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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nonmusical activities at Life Is Living include wellness offerings from \u003ca href=\"https://www.kqed.org/arts/13971043/freedom-community-clinic-fruitvale-oakland-farm-orinda\">Freedom Community Clinic\u003c/a>, an Oakland collective that offers free services like herbal medicine, reiki, massage and acupuncture. There’ll be a “wheels zone” for the skaters and cyclists; activities for kids; a community arts zone; an artist vendor marketplace; a Black Panther Party zone and historical exhibits on Oakland’s activist history.\u003c/p>\n\u003cp>The event’s location at DeFremery Park is no coincidence; many in the community know it as Lil Bobby Hutton Park, named for \u003ca href=\"https://www.instagram.com/p/C4OlOKPNRGr/\">the teenage Black Panther Party member who was killed by police in 1968\u003c/a>. For People’s Kitchen Collective and Life Is Living co-producers Joan Osato and YaVette Holt, the Black Panther Party’s survival programs are a guiding light as they use art and culture to get neighbors together, strengthen relationships and inspire a culture of collective care.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.brownpapertickets.com/event/6713976\">Life Is Living\u003c/a> takes place on Saturday, Oct. 11, from 11 a.m.–4 p.m. at DeFremery/Lil Bobby Hutton Park in Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>[aside postID='arts_13979110']\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mamas for a Free Palestine: Safety Doesn't Come From Bombs",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hello dear reader, thanks for lending me your attention. These last six months, our world has borne witness to the ongoing violence in Gaza, where Israel has been accused of “engaging in genocidal acts against the Palestinian people in Gaza,” according to a\u003c/span>\u003ca href=\"https://www.icj-cij.org/sites/default/files/case-related/192/192-20231228-app-01-00-en.pdf\"> \u003cspan style=\"font-weight: 400\">case\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> filed by South Africa in the UN’s International Court of Justice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My colleagues have reported on this siege and the ways it is impacting our communities here in the Bay Area (\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and\u003c/span>\u003ca href=\"https://www.kqed.org/news/11976415/gaza-is-a-queer-issue-for-bay-area-lgbtq-artists\"> \u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to name a few). So as not to belabor their work, I want to direct your attention to a collective of \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/san-francisco/gaza-cease-fire-protest-sf/3459082/\">\u003cspan style=\"font-weight: 400\">dissenters \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">who haven’t been covered much in the media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This collective, Mamas for a Free Palestine, is made up of mothers across the Bay Area who say they are fed up with business as usual. While they are a relatively new group, these mothers are not new to activism and political organizing.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953768 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg\" alt='Nine people face the camera, hold signs with the words \"genocide\" and \"cease fire\" and look at a person holding a microphone. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters at Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In December 2023 and February 2024, Mamas for a Free Palestine organized alongside\u003c/span>\u003ca href=\"https://www.instagram.com/eastbay4ceasefirenow/\"> \u003cspan style=\"font-weight: 400\">Eastbay for Ceasefire Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to rally rank and file workers across various unions and social justice organizations like\u003c/span>\u003ca href=\"https://www.araborganizing.org/\"> \u003cspan style=\"font-weight: 400\">Arab Resource & Organizing Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (AROC), \u003c/span>\u003ca href=\"https://www.jewishvoiceforpeace.org/\">\u003cspan style=\"font-weight: 400\">Jewish Voice for Peace \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">(JVP)\u003c/span>\u003cspan style=\"font-weight: 400\">, and\u003c/span>\u003ca href=\"https://podersf.org/\"> \u003cspan style=\"font-weight: 400\">People Organizing to Demand Environmental and Economic Rights\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (PODER)\u003c/span>\u003cspan style=\"font-weight: 400\"> to demand that elected officials declare a permanent ceasefire in Gaza and end usage of U.S. dollars for Israel’s military.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953767 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg\" alt=\"Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla's office in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">They say they want elected officials to support humanitarian aid for Gaza immediately and fund community needs like healthcare and affordable housing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve stayed this long, I hope you will stay longer to listen to our episode and hear the voices of mamas calling for a future that centers caring, not bombing.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This episode has been edited in accordance with KQED’s editorial guidelines and Code of Ethics.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7438431403\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">As of this recording, we are about five months into the bombardment of Gaza, including the targeting of hospitals, schools and libraries. The world has seen the results: Massive displacement, death, and starvation. And nearly 100 journalists killed. That being said, I don’t want to use this precious time that I have your attention, to spotlight human-made calamities, that I’m sure you are aware of. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Instead, I want to direct your attention to a collective of people who are using their voices\u003c/span> \u003cspan style=\"font-weight: 400\">to bring attention to what’s happening in Gaza, and to bear witness to the humanity of the Palestinian people whose homes and bodies are under siege. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On this episode of Rightnowish, we’ll visit a local protest organized by a group of Bay Area mothers and learn why this wasn’t your average protest.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd singing] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Marisol Medina-Cadena. Stay with us.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Back in December of 2023, I heard about a collective called “Mamas for a Free Palestine”. They don’t have an online presence so I decided to go to one of their actions in San Francisco’s Financial District to learn more\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings a call and response song: “Not in our name/ Not in our name/ Stop the genocide/ Stop the genocide…” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Walking up Montgomery Street I followed chanting to 333 Bush Street— the SF office of Senator Alex Padilla. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to the action, Mamas for a Free Palestine along with a larger coalition called East Bay For Ceasefire Now sent a letter to Senator Padilla expressing their grief over the loss of life and urging him to call for an immediate ceasefire.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings,“We breathe together, Stop the occupation” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Since they say they weren’t given a chance to dialogue with the senator, they staged an action at his office both inside the lobby and on the outdoor public steps. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Inside, I saw religious leaders of Jewish, Catholic, and Muslim faith wearing their clerical attire. They stood behind the rest of the protesters who were either sitting in wheelchairs or sitting directly on the floor. The lobby staff looked nervous but respectful of the protest. Individuals who worked inside the building awkwardly moseyed in trying not to step on protestors while getting to the elevator. Some looked empathetic, concerned, curious. Others looked aggravated. I saw someone push a protestor as they walked by.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After 40 minutes of speeches, singing, and call and response chants, the organizers informed everyone that the inside action would end and folks should join the outside rally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I followed them out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> I now want to introduce our healer in our community, Angela Angel, who will share the grief ritual that we are about to… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Outside, the energy shifted from indignation to sobering reverence. A grief ritual was now unfolding \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">And so today we do this to honor all of these families. We do this to mourn with them. We know that with our fight also comes with tenderness and honoring the sacred.