions, Page would participate in medical trials.\u003c/p>\n\u003cp>“I’d take these not-name-brand versions of drugs to test their side effects against the name brand version and be locked in, basically, a hospital for a month,” she remembers. “But I got…five grand out of that so I could produce a show.” After arriving in San Francisco, she became a cast member for the long-running \u003cem>Tony and Tina’s Wedding\u003c/em>, did stand-up comedy, and participated in playwriting ventures such as Pint Sized Plays, Diva Fest, and the SF Olympians Festival. In 2010 she was part of the ensemble cast for \u003cem>KML Preaches to the Choir\u003c/em>, and has been active with the company since.\u003c/p>\n\u003cfigure id=\"attachment_13898104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page, second from left, in ‘KML Presents 1997,’ with Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One initiative Page is particularly proud to have implemented early in her tenure as staff are the Diversity in Comedy Fellowships, currently offered to BIPOC and LGBTQIA+ applicants both in comedy writing and comedy acting. These fellowships were designed, Page says, in order to ensure that these communities were represented in the writer’s room and the acting pool—as fellows are guaranteed a spot on a show after “graduating” from the program. Some have gone on to be instructors at KML, founded their own companies and ensembles, and even moved out of the Bay Area to pursue opportunities in LA and elsewhere.\u003c/p>\n\u003cp>“If you can create a system where more people are getting to have experiences that they’ve not been able to have before, and then use those experiences to not only push themselves forward—but also to bring other people along for the ride—that’s always going to be better for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13898103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in the director’s seat at Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for her own ride, Page isn’t sure what her future holds, or even if she’ll stay in theater. But what she hopes for KML is that it will continue to be a place that “prioritizes, the needs and passions of the artists who work there.” Recently the company released an Artists’ Bill of Rights (inspired by HUGE Improv Theater in Minneapolis), a Student Bill of Rights, a “Needs to Create” access questionnaire, and an update on their DEI and anti-racism action plans. All of which, Page points put, is work-in-progress, but work she hopes will become normalized across the industry.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s complicated because just to tell people what their rights are or to ask them what they need does not necessarily mean that they’ll believe that they have those rights, or they’ll believe that you believe they should have them,” she muses. “But they’re something that hopefully someone who’s never worked with us before would come in and see and go ‘Okay, I feel at the very least, like maybe it’s okay that I’m here.’”\u003c/p>\n\n",
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"excerpt": "Sean San José and Allison Page discuss their roles at Magic Theatre and Killing My Lobster.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year of massive fluctuation throughout the Bay Area theatrical ecosystem, several leadership transitions at notable companies have been announced—most recently the appointment of Sean San José as the new Artistic Director of Magic Theatre, and the stepping down of Allison Page, currently both the Executive Director and Artistic Director of Killing My Lobster.\u003c/p>\n\u003cp>For Sean San José, stepping in as Artistic Director of Magic Theatre is a full-circle moment. He’d first acquired his equity card at Magic Theatre in 1990, while working on Erin Cressida Wilson’s \u003cem>Soiled Eyes of a Ghost\u003c/em>—a significant flex for a working-class kid from the Mission district of San Francisco.\u003c/p>\n\u003cp>“San Francisco (is) such a union town, the idea of a union meant a lot to me,” San José reminisces. Three years later, during an early production of \u003cem>Giants Have Us in Their Books\u003c/em>, by José Rivera, San José met actor Margo Hall, and the rest, one could say, is history. As founding members (with Michael Torres and Luis Saguar) of Campo Santo, a theatre collective dedicated to community development of new work, the two have been collaborators and artistic leaders for over 25 years.\u003c/p>\n\u003cfigure id=\"attachment_13898100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJose%CC%81_photocredit_JenniferReiley-800x610.jpg\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1536x1171.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley.jpg 1818w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gendell Hing-Hernandez and Sean San José in Oedipus El Rey, the 2019 revival, at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San José’s affinity for new works complements the Magic Theatre’s own emphasis on new plays and cultivating long-term relationships with various playwrights. In fact, many of Magic Theatre’s most artistically exciting collaborations in recent years have been with playwrights who’ve developed significant work with Campo Santo—including Octavio Solis, Luis Alfaro, Jessica Hagedorn, and Richard Montoya.\u003c/p>\n\u003cp>A welcome outcome of San José’s appointment is that of making Campo Santo a company-in-residence—ending a long period of homelessness precipitated by their loss of their long residency with Intersection for the Arts. And it’s this idea of making Magic Theatre a home—not just for Campo but for the greater Bay Area—that really has San José excited for the future of the space. A future that includes public readings, live music, creative partnerships, and a concentrated push to make Fort Mason and Magic Theatre the destination place that San José remembers it as being.\u003c/p>\n\u003cfigure id=\"attachment_13898101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>(courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t believe in the sustainability of the LORT season structure,” he explains. “’We do a play and we’re open when the play’s happening. And then we’re not doing the play (so) nothing’s happening.’ But to me, like, some of the most beautiful stuff happens when you’re building, when you’re creating, when you’re learning. And then the dance at the end of the night is the premiere of the play.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while San José stresses that he didn’t “set out” to lead an institution like Magic Theatre, he’s confident in the necessity of a vision centering BIPOC experiences and voices. A “POC power move,” as one of his collaborators termed his ascendancy.