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"content": "\u003cp>It’s a week before opening night when, during a break in rehearsal, dancer-choreographer Yayoi Kambara reminisces about the 2011 ceremony at Oakland’s glamorous Paramount Theater in which she became a naturalized U.S. citizen. “I was really moved,” she recalls. “We were such a large group of people of so many languages, colors and hopes.”\u003c/p>\n\u003cp>The memory is ever more meaningful to her current work. When we talk, Kambara is in preparations for her new dance work titled \u003ca href=\"http://www.kambaraplus.org/work/\" target=\"_blank\" rel=\"noopener\">\u003cem>IKKAI: Once\u003c/em>\u003c/a>, running Jan. 19–20 at ODC Theater, which reflects on the \u003ca href=\"http://densho.org/core-story/\" target=\"_blank\" rel=\"noopener\">internment of Japanese Americans\u003c/a> during World War II. As Kambara guides the fledgling ensemble of eight, formally known as \u003ca href=\"http://www.kambaraplus.org\" target=\"_blank\" rel=\"noopener\">KAMBARA + DANCERS\u003c/a>, through intriguing formations and alternately tender and menacing interactions in a studio at the ODC Dance Commons, I note their striking individuality.\u003c/p>\n\u003cp>“I do like having dancers of different colors and shapes,” Kambara declares. “I think they like to work with me because we have a mutual understanding about being ‘other’ in this country. We all speak different languages — some are biracial, genderqueer, gay, coffee-colored, chocolate-colored, tan.”\u003c/p>\n\u003cfigure id=\"attachment_13819203\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0665-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Kung with Amy Foley, Leesha Zieber, Wailana Simcock, Edisnel Rodriguez, Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance marks the \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">inaugural home season\u003c/a> for KAMBARA + DANCERS at the ODC Theater. As it turns out, the idea of ‘home’ is a fluid one for Kambara. Born in Japan, her family moved to the U.S. when she was six, and also lived for a time in England. She says that issues around citizenship have increasingly preoccupied her as she witnesses the ugly confrontations around immigration in this country, and she worries about the future that awaits her young bi-racial daughters. “Though I feel we’re safe in San Francisco,” she adds, though her expression remains quizzical, as if she isn’t entirely sure.\u003c/p>\n\u003cp>Her own extended family, mostly in Japan, were not caught up in the American internments. But Kambara rightly notes that many Americans, especially outside California, are unfamiliar with this infamous episode in World War II history, which capped a long surge in anti-Japanese sentiment. And she shares growing fear over the demonization of immigrant communities, of the ‘other,’ in the era of Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says, lately, she has seen more about the wartime internments in the Japanese press. Japan is spooked by unstable leaders in both North Korea and the U.S. Thus, she believes “the fear of war and nuclear holocaust is on our collective minds. So, I think we feel the urge to revisit history.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/240263314\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the Bay Area, Kambara has been a compelling presence onstage not just with her 12-year stint with ODC Dance but as a freelance artist with other area troupes. As a \u003ca href=\"http://www.sfgate.com/art/article/After-decade-growing-up-with-ODC-a-dancer-moves-6119018.php\" target=\"_blank\" rel=\"noopener\">performer\u003c/a>, she enjoys a devoted following, many of whom eagerly support her \u003ca href=\"http://dancersgroup.org/2018/01/speak-5/\" target=\"_blank\" rel=\"noopener\">new endeavors\u003c/a> in choreography.\u003c/p>\n\u003cp>One such piece is \u003ca href=\"http://www.dailyserving.com/2017/05/who-do-you-trust-at-the-asian-art-museum/\" target=\"_blank\" rel=\"noopener\">\u003cem>On Trust\u003c/em>\u003c/a>, an interactive performance piece created last year at the Asian Art Museum. (It will be restaged for this upcoming season.) Danced to a soundtrack incorporating audio clips of people describing, often haltingly, what trust means to them, it was performed at the museum repeatedly within the span of two hours, as people walked through the performance exhibit space. Between the formal performances, the dancers wandered around the museum asking attendees to cut a piece of their costume away and write the name of someone they trusted on the strip. They collected the ragged strips and used them like confetti in their dance.\u003c/p>\n\u003cp>“It was an homage of sorts to Yoko Ono,” says Kambara, referring to Ono’s 1964 \u003ca href=\"https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964\" target=\"_blank\" rel=\"noopener\">\u003cem>Cut Piece\u003c/em>\u003c/a>. “Some people were excited to use scissors so near the dancers’ skin, while others were nervous.”\u003c/p>\n\u003cp>It’s this kind of visceral curiosity, coupled with an impishness and generosity of spirit, that has infused Kambara’s work to date.