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Three people dressed in all black carefully dipped their palms into buckets of red paint and pressed their handprints on the sidewalk altar, for all to see. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, the speaker read from a list of names of the thousands of Palestinian children killed so far in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yasmine Ramez Abdel Razzaq El Masry, a newborn, Aisha Jihad Jalal Shaheen, a newborn… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">According to a recent UNICEF report, the death toll is now over 11,000 children.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To the left of me, a woman and her young son were holding flowers, waiting in line to lay them down on the sidewalk altar. The mom started to cry and her child looked up at her with a look I recognized in my younger self… It’s a look of shock and fear that the adults in your life are capable of suffering. I surmised that because as a young kid, my parents took me to rallies and vigils. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This made me reflect on how some kids of color aren’t spared the harshness of this country. Our parents tell us about colonialism, police violence, and deportations because they have no choice. They’re trying to protect us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">We also want to pray for protection, not only for ourselves right now, as we do this work and dissent, we also want to pray for the protection, continued protection of Palestine. And so put those in your prayers right now and stay close to the earth, let the earth source you for this fight. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Another organizer reads more names of martyred children. The crowd responds in spanish by saying “presente,” meaning “here.”] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> As the long list of dead children’s names comes to a close, different organizers get on the mic to make their call to action heard. I then notice some folks gathering over a table of warm empanadas and hot chai. I make my way over and learn that it’s the People’s Kitchen Collective who are providing this free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this point, I’m still itching to speak with an organizer one on one. I found someone with ‘East Bay for Ceasefire Now’ which is the larger coalition behind all this. Here’s Isa Flores-Jones explaining her message to Senator Padilla:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re out here to say not in our names, not with our tax dollars. We don’t consent to that. We want our senators, our California senators to stand with their constituents and say, not one dime more\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. [car horn honks in support]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones:\u003c/b>\u003cspan style=\"font-weight: 400\"> Everybody is just out here as rank and file workers, as baristas, as housekeepers, as the folks who who are working in the city and across the East Bay to just call on Senator Padilla to please stop funding this genocide, to put an end to the U.S. tax dollars that are flowing to to these deaths instead of to critical services that we need so badly in the Bay and across California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We feel as if our concerns are just not not being heard and that the senator just doesn’t doesn’t fully understand the extent to which his constituents are impacted seeing every single day the thousands and thousands of men, women and children who are being killed in Gaza and that we stand against it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> From the stage, I hear one of the Mamas speak to the crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Mamas for a Free Palestine Organizer, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> The Palestinian people of his constituency here in the state are devastated \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[car horn honking in support] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the loss and destruction \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[supporters honking car horns] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in their homeland. And with the overwhelming majority of people around the globe who know that this continued attacks and atrocities will not make the world safe. They will not make the world safer. They may, for a brief moment, make someone more comfortable thinking that safety comes like this. But it does never come from bombs. It never comes in this way. And so we are here to say spend that money on life. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Spend that money on the Palestinian people in reclaiming their land! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> The olive trees. The birds! The rivers! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Isa then introduces me to another organizer who can speak to more of my questions. Gayla King is part of Mamas for a Free Palestine, and I asked her if there was a precedent for moms, at least in the Bay Area or California, protesting around militarism abroad:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, absolutely. I think I’m definitely here following a lineage of mamas, of women, of feminine energy and power that have been leading these movements throughout time, throughout um, throughout the globe. There’s been a huge um anti militarization movement led by women that has been connecting different struggles across, across the continent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, I am a daughter of an immigrant from the Philippines. But my mother was actually born in the Philippines during the time of World War II, when the U.S. was bombing her hometown, aimed at Japanese occupation but harming community, harming people, harming her family. And many of us have this lineage, right, of how a U.S. war machine impacts the homelands of our ancestors, of our people, bringing us here in very much the same way as what’s happening in Palestine, with Israel being backed by the United States and harming the people, killing the people, dropping the bombs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s the mothers. It’s the mothers that are resisting. It’s the mothers that are holding the grief, that are trying to protect their children, that are trying to protect their community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Mamas for a Free Palestine, while we’re a relatively new kind of collective of coming together post-October 7th but many of us have been involved in many movements for decades. And so I think we really just wanted to have a space where we could show up as mamas in our full holistic self to be able to grieve together, to heal together, to feed each other and to really be fierce in our resistance and in our deep solidarity for Palestine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What kind of questions is your kid asking you about this moment?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have two young boys, 11 and 14, and they’re trying to understand. We have family, friends who are Palestinian that they’ve spent time with, and they know. They’ve heard the stories of what it’s been like for our friends growing up in the West Bank and so they’re really struggling with understanding how this can happen. Like, you know, why, why are we supporting this? Why is the U.S. government supporting this? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And they also have really, you know, close friends that are of Jewish faith and that they’re trying to grapple with this issue and understanding how the state of Israel, you know, is claiming to be a space for Jewish people but the Jewish friends they know and love don’t believe in bombs and don’t believe in what’s happening. So they’re asking a lot of questions and they’re grieving, too, because they are hearing and seeing of what’s happening.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Have they said anything like if their teachers are holding space for them or for their emotions? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King: \u003c/b>\u003cspan style=\"font-weight: 400\">It doesn’t sound like it’s being held in the space that my 11 year old is in, at least not by the teachers. My 14 year old, who is in high school, he’s had a few teachers that have both done a teach-in on Palestine and that he’s also seen at some of the actions. So that’s been really important to him to see other adults who care about this issue taking a stand and bringing it into the school. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> There are such beautiful spaces that we’re creating together that our children can very much be a part of because our children can hold so much with us. They can hold the grief. And they can, we’re singing together. We’re eating together. We’re taking care of each other. And that’s what we also know is important for this movement to survive and to be sustained is that it has to be done centering our children and our families so that we can be in it for the long haul, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Gayla told me the Mamas plan to keep organizing till a permanent ceasefire is reached. So, on Presidents Day, they and other groups showed up again. This time at the plaza outside of Senator Laphonza Butler’s SF office to ask her to call for a ceasefire and the divestment of the 14 billion aid package Congress approved for Israel’s military. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And beyond banners and signs, the organizers brought a banquet table and set up chairs around it, essentially saying, ‘since you won’t invite us to the table to discuss, we brought our own table to host you.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that night, Senator Butler was moderating a book talk at the Commonwealth Club in San Francisco. The talk was on the politics of adoption and reproductive justice. So, the mama’s showed up there too, to call attention to what they see as the hypocrisy of the Democratic establishment championing the right to choose yet staying quiet when it comes to safety for pregnant women and kids in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fifty of the mamas bought tickets to the event and attended. Halfway through the program they staged what they call a “rolling interruption” whereby a group of them stood up and sang a song adapted from a Palestinian poem. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then one by one staggering their interruptions, the mamas declared why they felt as mothers obligated to speak up and demand Senator Butler to call for a ceasefire as well as an end to U.S. military aid to Israel.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After each mama made their verbal provocation, they were escorted out the venue. From the stage, Senator Butler acknowledged that protest is a part of democracy and that there’s room for expression and differing opinions, but she did not call for a ceasefire. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> My name is Hedieh Matinrad. It’s spelled… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Two weeks after the action, I spoke on the phone with one of the Mamas to get her reflections on the evening that Senator Butler spoke.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> And certainly ya know, she said that her heart goes out too, for all lives lost. And that is great and not enough. We were being so clear that the first step is to stop the bombs from dropping, for a ceasefire to happen. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> There could be a lot of emotions, a lot of adrenaline, a lot of… I don’t know. I’m wondering, like, what was running in your head, like, moments, seconds, minutes before you raised your voice? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been going on, this massacre in Gaza for many months. My baby was born a month before the offense began, and now he’s six months old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my work as a palliative care doctor where I care for people with serious illness, like cancer a lot of times, is to help alleviate their suffering. And I think it really shakes me to my core, the unnecessary manufactured suffering that Palestinians in Gaza of all ages, everybody is being forced to live through. And I just, I see it as part of my mission in life, to be speaking out against this unnecessary suffering. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because Palestinian children deserve to live. Just like my child deserves to live. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Caring for the collective good of children and families is what brought these mothers together. Their protests are intended to disrupt business as usual by reminding everyone not to get comfortable with the devastation happening… because they say, their love knows no borders.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big big thank you to the organizers who trusted me and spoke to me for this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced and hosted by me, Marisol Medina-Cadena. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Patiently edited by Chris Hambrick and Jen Chien.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Expertly engineered by Christopher Beale and Brendan Willard.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lovingly supported by Rightnowish team members Sheree Bishop and Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additional support provided by Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ve been listening to Rightnowish, a KQED Production.\u003c/span>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hello dear reader, thanks for lending me your attention. These last six months, our world has borne witness to the ongoing violence in Gaza, where Israel has been accused of “engaging in genocidal acts against the Palestinian people in Gaza,” according to a\u003c/span>\u003ca href=\"https://www.icj-cij.org/sites/default/files/case-related/192/192-20231228-app-01-00-en.pdf\"> \u003cspan style=\"font-weight: 400\">case\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> filed by South Africa in the UN’s International Court of Justice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My colleagues have reported on this siege and the ways it is impacting our communities here in the Bay Area (\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and\u003c/span>\u003ca href=\"https://www.kqed.org/news/11976415/gaza-is-a-queer-issue-for-bay-area-lgbtq-artists\"> \u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to name a few). So as not to belabor their work, I want to direct your attention to a collective of \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/san-francisco/gaza-cease-fire-protest-sf/3459082/\">\u003cspan style=\"font-weight: 400\">dissenters \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">who haven’t been covered much in the media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This collective, Mamas for a Free Palestine, is made up of mothers across the Bay Area who say they are fed up with business as usual. While they are a relatively new group, these mothers are not new to activism and political organizing.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953768 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg\" alt='Nine people face the camera, hold signs with the words \"genocide\" and \"cease fire\" and look at a person holding a microphone. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters at Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In December 2023 and February 2024, Mamas for a Free Palestine organized alongside\u003c/span>\u003ca href=\"https://www.instagram.com/eastbay4ceasefirenow/\"> \u003cspan style=\"font-weight: 400\">Eastbay for Ceasefire Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to rally rank and file workers across various unions and social justice organizations like\u003c/span>\u003ca href=\"https://www.araborganizing.org/\"> \u003cspan style=\"font-weight: 400\">Arab Resource & Organizing Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (AROC), \u003c/span>\u003ca href=\"https://www.jewishvoiceforpeace.org/\">\u003cspan style=\"font-weight: 400\">Jewish Voice for Peace \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">(JVP)\u003c/span>\u003cspan style=\"font-weight: 400\">, and\u003c/span>\u003ca href=\"https://podersf.org/\"> \u003cspan style=\"font-weight: 400\">People Organizing to Demand Environmental and Economic Rights\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (PODER)\u003c/span>\u003cspan style=\"font-weight: 400\"> to demand that elected officials declare a permanent ceasefire in Gaza and end usage of U.S. dollars for Israel’s military.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953767 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg\" alt=\"Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla's office in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">They say they want elected officials to support humanitarian aid for Gaza immediately and fund community needs like healthcare and affordable housing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve stayed this long, I hope you will stay longer to listen to our episode and hear the voices of mamas calling for a future that centers caring, not bombing.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This episode has been edited in accordance with KQED’s editorial guidelines and Code of Ethics.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7438431403\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">As of this recording, we are about five months into the bombardment of Gaza, including the targeting of hospitals, schools and libraries. The world has seen the results: Massive displacement, death, and starvation. And nearly 100 journalists killed. That being said, I don’t want to use this precious time that I have your attention, to spotlight human-made calamities, that I’m sure you are aware of. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Instead, I want to direct your attention to a collective of people who are using their voices\u003c/span> \u003cspan style=\"font-weight: 400\">to bring attention to what’s happening in Gaza, and to bear witness to the humanity of the Palestinian people whose homes and bodies are under siege. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On this episode of Rightnowish, we’ll visit a local protest organized by a group of Bay Area mothers and learn why this wasn’t your average protest.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd singing] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Marisol Medina-Cadena. Stay with us.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Back in December of 2023, I heard about a collective called “Mamas for a Free Palestine”. They don’t have an online presence so I decided to go to one of their actions in San Francisco’s Financial District to learn more\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings a call and response song: “Not in our name/ Not in our name/ Stop the genocide/ Stop the genocide…” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Walking up Montgomery Street I followed chanting to 333 Bush Street— the SF office of Senator Alex Padilla. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to the action, Mamas for a Free Palestine along with a larger coalition called East Bay For Ceasefire Now sent a letter to Senator Padilla expressing their grief over the loss of life and urging him to call for an immediate ceasefire.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings,“We breathe together, Stop the occupation” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Since they say they weren’t given a chance to dialogue with the senator, they staged an action at his office both inside the lobby and on the outdoor public steps. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Inside, I saw religious leaders of Jewish, Catholic, and Muslim faith wearing their clerical attire. They stood behind the rest of the protesters who were either sitting in wheelchairs or sitting directly on the floor. The lobby staff looked nervous but respectful of the protest. Individuals who worked inside the building awkwardly moseyed in trying not to step on protestors while getting to the elevator. Some looked empathetic, concerned, curious. Others looked aggravated. I saw someone push a protestor as they walked by.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After 40 minutes of speeches, singing, and call and response chants, the organizers informed everyone that the inside action would end and folks should join the outside rally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I followed them out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> I now want to introduce our healer in our community, Angela Angel, who will share the grief ritual that we are about to… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Outside, the energy shifted from indignation to sobering reverence. A grief ritual was now unfolding \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">And so today we do this to honor all of these families. We do this to mourn with them. We know that with our fight also comes with tenderness and honoring the sacred.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Three people dressed in all black carefully dipped their palms into buckets of red paint and pressed their handprints on the sidewalk altar, for all to see. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, the speaker read from a list of names of the thousands of Palestinian children killed so far in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yasmine Ramez Abdel Razzaq El Masry, a newborn, Aisha Jihad Jalal Shaheen, a newborn… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">According to a recent UNICEF report, the death toll is now over 11,000 children.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To the left of me, a woman and her young son were holding flowers, waiting in line to lay them down on the sidewalk altar. The mom started to cry and her child looked up at her with a look I recognized in my younger self… It’s a look of shock and fear that the adults in your life are capable of suffering. I surmised that because as a young kid, my parents took me to rallies and vigils. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This made me reflect on how some kids of color aren’t spared the harshness of this country. Our parents tell us about colonialism, police violence, and deportations because they have no choice. They’re trying to protect us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">We also want to pray for protection, not only for ourselves right now, as we do this work and dissent, we also want to pray for the protection, continued protection of Palestine. And so put those in your prayers right now and stay close to the earth, let the earth source you for this fight. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Another organizer reads more names of martyred children. The crowd responds in spanish by saying “presente,” meaning “here.”] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> As the long list of dead children’s names comes to a close, different organizers get on the mic to make their call to action heard. I then notice some folks gathering over a table of warm empanadas and hot chai. I make my way over and learn that it’s the People’s Kitchen Collective who are providing this free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this point, I’m still itching to speak with an organizer one on one. I found someone with ‘East Bay for Ceasefire Now’ which is the larger coalition behind all this. Here’s Isa Flores-Jones explaining her message to Senator Padilla:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re out here to say not in our names, not with our tax dollars. We don’t consent to that. We want our senators, our California senators to stand with their constituents and say, not one dime more\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. [car horn honks in support]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones:\u003c/b>\u003cspan style=\"font-weight: 400\"> Everybody is just out here as rank and file workers, as baristas, as housekeepers, as the folks who who are working in the city and across the East Bay to just call on Senator Padilla to please stop funding this genocide, to put an end to the U.S. tax dollars that are flowing to to these deaths instead of to critical services that we need so badly in the Bay and across California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We feel as if our concerns are just not not being heard and that the senator just doesn’t doesn’t fully understand the extent to which his constituents are impacted seeing every single day the thousands and thousands of men, women and children who are being killed in Gaza and that we stand against it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> From the stage, I hear one of the Mamas speak to the crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Mamas for a Free Palestine Organizer, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> The Palestinian people of his constituency here in the state are devastated \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[car horn honking in support] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the loss and destruction \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[supporters honking car horns] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in their homeland. And with the overwhelming majority of people around the globe who know that this continued attacks and atrocities will not make the world safe. They will not make the world safer. They may, for a brief moment, make someone more comfortable thinking that safety comes like this. But it does never come from bombs. It never comes in this way. And so we are here to say spend that money on life. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Spend that money on the Palestinian people in reclaiming their land! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> The olive trees. The birds! The rivers! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Isa then introduces me to another organizer who can speak to more of my questions. Gayla King is part of Mamas for a Free Palestine, and I asked her if there was a precedent for moms, at least in the Bay Area or California, protesting around militarism abroad:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, absolutely. I think I’m definitely here following a lineage of mamas, of women, of feminine energy and power that have been leading these movements throughout time, throughout um, throughout the globe. There’s been a huge um anti militarization movement led by women that has been connecting different struggles across, across the continent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, I am a daughter of an immigrant from the Philippines. But my mother was actually born in the Philippines during the time of World War II, when the U.S. was bombing her hometown, aimed at Japanese occupation but harming community, harming people, harming her family. And many of us have this lineage, right, of how a U.S. war machine impacts the homelands of our ancestors, of our people, bringing us here in very much the same way as what’s happening in Palestine, with Israel being backed by the United States and harming the people, killing the people, dropping the bombs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s the mothers. It’s the mothers that are resisting. It’s the mothers that are holding the grief, that are trying to protect their children, that are trying to protect their community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Mamas for a Free Palestine, while we’re a relatively new kind of collective of coming together post-October 7th but many of us have been involved in many movements for decades. And so I think we really just wanted to have a space where we could show up as mamas in our full holistic self to be able to grieve together, to heal together, to feed each other and to really be fierce in our resistance and in our deep solidarity for Palestine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What kind of questions is your kid asking you about this moment?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have two young boys, 11 and 14, and they’re trying to understand. We have family, friends who are Palestinian that they’ve spent time with, and they know. They’ve heard the stories of what it’s been like for our friends growing up in the West Bank and so they’re really struggling with understanding how this can happen. Like, you know, why, why are we supporting this? Why is the U.S. government supporting this? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And they also have really, you know, close friends that are of Jewish faith and that they’re trying to grapple with this issue and understanding how the state of Israel, you know, is claiming to be a space for Jewish people but the Jewish friends they know and love don’t believe in bombs and don’t believe in what’s happening. So they’re asking a lot of questions and they’re grieving, too, because they are hearing and seeing of what’s happening.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Have they said anything like if their teachers are holding space for them or for their emotions? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King: \u003c/b>\u003cspan style=\"font-weight: 400\">It doesn’t sound like it’s being held in the space that my 11 year old is in, at least not by the teachers. My 14 year old, who is in high school, he’s had a few teachers that have both done a teach-in on Palestine and that he’s also seen at some of the actions. So that’s been really important to him to see other adults who care about this issue taking a stand and bringing it into the school. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> There are such beautiful spaces that we’re creating together that our children can very much be a part of because our children can hold so much with us. They can hold the grief. And they can, we’re singing together. We’re eating together. We’re taking care of each other. And that’s what we also know is important for this movement to survive and to be sustained is that it has to be done centering our children and our families so that we can be in it for the long haul, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Gayla told me the Mamas plan to keep organizing till a permanent ceasefire is reached. So, on Presidents Day, they and other groups showed up again. This time at the plaza outside of Senator Laphonza Butler’s SF office to ask her to call for a ceasefire and the divestment of the 14 billion aid package Congress approved for Israel’s military. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And beyond banners and signs, the organizers brought a banquet table and set up chairs around it, essentially saying, ‘since you won’t invite us to the table to discuss, we brought our own table to host you.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that night, Senator Butler was moderating a book talk at the Commonwealth Club in San Francisco. The talk was on the politics of adoption and reproductive justice. So, the mama’s showed up there too, to call attention to what they see as the hypocrisy of the Democratic establishment championing the right to choose yet staying quiet when it comes to safety for pregnant women and kids in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fifty of the mamas bought tickets to the event and attended. Halfway through the program they staged what they call a “rolling interruption” whereby a group of them stood up and sang a song adapted from a Palestinian poem. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then one by one staggering their interruptions, the mamas declared why they felt as mothers obligated to speak up and demand Senator Butler to call for a ceasefire as well as an end to U.S. military aid to Israel.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After each mama made their verbal provocation, they were escorted out the venue. From the stage, Senator Butler acknowledged that protest is a part of democracy and that there’s room for expression and differing opinions, but she did not call for a ceasefire. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> My name is Hedieh Matinrad. It’s spelled… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Two weeks after the action, I spoke on the phone with one of the Mamas to get her reflections on the evening that Senator Butler spoke.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> And certainly ya know, she said that her heart goes out too, for all lives lost. And that is great and not enough. We were being so clear that the first step is to stop the bombs from dropping, for a ceasefire to happen. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> There could be a lot of emotions, a lot of adrenaline, a lot of… I don’t know. I’m wondering, like, what was running in your head, like, moments, seconds, minutes before you raised your voice? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been going on, this massacre in Gaza for many months. My baby was born a month before the offense began, and now he’s six months old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my work as a palliative care doctor where I care for people with serious illness, like cancer a lot of times, is to help alleviate their suffering. And I think it really shakes me to my core, the unnecessary manufactured suffering that Palestinians in Gaza of all ages, everybody is being forced to live through. And I just, I see it as part of my mission in life, to be speaking out against this unnecessary suffering. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because Palestinian children deserve to live. Just like my child deserves to live. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Caring for the collective good of children and families is what brought these mothers together. Their protests are intended to disrupt business as usual by reminding everyone not to get comfortable with the devastation happening… because they say, their love knows no borders.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big big thank you to the organizers who trusted me and spoke to me for this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced and hosted by me, Marisol Medina-Cadena. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Patiently edited by Chris Hambrick and Jen Chien.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Expertly engineered by Christopher Beale and Brendan Willard.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lovingly supported by Rightnowish team members Sheree Bishop and Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additional support provided by Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ve been listening to Rightnowish, a KQED Production.\u003c/span>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "MoAD’s New Chef-in-Residence Wants to Put Black Women Front and Center",