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People have to understand that empowerment is beauty,” he emphasizes. “Empowerment is love and creativity and openness. That’s a beautiful gesture, that’s a beautiful act…I don’t want to be so bold as to say ‘revolutionary,’ but in a certain respect it is, in that we’re going to believe in that over brick-and-mortar, over finance, over a known history.”\u003c/p>\n\u003cp>For Allison Page, the Executive Artistic Director for Killing My Lobster, San Francisco’s 24 year-old sketch comedy company, the pandemic brought an unexpected realization. Accustomed to operating in almost constant motion (in addition to her myriad duties with Killing My Lobster (KML), Page is also a playwright and sometime performer), being stuck in what she describes as the “limbo” of the slow, uncertain push towards reopening live performances exhausted her in new ways.\u003c/p>\n\u003cp>The pandemic shutdown gave her time to examine other aspects of her life, too, leading to her and her musician husband Al Kong to decide to move to Nashville, Tennessee in 2022. While Page’s announcement of her pending retirement from the company she’s called her artistic home for over a decade comes a full year before her departure, the search for her replacements has already begun. The company plans to hire an Executive Director in July, and then an Artistic Director by January of 2022, giving each new leader time to overlap with Page, whose institutional knowledge of the company and its many operations runs deep.\u003c/p>\n\u003cfigure id=\"attachment_13898102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898102\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in her award-winning role in ‘How Does That Make You Feel,’ with Killing My Lobster. \u003ccite>(Clinton Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Page is no stranger to the work of leading a company with limited resources and staff. At the age of 18 she applied to direct the high school fall production in her hometown of Thief River Falls, Minn., after the theater teacher retired. This early success gave her the momentum to found her own community theater company—Big Al’s Traveling Theatre— which she ran for five years until moving to San Francisco in 2008. To raise money for her productions, Page would participate in medical trials.\u003c/p>\n\u003cp>“I’d take these not-name-brand versions of drugs to test their side effects against the name brand version and be locked in, basically, a hospital for a month,” she remembers. “But I got…five grand out of that so I could produce a show.” After arriving in San Francisco, she became a cast member for the long-running \u003cem>Tony and Tina’s Wedding\u003c/em>, did stand-up comedy, and participated in playwriting ventures such as Pint Sized Plays, Diva Fest, and the SF Olympians Festival. In 2010 she was part of the ensemble cast for \u003cem>KML Preaches to the Choir\u003c/em>, and has been active with the company since.\u003c/p>\n\u003cfigure id=\"attachment_13898104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page, second from left, in ‘KML Presents 1997,’ with Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One initiative Page is particularly proud to have implemented early in her tenure as staff are the Diversity in Comedy Fellowships, currently offered to BIPOC and LGBTQIA+ applicants both in comedy writing and comedy acting. These fellowships were designed, Page says, in order to ensure that these communities were represented in the writer’s room and the acting pool—as fellows are guaranteed a spot on a show after “graduating” from the program. Some have gone on to be instructors at KML, founded their own companies and ensembles, and even moved out of the Bay Area to pursue opportunities in LA and elsewhere.\u003c/p>\n\u003cp>“If you can create a system where more people are getting to have experiences that they’ve not been able to have before, and then use those experiences to not only push themselves forward—but also to bring other people along for the ride—that’s always going to be better for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13898103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in the director’s seat at Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for her own ride, Page isn’t sure what her future holds, or even if she’ll stay in theater. But what she hopes for KML is that it will continue to be a place that “prioritizes, the needs and passions of the artists who work there.” Recently the company released an Artists’ Bill of Rights (inspired by HUGE Improv Theater in Minneapolis), a Student Bill of Rights, a “Needs to Create” access questionnaire, and an update on their DEI and anti-racism action plans. All of which, Page points put, is work-in-progress, but work she hopes will become normalized across the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Weekend of Live, Socially Distanced Music, Dance and Theater at Fort Mason",
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"content": "\u003cp>Once a site of art fairs and concerts, San Francisco’s scenic Fort Mason is becoming a destination for pandemic-friendly entertainment with its new \u003ca href=\"https://sfist.com/2020/09/04/fort-mason-to-become-sfs-first-drive-in-movie-theater-later-this-month/\" target=\"_blank\" rel=\"noopener noreferrer\">drive-in movie theater\u003c/a> and vast, open spaces.\u003c/p>\n\u003cp>As the city moves to allow \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">small-scale, outdoor performances\u003c/a>, the San Francisco International Arts Festival is putting on an experimental program that seeks to pilot what socially distanced live dance, theater and music could look like while traditional venues remain closed. [aside postid='arts_13886812']\u003c/p>\n\u003cp>Not quite a festival, SFIAF’s Oct. 24–25 weekend of outdoor programming features two days of individual, short performances with a diverse lineup of artists. Theater artist Nkechi Emeruwa will deliver her comedic \u003ca href=\"https://www.sfiaf.org/nkechi\" target=\"_blank\" rel=\"noopener noreferrer\">solo show \u003cem>Licensed to Drive While Black\u003c/em>\u003c/a>; pianist Sumi Lee and bandoneonist Heyni Solera join forces for a soulful tango performance as \u003ca href=\"https://www.sfiaf.org/sumi_lee_heyni_solera\" target=\"_blank\" rel=\"noopener noreferrer\">Las Almas\u003c/a>; and dancers Jessica Fudim and the Dance Animals collaborate with musician blue buddha on a performance piece, \u003cem>\u003ca href=\"https://www.sfiaf.org/jessica_fudim_the_dance_animals2020\" target=\"_blank\" rel=\"noopener noreferrer\">As the Crow Flies\u003c/a>\u003c/em>, that processes their shelter-in-place experience. [aside postid='arts_13886478']\u003c/p>\n\u003cp>There are 12 performances in total, and each is under an hour long and takes place in a different outdoor area of the Fort Mason campus over the two days. Attendees are invited to bring their own picnic chairs or blankets to set up in social distancing circles, with each group six feet apart from others, and masks are required. \u003ca href=\"https://www.sfiaf.org/october_2020_program_list\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a site of art fairs and concerts, San Francisco’s scenic Fort Mason is becoming a destination for pandemic-friendly entertainment with its new \u003ca href=\"https://sfist.com/2020/09/04/fort-mason-to-become-sfs-first-drive-in-movie-theater-later-this-month/\" target=\"_blank\" rel=\"noopener noreferrer\">drive-in movie theater\u003c/a> and vast, open spaces.