\u003c/p>\n\u003cfigure id=\"attachment_13819204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0697-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wailana Simcock and Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>IKKAI:Once\u003c/em> may be her most ambitious. For this, she mined the \u003ca href=\"http://densho.org/archives/\" target=\"_blank\" rel=\"noopener\">Densho Archives\u003c/a> and interviewed survivors of the internment camps – third-generation Japanese-Americans including poet and activist \u003ca href=\"https://theculturetrip.com/north-america/usa/california/articles/what-you-didnt-know-about-janice-mirikitani/\" target=\"_blank\" rel=\"noopener\">Janice Mirikitani,\u003c/a> \u003ca href=\"http://www.pbs.org/childofcamp/project/index.html\" target=\"_blank\" rel=\"noopener\">Dr. Satsuki Ina\u003c/a>, and Norman Fumiyo Ikeda. The interview clips reveal in poignant and stark detail the humiliations, the dislocations and deprivations suffered by the camp detainees. And, in the aftermath, the culture of silence, the desperate need to “not make a fuss,” the pressure to become model citizens. First names were changed and eyelids were scotch-taped – all in the struggle to fit in with white society. A track from spoken word artist and rapper \u003ca href=\"http://colinresponse.tumblr.com/senbei\" target=\"_blank\" rel=\"noopener\">Colin Masashi “Senbei” Ehara\u003c/a> further drives home some scathing truths.\u003c/p>\n\u003cp>The performance’s mood, at least in rehearsal, is far from tragic. A vein of optimism shines through the darker material, and Kambara’s wit is evident in many intimate encounters between the dancers, as well as their manipulation of visual artist Dana Kawano’s eye-catching oil-paper umbrellas. Whether these elements coalesce onstage to serve as the wake-up call Kambara intends, the program as a whole – which includes the reprise of two very different pieces, \u003cem>Near and Dear\u003c/em> and \u003cem>To.Get.Her\u003c/em> – gives San Francisco audiences a look at the protean inventiveness of a young choreographic mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on KAMBARA + DANCERS’ inaugural home season, running Jan. 19–20 at the ODC Theater in San Francisco, see \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Yayoi Kambara's latest work is also her most ambitious and personal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a week before opening night when, during a break in rehearsal, dancer-choreographer Yayoi Kambara reminisces about the 2011 ceremony at Oakland’s glamorous Paramount Theater in which she became a naturalized U.S. citizen. “I was really moved,” she recalls. “We were such a large group of people of so many languages, colors and hopes.”\u003c/p>\n\u003cp>The memory is ever more meaningful to her current work. When we talk, Kambara is in preparations for her new dance work titled \u003ca href=\"http://www.kambaraplus.org/work/\" target=\"_blank\" rel=\"noopener\">\u003cem>IKKAI: Once\u003c/em>\u003c/a>, running Jan. 19–20 at ODC Theater, which reflects on the \u003ca href=\"http://densho.org/core-story/\" target=\"_blank\" rel=\"noopener\">internment of Japanese Americans\u003c/a> during World War II. As Kambara guides the fledgling ensemble of eight, formally known as \u003ca href=\"http://www.kambaraplus.org\" target=\"_blank\" rel=\"noopener\">KAMBARA + DANCERS\u003c/a>, through intriguing formations and alternately tender and menacing interactions in a studio at the ODC Dance Commons, I note their striking individuality.\u003c/p>\n\u003cp>“I do like having dancers of different colors and shapes,” Kambara declares. “I think they like to work with me because we have a mutual understanding about being ‘other’ in this country. We all speak different languages — some are biracial, genderqueer, gay, coffee-colored, chocolate-colored, tan.”\u003c/p>\n\u003cfigure id=\"attachment_13819203\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0665-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0665.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Kung with Amy Foley, Leesha Zieber, Wailana Simcock, Edisnel Rodriguez, Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance marks the \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">inaugural home season\u003c/a> for KAMBARA + DANCERS at the ODC Theater. As it turns out, the idea of ‘home’ is a fluid one for Kambara. Born in Japan, her family moved to the U.S. when she was six, and also lived for a time in England. She says that issues around citizenship have increasingly preoccupied her as she witnesses the ugly confrontations around immigration in this country, and she worries about the future that awaits her young bi-racial daughters. “Though I feel we’re safe in San Francisco,” she adds, though her expression remains quizzical, as if she isn’t entirely sure.\u003c/p>\n\u003cp>Her own extended family, mostly in Japan, were not caught up in the American internments. But Kambara rightly notes that many Americans, especially outside California, are unfamiliar with this infamous episode in World War II history, which capped a long surge in anti-Japanese sentiment. And she shares growing fear over the demonization of immigrant communities, of the ‘other,’ in the era of Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says, lately, she has seen more about the wartime internments in the Japanese press. Japan is spooked by unstable leaders in both North Korea and the U.S. Thus, she believes “the fear of war and nuclear holocaust is on our collective minds. So, I think we feel the urge to revisit history.