"headTitle": "MoAD’s New Chef-in-Residence Wants to Put Black Women Front and Center | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The first time I met Jocelyn Jackson, back in 2015, the chef and food activist Bryant Terry was emceeing an Oakland food event where he introduced the organization that Jackson co-founded — \u003ca href=\"http://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a> — as the Bay Area food movement’s “house band.” In other words, the group wasn’t always the headliner, but it often worked behind the scenes whenever there was an event or initiative at the intersection of food, art and social justice. One week Jackson and her collaborators might sling vegan tacos at an \u003ca href=\"https://eastbayexpress.com/luz-calvo-wants-to-decolonize-your-plate-2-1/\">anti-colonialist cookbook event\u003c/a>. Another week you’d find them in West Oakland giving away a \u003ca href=\"http://peopleskitchencollective.com/free-breakfast-program\">free hot breakfast\u003c/a> to anyone who wanted one. \u003c/span>\u003c/p>\n\u003cp>All of which is to say: Jackson has been deeply involved in the Bay Area food world for a long time. Or, as she says about the scene, “There is no stranger in this room. … We know each other. We’ve been there for each other — for years.”\u003c/p>\n\u003cp>So there’s some poetry to the fact that Jackson is now stepping into one of the Bay Area food movement’s most prominent, unique positions: At the start of this year, she became the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora’s\u003c/a> second ever chef-in-residence — a role that Terry himself essentially created and held for seven years.\u003c/p>\n\u003cp>I spoke to Jackson by phone a couple of weeks into her new gig. Here are five things you can expect from the chef’s tenure at MoAD:\u003c/p>\n\u003ch2>\u003cb>1. MoAD’s chef-in-residence program will continue to be one of a kind. \u003c/b>\u003c/h2>\n\u003cp>If you’ve never heard of any other museum having a “chef-in-residence,” that’s because programs like MoAD’s, which focus on the ways that food, art and culture intersect in the Black diaspora, don’t really exist anywhere else — certainly not in such a comprehensive way. Jackson isn’t becoming the museum’s “chef” in the traditional sense of running a restaurant on its premises. Instead, like Terry before her, she’ll run a whole slate of food-related cultural programming all year round (more on the specifics of that programming in a minute).\u003c/p>\n\u003cfigure id=\"attachment_13923965\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg\" alt=\"Artistically arranged of food whose shape resembles the continent of Africa.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of food served by the People’s Kitchen Collective at one of MoAD’s Diaspora Dinners held in 2015. \u003ccite>(Fox Nakai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Museum of the African Diaspora is about reflecting the beauty and wholeness of our people,” Jackson says. “It would be remiss to overlook that food is part of our artistry — it’s part of the way that our people find survival and celebration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s not static when you’re doing a chef-in-residence,” she continues. “It’s not just something that you simply attend. It’s something that you do. I love that.”\u003c/p>\n\u003ch2>\u003cb>2. Black women will be front and center.\u003c/b>\u003c/h2>\n\u003cp>The tagline for Jackson’s \u003ca href=\"https://www.instagram.com/justuskitchen/?hl=en\">Instagram page\u003c/a> reads, “healing food experiences for Blk womxn.” Providing those kinds of culturally specific experiences — at group retreats, one-on-one sessions and more — has been the main focus of the chef’s company, \u003ca href=\"http://www.justuskitchen.com/\">Justus Kitchen\u003c/a>. It makes sense, then, that under Jackson’s stewardship, MoAD’s chef-in-residence program would make the experiences of Black women an even bigger priority.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Jocelyn Jackson\"]“It would be remiss to overlook that food is part of our artistry — it’s part of the way that our people find survival and celebration.”[/pullquote]“It is front of mind in every choice,” Jackson says. “Within my own experience, it is essential to make choices from the perspective of Black womanhood in everything I do. When Black women get free, we all get free.”\u003c/p>\n\u003cp>Jackson says she isn’t quite ready to announce too many of the specifics in terms of how this focus will play out in terms of MoAD’s actual programming. But, just to cite one example, Jackson plans to continue the chef-in-residence program’s longstanding tradition of hosting “Diaspora Dinners” — big, celebratory meals at the museum, usually featuring a prominent guest chef. And this year the events will highlight two Black women in the food industry.\u003c/p>\n\u003cp>Jackson also has a partnership in the works with San Francisco’s \u003ca href=\"https://btwcsc.org/\">Booker T. Washington Community Service Center\u003c/a>, including what she describes as some “beautiful projects” with elders in the community. “Every elder is a library. I don’t want them to pass from this earth without sharing whatever they feel compelled to share with us,” Jackson says.\u003c/p>\n\u003cfigure id=\"attachment_13923968\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg\" alt=\"Three smiling women dressed in all white sit at a table outdoors, awaiting the start of a meal.\" width=\"1920\" height=\"1081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1536x865.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MoAD board member Jill Cowan and friends at the Black Food Summit, held in September of 2022. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>3. The Black Food Summit will live on.\u003c/b>\u003c/h3>\n\u003cp>The capstone of Terry’s seven-year tenure at MoAD was the \u003ca href=\"https://www.kqed.org/arts/13918267/food-events-fall-2022\">Black Food Summit\u003c/a>, a gathering of amazing Black talent from all over the country, across all sectors of the food world — chefs, cookbook authors, photographers, food stylists and more — who came together for two days of workshops, rejuvenation and mutual support. The event was created to advance \u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\">Terry’s vision of creating a pipeline\u003c/a> that would allow Black chefs, writers and artists to land the kinds of prestigious gigs that they’ve been shut out of historically.\u003c/p>\n\u003cp>Thankfully, the summit will live on. As Jackson notes, Terry himself will continue to have an advisory role at the museum, and “it makes all the sense in the world” for her to carry on the tradition that he started. Most likely, the first Black Food Summit under Jackson’s stewardship will happen sometime in 2024.\u003c/p>\n\u003ch2>\u003cb>4. Art and artists will get an even bigger spotlight during Jackson’s tenure. \u003c/b>\u003c/h2>\n\u003cp>[aside postID='arts_13900311,arts_13915489,arts_13900855']MoAD is, of course, a \u003ci>museum\u003c/i> first and foremost, and most visitors come to see the art. In that respect, Jackson makes for an ideal chef-in-residence: She’s a practicing artist herself, known for exploring both food and social justice in her work. A notable recent example: an art installation in which Jackson imagined the “\u003ca href=\"http://www.justuskitchen.com/fixed-price-menu\">fixed price menu\u003c/a>” of a meal that Philando Castile and Jeronimo Yanez — the Minnesota police officer who shot and killed Castile in 2016 — might have shared.\u003c/p>\n\u003cp>For that piece, part of Ava DuVernay’s \u003ca href=\"https://www.leapaction.org/\">Law Enforcement Accountability Project\u003c/a> (LEAP), Jackson says, “I was doing quilting. I was doing writing. I was doing sculpture. I could say in that moment, ‘I’ve been training for decades for this.’ As an attorney, as an environmental educator, as an artist — it’s like I got these credentials on purpose in reverse.”\u003c/p>\n\u003cp>The same could be said for Jackson’s new role as MoAD’s chef-in-residence. If anything, she says, her own art background means she’ll place even more of a focus on collaborating with the artists whose work is being featured at the museum, whether that be in terms of new art installations or conversations in which the artists talk about the food connections in their work.\u003c/p>\n\u003cfigure id=\"attachment_13923970\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923970 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg\" alt=\"An abundant plate of food, including greens, beans and mac and cheese.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dinner at the Black Food Summit. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>5. Social justice will be the focus of everything she does at the museum.\u003c/b>\u003c/h2>\n\u003cp>It’s not lost on Jackson that she’s stepping into the role at a political moment when it’s become clear, as she puts it, that the long-term changes many hoped for during the widespread protests against police violence in 2020 haven’t really happened. “There was a boomerang effect, and lasting change has not occurred,” she says.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Jocelyn Jackson\"]“Artists are first responders. Anyone in this industry of art has that shared responsibility.”[/pullquote]At the same time, Jackson says that her position at MoAD is something of an oasis. “I get to luxuriate in the environment of an organization that’s made by and for Black folks. I get to be calm and peaceful and authentic within that space.”\u003c/p>\n\u003cp>She recognizes that the art world at large isn’t like that. It wasn’t lost on her that the viral incident a couple of weeks ago in which a \u003ca href=\"https://www.sfgate.com/food/article/san-francisco-man-sprays-woman-17708160.php\">San Francisco gallery owner sprayed an unhoused woman with a hose\u003c/a> was also a reflection of the art world.