\u003c/p>\n\u003cp>As the city moves to allow \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">small-scale, outdoor performances\u003c/a>, the San Francisco International Arts Festival is putting on an experimental program that seeks to pilot what socially distanced live dance, theater and music could look like while traditional venues remain closed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not quite a festival, SFIAF’s Oct. 24–25 weekend of outdoor programming features two days of individual, short performances with a diverse lineup of artists. Theater artist Nkechi Emeruwa will deliver her comedic \u003ca href=\"https://www.sfiaf.org/nkechi\" target=\"_blank\" rel=\"noopener noreferrer\">solo show \u003cem>Licensed to Drive While Black\u003c/em>\u003c/a>; pianist Sumi Lee and bandoneonist Heyni Solera join forces for a soulful tango performance as \u003ca href=\"https://www.sfiaf.org/sumi_lee_heyni_solera\" target=\"_blank\" rel=\"noopener noreferrer\">Las Almas\u003c/a>; and dancers Jessica Fudim and the Dance Animals collaborate with musician blue buddha on a performance piece, \u003cem>\u003ca href=\"https://www.sfiaf.org/jessica_fudim_the_dance_animals2020\" target=\"_blank\" rel=\"noopener noreferrer\">As the Crow Flies\u003c/a>\u003c/em>, that processes their shelter-in-place experience. \u003c/p>\u003c/div>",
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"content": "\u003cp>The question came from the cold, digital chat field of an online town hall meeting for San Francisco Art Institute students, but it had the force of indignation.\u003c/p>\n\u003cp>“Why would you waste freshmen’s time,” the student asked, “and make us motivated for no reason if you’re going to close?”\u003c/p>\n\u003cp>Channeling the confusion and disappointment of SFAI’s newly sheltered-at-home students, the question became a statement: “I don’t want to transfer to a new school. I love SFAI, no one can replace it.” \u003c/p>\n\u003cp>[aside postID='arts_13877340']It was March 25, two days after SFAI president Gordon Knox and board chair Pam Rorke Levy \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" rel=\"noopener noreferrer\" target=\"_blank\">issued a letter\u003c/a> to students, staff, faculty and supporters announcing the 149-year-old art school would not enroll a new class in the fall. The letter said the school was “considering the suspension” of regular courses and degree programs after May. It foretold mass faculty and staff layoffs, and advised continuing students to “pursue placement at another school.”\u003c/p>\n\u003cp>Above all, the student wanted to know: Why haven’t you solved this issue before?\u003c/p>\n\u003cp>Knox began describing efforts to grow the school’s endowment. Then his video feed glitched, and his audio became garbled and indecipherable. Levy stepped in to talk about “ramped up” efforts to reconnect with former donors, find new ones and court SFAI’s illustrious alumni, name-dropping Kehinde Wiley and Annie Leibowitz.\u003c/p>\n\u003cp>The heart of the question was effectively sidestepped.\u003c/p>\n\u003cfigure id=\"attachment_13878514\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The tower and courtyard of SFAI’s historic Chestnut Street campus. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than anything else—the convoluted announcements, the long-winded attempts at clarification, the lack of any clear plan for the future—that question and its nonanswer sum up the current chaos at SFAI. A small school with an outsize reputation for producing fine artists, SFAI is near universally beloved by those who have attended it, taught at it or simply brushed up against its influence on the Bay Area art scene since 1871. \u003c/p>\n\u003cp>Of the dozen staff, faculty, students, alumni, board members and community members interviewed for this piece, nearly all of them used the word “love” in conjunction with the school. That love means everyone wants to see SFAI continue to exist. That love means decisions have been made over the years to preserve the reputation of the school while obscuring the truth of the matter: SFAI has been in crisis for a long time.\u003c/p>\n\u003cp>And it might be too late to fix it.\u003c/p>\n\u003ch2>A Deal Too Good To Pass Up\u003c/h2>\n\u003cp>SFAI’s long-term financial woes were widely known prior to March 23, but as many members of the arts community \u003ca href=\"https://documentcloud.adobe.com/link/track?uri=urn:aaid:scds:US:59b2489a-7375-415b-af87-63f450eec6f1\" rel=\"noopener noreferrer\" target=\"_blank\">have since noted\u003c/a>, the school always managed to right itself in crises past. It was hard to know which particular hard time might actually, finally spell the end of the institution.\u003c/p>\n\u003cp>Depending on who you talk to, SFAI’s problems stem from different causes. Some blame the first dot-com bust. Others, many others, point to the school’s expansion into Fort Mason. Still others blame the rise in San Francisco’s cost of living, or the difficulty of running a small school without an enormous endowment.\u003c/p>\n\u003cp>The thing is: everyone is right. The groundwork for SFAI’s collapse was laid years before the coronavirus pandemic derailed the school’s latest plan for survival: a now-stalled merger with a larger school. And while it may be hard to run a tiny private college in one of the most expensive cities in the world, it’s even harder to do so with $19 million in debt, loans SFAI repays in installments of approximately $102,000 a month. \u003c/p>\n\u003cp>Which brings us to Fort Mason. \u003c/p>\n\u003cfigure id=\"attachment_13878520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Art Institute’s Fort Mason Center campus on Pier 2. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school’s 60-year lease at Fort Mason, a deal negotiated in 2015 by SFAI’s board and then-president Charles Desmarais (now art critic at the \u003ci>San Francisco Chronicle\u003c/i>), relocated graduate studios, classrooms and exhibition space from San Francisco’s Dogpatch neighborhood to a pier at the former military site in the Marina. Instead of a cross-town commute, the new space would be only a mile away from the school’s historic Chestnut Street campus. \u003c/p>\n\u003cp>According to Levy, the Fort Mason deal was too good to pass up. “The federal government paid the lion’s share of the seismic and infrastructure build-out of that pier,” she said in a March 24 phone interview. “All we had to do was build out the classrooms and space.” SFAI’s lease on the 67,000-square-foot building cost the school about $750,000 a year, well below market rate for Bay-front property.\u003c/p>\n\u003cp>What’s more, SFAI was growing. Enrollment was up to 699 students (undergraduate and graduate combined) during the 2014–15 school year, and the Dogpatch studios were completely full.\u003c/p>\n\u003cp>Levy says SFAI initially attempted to fund construction costs through a capital campaign, but raised only about $7 million of a hoped-for $14 million. Board members did question the wisdom of borrowing such a large sum, but the growing enrollment numbers and $3 million in tax credits convinced them to move forward.\u003c/p>\n\u003cp>SFAI shouldered $19 million of the $50 million project, borrowing the entire amount. A deed of trust on the school’s Chestnut Street campus secured the loan.\u003c/p>\n\u003cp>But as construction progressed, enrollment declined. By August 2017, when the new campus opened atop Pier 2, SFAI had only 433 students. Today, it has just 306. In the fall, it was projected to shrink further, down to 263.\u003c/p>\n\u003cfigure id=\"attachment_13878517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The opening reception at SFAI’s Chestnut Street campus for the Mission School survey ‘Energy That is All Around,’ 2013. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Commitment to Fine Art\u003c/h2>\n\u003cp>In the days following March 23, Knox and the board pointed to a number of factors contributing to the decline in numbers: the Bay Area’s prohibitive rents, the expense of a private college education, the fear of graduating with overwhelming debt.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Elizabeth Travelslight']‘The number of students just can’t support the administrative overhead of a four-year accredited college.’[/pullquote]And then there’s society’s devaluation of an art degree overall. And SFAI is distinguished among its peers for its exclusive commitment to fine art. While nearby California College of the Arts offers degree programs in illustration, interactive design and architecture—commercial curriculums that students (and their parents) might see as more marketable in the future—SFAI remains dedicated to its original mission of training fine artists. \u003c/p>\n\u003cp>It was at SFAI that Ansel Adams founded the first fine art photography department. William T. Wiley and other seminal funk artists attended the school in the 1950s. Barry McGee, Alicia McCarthy and Ruby Neri—core members of what is now known as the Mission School—are all SFAI alums. Nowhere but SFAI would \u003ca href=\"https://www.kqed.org/arts/12265794/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma\" rel=\"noopener noreferrer\" target=\"_blank\">Bruce Conner\u003c/a> be able to teach an undergraduate seminar described as “Wasted Time: unproductive activity of no practical application.”\u003c/p>\n\u003cp>As for costs, undergraduate tuition for the 2020–21 school year is listed on SFAI’s site as $45,664, graduate tuition as $47,850. Ninety percent of SFAI’s domestic students take out some form of loan to pursue their educations, loans that must one day be repaid. Amid the student debt crisis, a nearly $280,000 art degree can be a hard sell.\u003c/p>\n\u003cp>“As enrollment goes down, the number of students just can’t support the administrative overhead of a four-year accredited college,” explains union board member Elizabeth Travelslight, one of 90 adjunct faculty who teach 75% of SFAI’s total instructional hours. “Even with the vast majority of the teaching being done by low-wage workers.” \u003c/p>\n\u003ch2>Stopgaps and Attempted Solutions\u003c/h2>\n\u003cp>With less students to accommodate, SFAI sought ways to monetize its real estate via short-term event rentals and long-term leases. The school simply didn’t need all 67,000 square feet at Fort Mason, let alone over 160 art studios, so it rented out \u003ca href=\"https://www.kqed.org/arts/a/curatorial-crisis-bay-area-art-institutions\" rel=\"noopener noreferrer\" target=\"_blank\">gallery space\u003c/a> on both campuses, hosted weddings and courted subtenants. Then the coronavirus hit, canceling everything.\u003c/p>\n\u003cp>A more avoidable situation created other cash flow problems. At the end of 2019, believing there were funds available to borrow, Knox authorized spending $1.9 million to fix a leaking roof over the Chestnut Street painting studios. “By the time we finished that job, the bank decided they would not advance us these funds,” Levy explained. The $1.9 million roof job was paid from cash on hand.\u003c/p>\n\u003cfigure id=\"attachment_13878516\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An installation for SFAI’s 2017 gala, titled ‘The Original Disruptor.’ \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But SFAI might have remained SFAI—during a pandemic, without rentals, with institutional debt and a smaller student body—if the school had more of an endowment to draw upon during hard times. (Tuition and student fees currently account for about 85% of the school’s $18 million operating budget.)\u003c/p>\n\u003cp>Repeatedly, in the town hall meetings after March 23, Knox and board members assured students, faculty and staff they’d been cultivating donors and soliciting funds well before this moment. \u003c/p>\n\u003cp>[aside postID='arts_13841205']But if there was money out there to keep SFAI out of financial exigency, why hadn’t it been located? In the March 24 phone interview, Levy said an ideal situation would involve an unexpected windfall: “It would be lovely if a group of Silicon Valley philanthropists got together and said ‘We can’t let this happen.’ That would be wonderful.”\u003c/p>\n\u003cp>While that \u003ci>would\u003c/i> be lovely, and while it \u003ci>would\u003c/i> save both the board and SFAI’s leadership a lot of fundraising effort, it is not a plan.