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/240263314\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the Bay Area, Kambara has been a compelling presence onstage not just with her 12-year stint with ODC Dance but as a freelance artist with other area troupes. As a \u003ca href=\"http://www.sfgate.com/art/article/After-decade-growing-up-with-ODC-a-dancer-moves-6119018.php\" target=\"_blank\" rel=\"noopener\">performer\u003c/a>, she enjoys a devoted following, many of whom eagerly support her \u003ca href=\"http://dancersgroup.org/2018/01/speak-5/\" target=\"_blank\" rel=\"noopener\">new endeavors\u003c/a> in choreography.\u003c/p>\n\u003cp>One such piece is \u003ca href=\"http://www.dailyserving.com/2017/05/who-do-you-trust-at-the-asian-art-museum/\" target=\"_blank\" rel=\"noopener\">\u003cem>On Trust\u003c/em>\u003c/a>, an interactive performance piece created last year at the Asian Art Museum. (It will be restaged for this upcoming season.) Danced to a soundtrack incorporating audio clips of people describing, often haltingly, what trust means to them, it was performed at the museum repeatedly within the span of two hours, as people walked through the performance exhibit space. Between the formal performances, the dancers wandered around the museum asking attendees to cut a piece of their costume away and write the name of someone they trusted on the strip. They collected the ragged strips and used them like confetti in their dance.\u003c/p>\n\u003cp>“It was an homage of sorts to Yoko Ono,” says Kambara, referring to Ono’s 1964 \u003ca href=\"https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964\" target=\"_blank\" rel=\"noopener\">\u003cem>Cut Piece\u003c/em>\u003c/a>. “Some people were excited to use scissors so near the dancers’ skin, while others were nervous.”\u003c/p>\n\u003cp>It’s this kind of visceral curiosity, coupled with an impishness and generosity of spirit, that has infused Kambara’s work to date.\u003c/p>\n\u003cfigure id=\"attachment_13819204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/%E2%80%A2C_Kambara_170920_0697-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13819204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/•C_Kambara_170920_0697.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wailana Simcock and Allie Papazian of KAMBARA + DANCERS. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>IKKAI:Once\u003c/em> may be her most ambitious. For this, she mined the \u003ca href=\"http://densho.org/archives/\" target=\"_blank\" rel=\"noopener\">Densho Archives\u003c/a> and interviewed survivors of the internment camps – third-generation Japanese-Americans including poet and activist \u003ca href=\"https://theculturetrip.com/north-america/usa/california/articles/what-you-didnt-know-about-janice-mirikitani/\" target=\"_blank\" rel=\"noopener\">Janice Mirikitani,\u003c/a> \u003ca href=\"http://www.pbs.org/childofcamp/project/index.html\" target=\"_blank\" rel=\"noopener\">Dr. Satsuki Ina\u003c/a>, and Norman Fumiyo Ikeda. The interview clips reveal in poignant and stark detail the humiliations, the dislocations and deprivations suffered by the camp detainees. And, in the aftermath, the culture of silence, the desperate need to “not make a fuss,” the pressure to become model citizens. First names were changed and eyelids were scotch-taped – all in the struggle to fit in with white society. A track from spoken word artist and rapper \u003ca href=\"http://colinresponse.tumblr.com/senbei\" target=\"_blank\" rel=\"noopener\">Colin Masashi “Senbei” Ehara\u003c/a> further drives home some scathing truths.\u003c/p>\n\u003cp>The performance’s mood, at least in rehearsal, is far from tragic. A vein of optimism shines through the darker material, and Kambara’s wit is evident in many intimate encounters between the dancers, as well as their manipulation of visual artist Dana Kawano’s eye-catching oil-paper umbrellas. Whether these elements coalesce onstage to serve as the wake-up call Kambara intends, the program as a whole – which includes the reprise of two very different pieces, \u003cem>Near and Dear\u003c/em> and \u003cem>To.Get.Her\u003c/em> – gives San Francisco audiences a look at the protean inventiveness of a young choreographic mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on KAMBARA + DANCERS’ inaugural home season, running Jan. 19–20 at the ODC Theater in San Francisco, see \u003ca href=\"http://www.kambaraplus.org/performance/2017/4/27/kambara-dancers-1st-home-season\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before reading another word, watch the video at the bottom of this post. It’s the best way to understand the work of Garrett + Moulton, the dance making duo kicking off their 15th anniversary season. Now that you’ve seen the video, you realize what fun Janice Garrett and Charles Moulton have had all these years making these complex ball-passing pieces that are part-dance, part-puzzle. Moulton says the inspiration came partly from his love of novelty numbers from the days when his father and grandfather were in vaudeville. And the ball passing, he said, is a pretty good metaphor for life. “If you drop a ball, you drop a ball, and it usually falls very inconveniently on someone else’s head,” he said after a rehearsal a few days ago. “When that happens, you’re as honest as you’re ever going to be are about yourself. When you don’t look so good. And because of that, the piece has a sense of humanity. It’s fun, but it also speaks to the futility of the human condition.” \u003c/p>\n\u003cp>Garrett + Moulton’s 15th anniversary season kicks off with a new ball passing piece and two other world premieres. \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.youtube.com/watch?v=7On1UsMqAgM\u003cbr>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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