\u003c/p>\n\u003cp>So how can an institution like MoAD play a role in changing that? “How do we present ourselves as warriors for justice? Artists are first responders,” Jackson says, referencing the term \u003ca href=\"https://www.artistasfirstresponder.com/\">coined by Oakland-based artist Ashara Ekundayo\u003c/a>. “Anyone in this industry of art has that shared responsibility.”\u003c/p>\n\u003cp>For Jackson, that mindset has to inform all of her chef-in-residence programming. “There’s nothing that isn’t related to social justice,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Jocelyn Jackson’s first public event as MoAD’s chef-in-residence will be a \u003ca href=\"https://www.moadsf.org/event/chef-in-residence-presents-two-black-cooks-in-the-kitchen-a-celebration-of-bryant-terry-and-welcome-to-jocelyn-jackson\">conversation with Bryant Terry\u003c/a>, her predecessor in the role. The free event will take place at the museum (685 Mission St. in San Francisco) on Feb. 11 at 2 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The first time I met Jocelyn Jackson, back in 2015, the chef and food activist Bryant Terry was emceeing an Oakland food event where he introduced the organization that Jackson co-founded — \u003ca href=\"http://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a> — as the Bay Area food movement’s “house band.” In other words, the group wasn’t always the headliner, but it often worked behind the scenes whenever there was an event or initiative at the intersection of food, art and social justice. One week Jackson and her collaborators might sling vegan tacos at an \u003ca href=\"https://eastbayexpress.com/luz-calvo-wants-to-decolonize-your-plate-2-1/\">anti-colonialist cookbook event\u003c/a>. Another week you’d find them in West Oakland giving away a \u003ca href=\"http://peopleskitchencollective.com/free-breakfast-program\">free hot breakfast\u003c/a> to anyone who wanted one. \u003c/span>\u003c/p>\n\u003cp>All of which is to say: Jackson has been deeply involved in the Bay Area food world for a long time. Or, as she says about the scene, “There is no stranger in this room. … We know each other. We’ve been there for each other — for years.”\u003c/p>\n\u003cp>So there’s some poetry to the fact that Jackson is now stepping into one of the Bay Area food movement’s most prominent, unique positions: At the start of this year, she became the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora’s\u003c/a> second ever chef-in-residence — a role that Terry himself essentially created and held for seven years.\u003c/p>\n\u003cp>I spoke to Jackson by phone a couple of weeks into her new gig. Here are five things you can expect from the chef’s tenure at MoAD:\u003c/p>\n\u003ch2>\u003cb>1. MoAD’s chef-in-residence program will continue to be one of a kind. \u003c/b>\u003c/h2>\n\u003cp>If you’ve never heard of any other museum having a “chef-in-residence,” that’s because programs like MoAD’s, which focus on the ways that food, art and culture intersect in the Black diaspora, don’t really exist anywhere else — certainly not in such a comprehensive way. Jackson isn’t becoming the museum’s “chef” in the traditional sense of running a restaurant on its premises. Instead, like Terry before her, she’ll run a whole slate of food-related cultural programming all year round (more on the specifics of that programming in a minute).\u003c/p>\n\u003cfigure id=\"attachment_13923965\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg\" alt=\"Artistically arranged of food whose shape resembles the continent of Africa.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of food served by the People’s Kitchen Collective at one of MoAD’s Diaspora Dinners held in 2015. \u003ccite>(Fox Nakai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Museum of the African Diaspora is about reflecting the beauty and wholeness of our people,” Jackson says. “It would be remiss to overlook that food is part of our artistry — it’s part of the way that our people find survival and celebration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not static when you’re doing a chef-in-residence,” she continues. “It’s not just something that you simply attend. It’s something that you do. I love that.”\u003c/p>\n\u003ch2>\u003cb>2. Black women will be front and center.\u003c/b>\u003c/h2>\n\u003cp>The tagline for Jackson’s \u003ca href=\"https://www.instagram.com/justuskitchen/?hl=en\">Instagram page\u003c/a> reads, “healing food experiences for Blk womxn.” Providing those kinds of culturally specific experiences — at group retreats, one-on-one sessions and more — has been the main focus of the chef’s company, \u003ca href=\"http://www.justuskitchen.com/\">Justus Kitchen\u003c/a>. It makes sense, then, that under Jackson’s stewardship, MoAD’s chef-in-residence program would make the experiences of Black women an even bigger priority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It is front of mind in every choice,” Jackson says. “Within my own experience, it is essential to make choices from the perspective of Black womanhood in everything I do. When Black women get free, we all get free.”\u003c/p>\n\u003cp>Jackson says she isn’t quite ready to announce too many of the specifics in terms of how this focus will play out in terms of MoAD’s actual programming. But, just to cite one example, Jackson plans to continue the chef-in-residence program’s longstanding tradition of hosting “Diaspora Dinners” — big, celebratory meals at the museum, usually featuring a prominent guest chef. And this year the events will highlight two Black women in the food industry.\u003c/p>\n\u003cp>Jackson also has a partnership in the works with San Francisco’s \u003ca href=\"https://btwcsc.org/\">Booker T. Washington Community Service Center\u003c/a>, including what she describes as some “beautiful projects” with elders in the community. “Every elder is a library. I don’t want them to pass from this earth without sharing whatever they feel compelled to share with us,” Jackson says.\u003c/p>\n\u003cfigure id=\"attachment_13923968\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg\" alt=\"Three smiling women dressed in all white sit at a table outdoors, awaiting the start of a meal.\" width=\"1920\" height=\"1081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1536x865.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MoAD board member Jill Cowan and friends at the Black Food Summit, held in September of 2022. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>3. The Black Food Summit will live on.\u003c/b>\u003c/h3>\n\u003cp>The capstone of Terry’s seven-year tenure at MoAD was the \u003ca href=\"https://www.kqed.org/arts/13918267/food-events-fall-2022\">Black Food Summit\u003c/a>, a gathering of amazing Black talent from all over the country, across all sectors of the food world — chefs, cookbook authors, photographers, food stylists and more — who came together for two days of workshops, rejuvenation and mutual support. The event was created to advance \u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\">Terry’s vision of creating a pipeline\u003c/a> that would allow Black chefs, writers and artists to land the kinds of prestigious gigs that they’ve been shut out of historically.\u003c/p>\n\u003cp>Thankfully, the summit will live on. As Jackson notes, Terry himself will continue to have an advisory role at the museum, and “it makes all the sense in the world” for her to carry on the tradition that he started. Most likely, the first Black Food Summit under Jackson’s stewardship will happen sometime in 2024.\u003c/p>\n\u003ch2>\u003cb>4. Art and artists will get an even bigger spotlight during Jackson’s tenure. \u003c/b>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>MoAD is, of course, a \u003ci>museum\u003c/i> first and foremost, and most visitors come to see the art. In that respect, Jackson makes for an ideal chef-in-residence: She’s a practicing artist herself, known for exploring both food and social justice in her work. A notable recent example: an art installation in which Jackson imagined the “\u003ca href=\"http://www.justuskitchen.com/fixed-price-menu\">fixed price menu\u003c/a>” of a meal that Philando Castile and Jeronimo Yanez — the Minnesota police officer who shot and killed Castile in 2016 — might have shared.\u003c/p>\n\u003cp>For that piece, part of Ava DuVernay’s \u003ca href=\"https://www.leapaction.org/\">Law Enforcement Accountability Project\u003c/a> (LEAP), Jackson says, “I was doing quilting. I was doing writing. I was doing sculpture. I could say in that moment, ‘I’ve been training for decades for this.’ As an attorney, as an environmental educator, as an artist — it’s like I got these credentials on purpose in reverse.”\u003c/p>\n\u003cp>The same could be said for Jackson’s new role as MoAD’s chef-in-residence. If anything, she says, her own art background means she’ll place even more of a focus on collaborating with the artists whose work is being featured at the museum, whether that be in terms of new art installations or conversations in which the artists talk about the food connections in their work.\u003c/p>\n\u003cfigure id=\"attachment_13923970\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923970 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg\" alt=\"An abundant plate of food, including greens, beans and mac and cheese.