\u003c/p>\n\u003cp>The latest plan, the one without backups, was a merger with a larger school, which could relieve SFAI of some of the burdens of running an accredited college and absorb the school’s debt. But merger negotiations, which started in November (and which sources close to SFAI confirm were with the University of San Francisco), stalled in the face of a tanking economy. Dealing with significant losses to their own endowment, the larger school tabled the talks.\u003c/p>\n\u003cp>The details of those merger negotiations remain confidential. What little information students, faculty and staff had only raised fears about the loss of SFAI’s culture, changes to the school’s curriculum and layoffs.\u003c/p>\n\u003cp>Keisha Kidd, chair of the SFAI Student Alliance, remembers Knox visiting their weekly meetings excited about the plan. “He was being very positive and encouraging about it and trying to assure us there would be benefits for the students in this potential merger,” she said. “But it was never disclosed to us as something that was actually happening.”\u003c/p>\n\u003cp>And then it didn’t happen. And then, on March 31, the board asked Knox to take a leave of absence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>What Can Come Next\u003c/h2>\n\u003cp>The outline of SFAI’s immediate future is fairly determined. Students are finishing out their semester’s coursework remotely. BFA and MFA shows are canceled, along with graduation ceremonies. SFAI’s faculty and staff are employed—for now—through the end of the semester.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Pam Rorke Levy']‘The board is definitely committed to keeping the institution open as long as humanly possible.’[/pullquote]After that, whether the school will be able to offer classes and degrees to students with one or two semesters left is a matter of fundraising. The school has established an \u003ca href=\"https://sfai.edu/support-sfai/making-a-gift\" rel=\"noopener noreferrer\" target=\"_blank\">emergency fundraising portal\u003c/a>, but it’s still unclear exactly how the money would be used. (SFAI could also receive up to $10 million in forgivable loans to cover payroll through the \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program-ppp\" rel=\"noopener noreferrer\" target=\"_blank\">CARES Act\u003c/a>, which could prevent layoffs, depending on timing.)\u003c/p>\n\u003cp>And then, the board wants a full year to “reimagine” what can come next.\u003c/p>\n\u003cp>“Where we are in our decision-making is that the board is definitely committed to keeping the institution open as long as humanly possible,” Levy told student leaders in an April 1 video meeting. But long-term stability, she cautioned, won’t be achieved over the course of the summer. \u003c/p>\n\u003cp>Remaining to be seen, also, is just how much input students, faculty and staff will have in future plans. Student and faculty trustees participate in board discussions, but ultimately, voting board members and board emeriti will decide on a specific plan for SFAI’s future in a closed executive session.\u003c/p>\n\u003cp>Knox’s duties are now assumed by Jennifer Rissler, the former vice president of academic affairs, and Mark Kushner, an outside consultant. (Through a school publicist, both declined comment for this article.) But before he stepped down, Knox seemed to have latched onto the idea of turning SFAI into an art center of sorts. In this vision of a “kunsthalle,” art education and exhibitions could take place without the financial pressure of running a four-year accredited institution.\u003c/p>\n\u003cp>Per a curious and \u003ca href=\"https://regents.universityofcalifornia.edu/regmeet/may02/511.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">long-standing arrangement\u003c/a>, if that should happen—if SFAI ever ceases to operate as an institute of art, accredited or not—the property would cede to the UC Regents, along with the school’s debt.\u003c/p>\n\u003cfigure id=\"attachment_13878515\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg\" alt=\"\" width=\"1200\" height=\"1329\" class=\"size-full wp-image-13878515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-800x886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-768x851.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-1020x1130.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘The Making fo a Fresco Showing the Building of a City,’ 1931. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What SFAI owns free and clear, and what may buy its future, is the \u003ca href=\"https://sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">Diego Rivera mural\u003c/a> inside its Chestnut Street campus, commissioned by the school’s president in 1931. \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i>, recently appraised at $50 million, is not, as long believed, attached to the wall, but made on panels. Ultimately, Levy says, it could be removed from the space.\u003c/p>\n\u003cp>But even if the mural attracts a well-considered merger, or is sold to rid the school of debt, SFAI will never be what it once was. That’s been clear in the local art scene’s recent tributes on social media, an avalanche of “only at SFAI” class pictures, historic shows, legendary teachers and obit-like remembrances of the school.\u003c/p>\n\u003cp>And here’s where the effects of this particular crisis begin to spread outward, beyond the bounds of nostalgia: The dissolution of SFAI would be a devastating blow to Bay Area art. SFAI students and graduates help shape the culture of the entire region. Its faculty and staff hold vast art historical and institutional knowledge. Adjuncts, already in a financially precarious position, would have one less place to teach. SFAI’s laid-off faculty could lose their ability to remain in the Bay Area altogether, adding to the ongoing exodus of arts and culture workers from the region.\u003c/p>\n\u003cp>For years, decades, maybe the length of its entire existence, SFAI has been held together by the people who believe in its mission. In a letter to the board, the Student Alliance made it plain: “SFAI lives amongst us, and we refuse to let its legacy go.” Even a recently laid-off staff member, also an alum, still believes in the school’s impact: “I love this school,” he said. \u003c/p>\n\u003cp>“We all love the work we do,” says Travelslight. But, she adds, “Love alone does not save an institution.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The question came from the cold, digital chat field of an online town hall meeting for San Francisco Art Institute students, but it had the force of indignation.\u003c/p>\n\u003cp>“Why would you waste freshmen’s time,” the student asked, “and make us motivated for no reason if you’re going to close?”\u003c/p>\n\u003cp>Channeling the confusion and disappointment of SFAI’s newly sheltered-at-home students, the question became a statement: “I don’t want to transfer to a new school. I love SFAI, no one can replace it.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was March 25, two days after SFAI president Gordon Knox and board chair Pam Rorke Levy \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" rel=\"noopener noreferrer\" target=\"_blank\">issued a letter\u003c/a> to students, staff, faculty and supporters announcing the 149-year-old art school would not enroll a new class in the fall. The letter said the school was “considering the suspension” of regular courses and degree programs after May. It foretold mass faculty and staff layoffs, and advised continuing students to “pursue placement at another school.”\u003c/p>\n\u003cp>Above all, the student wanted to know: Why haven’t you solved this issue before?\u003c/p>\n\u003cp>Knox began describing efforts to grow the school’s endowment. Then his video feed glitched, and his audio became garbled and indecipherable. Levy stepped in to talk about “ramped up” efforts to reconnect with former donors, find new ones and court SFAI’s illustrious alumni, name-dropping Kehinde Wiley and Annie Leibowitz.\u003c/p>\n\u003cp>The heart of the question was effectively sidestepped.\u003c/p>\n\u003cfigure id=\"attachment_13878514\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The tower and courtyard of SFAI’s historic Chestnut Street campus. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than anything else—the convoluted announcements, the long-winded attempts at clarification, the lack of any clear plan for the future—that question and its nonanswer sum up the current chaos at SFAI. A small school with an outsize reputation for producing fine artists, SFAI is near universally beloved by those who have attended it, taught at it or simply brushed up against its influence on the Bay Area art scene since 1871. \u003c/p>\n\u003cp>Of the dozen staff, faculty, students, alumni, board members and community members interviewed for this piece, nearly all of them used the word “love” in conjunction with the school. That love means everyone wants to see SFAI continue to exist. That love means decisions have been made over the years to preserve the reputation of the school while obscuring the truth of the matter: SFAI has been in crisis for a long time.\u003c/p>\n\u003cp>And it might be too late to fix it.\u003c/p>\n\u003ch2>A Deal Too Good To Pass Up\u003c/h2>\n\u003cp>SFAI’s long-term financial woes were widely known prior to March 23, but as many members of the arts community \u003ca href=\"https://documentcloud.adobe.com/link/track?uri=urn:aaid:scds:US:59b2489a-7375-415b-af87-63f450eec6f1\" rel=\"noopener noreferrer\" target=\"_blank\">have since noted\u003c/a>, the school always managed to right itself in crises past. It was hard to know which particular hard time might actually, finally spell the end of the institution.\u003c/p>\n\u003cp>Depending on who you talk to, SFAI’s problems stem from different causes. Some blame the first dot-com bust. Others, many others, point to the school’s expansion into Fort Mason. Still others blame the rise in San Francisco’s cost of living, or the difficulty of running a small school without an enormous endowment.\u003c/p>\n\u003cp>The thing is: everyone is right. The groundwork for SFAI’s collapse was laid years before the coronavirus pandemic derailed the school’s latest plan for survival: a now-stalled merger with a larger school. And while it may be hard to run a tiny private college in one of the most expensive cities in the world, it’s even harder to do so with $19 million in debt, loans SFAI repays in installments of approximately $102,000 a month. \u003c/p>\n\u003cp>Which brings us to Fort Mason. \u003c/p>\n\u003cfigure id=\"attachment_13878520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/09_Fort-Mason-Campus_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Art Institute’s Fort Mason Center campus on Pier 2. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school’s 60-year lease at Fort Mason, a deal negotiated in 2015 by SFAI’s board and then-president Charles Desmarais (now art critic at the \u003ci>San Francisco Chronicle\u003c/i>), relocated graduate studios, classrooms and exhibition space from San Francisco’s Dogpatch neighborhood to a pier at the former military site in the Marina. Instead of a cross-town commute, the new space would be only a mile away from the school’s historic Chestnut Street campus. \u003c/p>\n\u003cp>According to Levy, the Fort Mason deal was too good to pass up. “The federal government paid the lion’s share of the seismic and infrastructure build-out of that pier,” she said in a March 24 phone interview. “All we had to do was build out the classrooms and space.” SFAI’s lease on the 67,000-square-foot building cost the school about $750,000 a year, well below market rate for Bay-front property.\u003c/p>\n\u003cp>What’s more, SFAI was growing. Enrollment was up to 699 students (undergraduate and graduate combined) during the 2014–15 school year, and the Dogpatch studios were completely full.\u003c/p>\n\u003cp>Levy says SFAI initially attempted to fund construction costs through a capital campaign, but raised only about $7 million of a hoped-for $14 million. Board members did question the wisdom of borrowing such a large sum, but the growing enrollment numbers and $3 million in tax credits convinced them to move forward.\u003c/p>\n\u003cp>SFAI shouldered $19 million of the $50 million project, borrowing the entire amount. A deed of trust on the school’s Chestnut Street campus secured the loan.\u003c/p>\n\u003cp>But as construction progressed, enrollment declined. By August 2017, when the new campus opened atop Pier 2, SFAI had only 433 students. Today, it has just 306. In the fall, it was projected to shrink further, down to 263.\u003c/p>\n\u003cfigure id=\"attachment_13878517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/07_SFAI-Quad-Opening_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The opening reception at SFAI’s Chestnut Street campus for the Mission School survey ‘Energy That is All Around,’ 2013. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Commitment to Fine Art\u003c/h2>\n\u003cp>In the days following March 23, Knox and the board pointed to a number of factors contributing to the decline in numbers: the Bay Area’s prohibitive rents, the expense of a private college education, the fear of graduating with overwhelming debt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And then there’s society’s devaluation of an art degree overall. And SFAI is distinguished among its peers for its exclusive commitment to fine art. While nearby California College of the Arts offers degree programs in illustration, interactive design and architecture—commercial curriculums that students (and their parents) might see as more marketable in the future—SFAI remains dedicated to its original mission of training fine artists. \u003c/p>\n\u003cp>It was at SFAI that Ansel Adams founded the first fine art photography department. William T. Wiley and other seminal funk artists attended the school in the 1950s. Barry McGee, Alicia McCarthy and Ruby Neri—core members of what is now known as the Mission School—are all SFAI alums. Nowhere but SFAI would \u003ca href=\"https://www.kqed.org/arts/12265794/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma\" rel=\"noopener noreferrer\" target=\"_blank\">Bruce Conner\u003c/a> be able to teach an undergraduate seminar described as “Wasted Time: unproductive activity of no practical application.”\u003c/p>\n\u003cp>As for costs, undergraduate tuition for the 2020–21 school year is listed on SFAI’s site as $45,664, graduate tuition as $47,850. Ninety percent of SFAI’s domestic students take out some form of loan to pursue their educations, loans that must one day be repaid. Amid the student debt crisis, a nearly $280,000 art degree can be a hard sell.\u003c/p>\n\u003cp>“As enrollment goes down, the number of students just can’t support the administrative overhead of a four-year accredited college,” explains union board member Elizabeth Travelslight, one of 90 adjunct faculty who teach 75% of SFAI’s total instructional hours. “Even with the vast majority of the teaching being done by low-wage workers.” \u003c/p>\n\u003ch2>Stopgaps and Attempted Solutions\u003c/h2>\n\u003cp>With less students to accommodate, SFAI sought ways to monetize its real estate via short-term event rentals and long-term leases. The school simply didn’t need all 67,000 square feet at Fort Mason, let alone over 160 art studios, so it rented out \u003ca href=\"https://www.kqed.org/arts/a/curatorial-crisis-bay-area-art-institutions\" rel=\"noopener noreferrer\" target=\"_blank\">gallery space\u003c/a> on both campuses, hosted weddings and courted subtenants. Then the coronavirus hit, canceling everything.\u003c/p>\n\u003cp>A more avoidable situation created other cash flow problems. At the end of 2019, believing there were funds available to borrow, Knox authorized spending $1.9 million to fix a leaking roof over the Chestnut Street painting studios. “By the time we finished that job, the bank decided they would not advance us these funds,” Levy explained. The $1.9 million roof job was paid from cash on hand.\u003c/p>\n\u003cfigure id=\"attachment_13878516\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06_SFAI-Quad-Gala_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An installation for SFAI’s 2017 gala, titled ‘The Original Disruptor.’ \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But SFAI might have remained SFAI—during a pandemic, without rentals, with institutional debt and a smaller student body—if the school had more of an endowment to draw upon during hard times. (Tuition and student fees currently account for about 85% of the school’s $18 million operating budget.)\u003c/p>\n\u003cp>Repeatedly, in the town hall meetings after March 23, Knox and board members assured students, faculty and staff they’d been cultivating donors and soliciting funds well before this moment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if there was money out there to keep SFAI out of financial exigency, why hadn’t it been located? In the March 24 phone interview, Levy said an ideal situation would involve an unexpected windfall: “It would be lovely if a group of Silicon Valley philanthropists got together and said ‘We can’t let this happen.’ That would be wonderful.”\u003c/p>\n\u003cp>While that \u003ci>would\u003c/i> be lovely, and while it \u003ci>would\u003c/i> save both the board and SFAI’s leadership a lot of fundraising effort, it is not a plan.\u003c/p>\n\u003cp>The latest plan, the one without backups, was a merger with a larger school, which could relieve SFAI of some of the burdens of running an accredited college and absorb the school’s debt. But merger negotiations, which started in November (and which sources close to SFAI confirm were with the University of San Francisco), stalled in the face of a tanking economy. Dealing with significant losses to their own endowment, the larger school tabled the talks.\u003c/p>\n\u003cp>The details of those merger negotiations remain confidential. What little information students, faculty and staff had only raised fears about the loss of SFAI’s culture, changes to the school’s curriculum and layoffs.\u003c/p>\n\u003cp>Keisha Kidd, chair of the SFAI Student Alliance, remembers Knox visiting their weekly meetings excited about the plan. “He was being very positive and encouraging about it and trying to assure us there would be benefits for the students in this potential merger,” she said. “But it was never disclosed to us as something that was actually happening.”\u003c/p>\n\u003cp>And then it didn’t happen. And then, on March 31, the board asked Knox to take a leave of absence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>What Can Come Next\u003c/h2>\n\u003cp>The outline of SFAI’s immediate future is fairly determined. Students are finishing out their semester’s coursework remotely. BFA and MFA shows are canceled, along with graduation ceremonies. SFAI’s faculty and staff are employed—for now—through the end of the semester.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After that, whether the school will be able to offer classes and degrees to students with one or two semesters left is a matter of fundraising. The school has established an \u003ca href=\"https://sfai.edu/support-sfai/making-a-gift\" rel=\"noopener noreferrer\" target=\"_blank\">emergency fundraising portal\u003c/a>, but it’s still unclear exactly how the money would be used. (SFAI could also receive up to $10 million in forgivable loans to cover payroll through the \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program-ppp\" rel=\"noopener noreferrer\" target=\"_blank\">CARES Act\u003c/a>, which could prevent layoffs, depending on timing.)\u003c/p>\n\u003cp>And then, the board wants a full year to “reimagine” what can come next.\u003c/p>\n\u003cp>“Where we are in our decision-making is that the board is definitely committed to keeping the institution open as long as humanly possible,” Levy told student leaders in an April 1 video meeting. But long-term stability, she cautioned, won’t be achieved over the course of the summer. \u003c/p>\n\u003cp>Remaining to be seen, also, is just how much input students, faculty and staff will have in future plans. Student and faculty trustees participate in board discussions, but ultimately, voting board members and board emeriti will decide on a specific plan for SFAI’s future in a closed executive session.\u003c/p>\n\u003cp>Knox’s duties are now assumed by Jennifer Rissler, the former vice president of academic affairs, and Mark Kushner, an outside consultant. (Through a school publicist, both declined comment for this article.) But before he stepped down, Knox seemed to have latched onto the idea of turning SFAI into an art center of sorts. In this vision of a “kunsthalle,” art education and exhibitions could take place without the financial pressure of running a four-year accredited institution.\u003c/p>\n\u003cp>Per a curious and \u003ca href=\"https://regents.universityofcalifornia.edu/regmeet/may02/511.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">long-standing arrangement\u003c/a>, if that should happen—if SFAI ever ceases to operate as an institute of art, accredited or not—the property would cede to the UC Regents, along with the school’s debt.\u003c/p>\n\u003cfigure id=\"attachment_13878515\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg\" alt=\"\" width=\"1200\" height=\"1329\" class=\"size-full wp-image-13878515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-800x886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-768x851.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-1020x1130.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘The Making fo a Fresco Showing the Building of a City,’ 1931. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What SFAI owns free and clear, and what may buy its future, is the \u003ca href=\"https://sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">Diego Rivera mural\u003c/a> inside its Chestnut Street campus, commissioned by the school’s president in 1931. \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i>, recently appraised at $50 million, is not, as long believed, attached to the wall, but made on panels. Ultimately, Levy says, it could be removed from the space.\u003c/p>\n\u003cp>But even if the mural attracts a well-considered merger, or is sold to rid the school of debt, SFAI will never be what it once was. That’s been clear in the local art scene’s recent tributes on social media, an avalanche of “only at SFAI” class pictures, historic shows, legendary teachers and obit-like remembrances of the school.\u003c/p>\n\u003cp>And here’s where the effects of this particular crisis begin to spread outward, beyond the bounds of nostalgia: The dissolution of SFAI would be a devastating blow to Bay Area art. SFAI students and graduates help shape the culture of the entire region. Its faculty and staff hold vast art historical and institutional knowledge. Adjuncts, already in a financially precarious position, would have one less place to teach. SFAI’s laid-off faculty could lose their ability to remain in the Bay Area altogether, adding to the ongoing exodus of arts and culture workers from the region.\u003c/p>\n\u003cp>For years, decades, maybe the length of its entire existence, SFAI has been held together by the people who believe in its mission. In a letter to the board, the Student Alliance made it plain: “SFAI lives amongst us, and we refuse to let its legacy go.” Even a recently laid-off staff member, also an alum, still believes in the school’s impact: “I love this school,” he said. \u003c/p>\n\u003cp>“We all love the work we do,” says Travelslight. But, she adds, “Love alone does not save an institution.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Uh-oh, it’s that time of year again: the point after Halloween when you get all focused on planning your Thanksgiving travel, and forget entirely about that festive section of December when you’re supposed to actually give people stuff.\u003c/p>\n\u003cp>A lot of us run this routine annually. Luckily, some of us have gotten rescued by \u003ca href=\"https://www.renegadecraft.com/\" target=\"_blank\" rel=\"noopener\">Renegade Craft Fair\u003c/a> year-in, year-out, since it first arrived in San Francisco. (Renegade was founded in Chicago in 2003, but now takes place twice a year in 11 American cities.)\u003c/p>\n\u003cp>Not only is the winter fair a one-stop seasonal shop, it covers all the best gift bases—jewelry, beauty, decor, fashion, toys, art, candy—and does it in a style that feels warm and personal. That’s thanks to the independent thinkers who hand-make all of the contemporary crafts on offer. Think of it as \u003ca href=\"https://www.etsy.com/\" target=\"_blank\" rel=\"noopener\">Etsy\u003c/a> IRL, minus shipping delays, plus bonus food trucks.\u003c/p>\n\u003cp>Renegade San Francisco now attracts 200+ creatives and 17,500 visitors per fair. Here’s a taste of last year’s event, which helps demonstrate why it’s so enduringly popular. (And yes, those \u003cem>are\u003c/em> porcelain butt vases.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pcrGEXnKn4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Uh-oh, it’s that time of year again: the point after Halloween when you get all focused on planning your Thanksgiving travel, and forget entirely about that festive section of December when you’re supposed to actually give people stuff.\u003c/p>\n\u003cp>A lot of us run this routine annually. Luckily, some of us have gotten rescued by \u003ca href=\"https://www.renegadecraft.com/\" target=\"_blank\" rel=\"noopener\">Renegade Craft Fair\u003c/a> year-in, year-out, since it first arrived in San Francisco. (Renegade was founded in Chicago in 2003, but now takes place twice a year in 11 American cities.)\u003c/p>\n\u003cp>Not only is the winter fair a one-stop seasonal shop, it covers all the best gift bases—jewelry, beauty, decor, fashion, toys, art, candy—and does it in a style that feels warm and personal. That’s thanks to the independent thinkers who hand-make all of the contemporary crafts on offer. Think of it as \u003ca href=\"https://www.etsy.com/\" target=\"_blank\" rel=\"noopener\">Etsy\u003c/a> IRL, minus shipping delays, plus bonus food trucks.\u003c/p>\n\u003cp>Renegade San Francisco now attracts 200+ creatives and 17,500 visitors per fair. Here’s a taste of last year’s event, which helps demonstrate why it’s so enduringly popular. (And yes, those \u003cem>are\u003c/em> porcelain butt vases.)\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/-pcrGEXnKn4'\n title='//www.youtube.com/embed/-pcrGEXnKn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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