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dinner at the Black Food Summit. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>5. Social justice will be the focus of everything she does at the museum.\u003c/b>\u003c/h2>\n\u003cp>It’s not lost on Jackson that she’s stepping into the role at a political moment when it’s become clear, as she puts it, that the long-term changes many hoped for during the widespread protests against police violence in 2020 haven’t really happened. “There was a boomerang effect, and lasting change has not occurred,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“Artists are first responders. Anyone in this industry of art has that shared responsibility.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, Jackson says that her position at MoAD is something of an oasis. “I get to luxuriate in the environment of an organization that’s made by and for Black folks. I get to be calm and peaceful and authentic within that space.”\u003c/p>\n\u003cp>She recognizes that the art world at large isn’t like that. It wasn’t lost on her that the viral incident a couple of weeks ago in which a \u003ca href=\"https://www.sfgate.com/food/article/san-francisco-man-sprays-woman-17708160.php\">San Francisco gallery owner sprayed an unhoused woman with a hose\u003c/a> was also a reflection of the art world.\u003c/p>\n\u003cp>So how can an institution like MoAD play a role in changing that? “How do we present ourselves as warriors for justice? Artists are first responders,” Jackson says, referencing the term \u003ca href=\"https://www.artistasfirstresponder.com/\">coined by Oakland-based artist Ashara Ekundayo\u003c/a>. “Anyone in this industry of art has that shared responsibility.”\u003c/p>\n\u003cp>For Jackson, that mindset has to inform all of her chef-in-residence programming. “There’s nothing that isn’t related to social justice,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Jocelyn Jackson’s first public event as MoAD’s chef-in-residence will be a \u003ca href=\"https://www.moadsf.org/event/chef-in-residence-presents-two-black-cooks-in-the-kitchen-a-celebration-of-bryant-terry-and-welcome-to-jocelyn-jackson\">conversation with Bryant Terry\u003c/a>, her predecessor in the role. The free event will take place at the museum (685 Mission St. in San Francisco) on Feb. 11 at 2 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rainin Fellowship Awards $100,000 Grants to Four Bay Area Artists",
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"content": "\u003cp>The Kenneth Rainin Foundation announced today the launch of a \u003ca href=\"https://krfoundation.org/inaugural-rainin-fellowship-announced/\" rel=\"noopener noreferrer\" target=\"_blank\">new fellowship\u003c/a> for artists working in dance, film, public space and theater. The Rainin Fellowship awards four unrestricted grants of $100,000 to help artists maintain their lives and practices in the San Francisco Bay Area. The inaugural recipients are \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Amara Tabor-Smith\u003c/a>, \u003ca href=\"https://www.margohall.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Margo Hall\u003c/a>, \u003ca href=\"http://peopleskitchencollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval), and \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a>. \u003c/p>\n\u003cp>The fellows, whose work includes deeply vulnerable performance experiences, theater by and for people of color, food-centered art and activism, and creative approaches to documentary film, are described by the Rainin Foundation in today’s announcement as artists “who push the boundaries of creative expression, anchor local communities, and advance the field.” \u003c/p>\n\u003cfigure id=\"attachment_13894796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RaininFellows_1200.jpg\" alt=\"\" width=\"1200\" height=\"300\" class=\"size-full wp-image-13894796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-768x192.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2021 Rainin Fellows Amara Tabor-Smith, Margo Hall, Rodrigo Reyes and People’s Kitchen Collective (Saqib Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson). \u003ccite>(L to R photos by Jean Melesaine, Lisa Keating, Jennifer Duran, and Molly DeCoudreaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hall, whose many roles in the Bay Area theater world include actor, director, playwright and educator—and as of last year, \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\" rel=\"noopener noreferrer\" target=\"_blank\">artistic director\u003c/a> of San Francisco’s Lorraine Hansberry Theatre—this fellowship provides a sense of validation. \u003c/p>\n\u003cp>“It solidified the fact that all the work I’ve done is paying off,” she says. “And not just because of the financial award of the fellowship, but because of the true recognition for the work I’ve done in the Bay Area.”\u003c/p>\n\u003cp>“I decided long ago that this was my home and I wanted to dedicate my energy and time to a community I believe in,” she continues. “I’m so happy that I did because I have built relationships that have carried me through my career and will carry me through my lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID=\"arts_13890207\"]Rainin Foundation Chief Program Officer Shelley Trott says plans for the fellowship, which was administered by the national arts funding nonprofit \u003ca href=\"https://www.unitedstatesartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">United States Artists\u003c/a>, predate the coronavirus pandemic and its toll on the local arts sector. While working on a strategic plan in 2017, she says, the foundation turned its attention to helping Bay Area artists thrive. It was clear just how many people were leaving the region, often forced to choose between their practices and affordability.\u003c/p>\n\u003cp>“We felt that it would be really important to have a program that provided direct support to individual artists at a level that would help them maintain a life and a living in the Bay Area given all the economic pressures,” Trott says.\u003c/p>\n\u003cp>Surveying other fellowships across the country and taking into account the Bay Area’s high cost of living, Rainin landed on $100,000 based on a year’s worth of living expenses. Because the grant is unrestricted, the fellows have complete freedom in their spending. They can even draw down on the total grant amount over a period of years, based on their needs and the tax implications of the added income. The fellowship also offers recipients help with financial planning, communications, marketing and legal services.\u003c/p>\n\u003cp>The fellowship is guaranteed to run annually for three years, but the Rainin Foundation anticipates it will continue beyond that term. \u003c/p>\n\u003cp>While the funding goes to just one artist (or in the case of People’s Kitchen Collective, a collaborative of three artists), the Rainin Fellowship is geared towards the enrichment of the entire Bay Area arts community. “We thought a lot about this concept of an anchor artist,” Trott says. “That’s an artist who’s deeply rooted in this community and in this region, who reflects the diverse communities of the Bay Area. And their practice also tends to uplift other artists as well, to influence and inspire.”\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ film ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes, a Mexican director based in Oakland, says he moved to the Bay Area in search of that artistic community. His latest film, \u003ci>\u003ca href=\"https://rrcinema.com/films-499/\" rel=\"noopener noreferrer\" target=\"_blank\">499\u003c/a>\u003c/i>, follows a reawakened conquistador as he interacts with people in contemporary Mexico, and pinpoints the brutal legacy of colonialism in today’s humanitarian crises. \u003c/p>\n\u003cp>“I recently joined the Bay Area Video Coalition as the co-director for their \u003ca href=\"https://bavc.org/mediamaker\" rel=\"noopener noreferrer\" target=\"_blank\">MediaMaker Fellowship\u003c/a>, which is a wonderful program that mentors filmmakers working on their first feature documentaries,” he says. “And being part of that has just really helped me to dig into a lot of the things that I love about Bay, which is the collaborative, open-to-dialogue experience, and the nourishing diversity of our space here.”\u003c/p>\n\u003cp>Another part of the Rainin Fellowship’s goal is to raise the profile of Bay Area artists—including those who don’t ultimately receive the grant. Trott says over 100 artists nominated by local experts in their fields were invited to submit applications, which were read by national reviewers and then a panel of local jurors, a process that introduced Bay Area artists to arts professionals across the country.\u003c/p>\n\u003cp>“I think it’s going to mean the world to the Bay Area,” says Hall of the Rainin Fellowship’s potential long-term impact. “Just the thought of having that kind of financial foundation will help you want to stay in the Bay.” Knowing that someone is keeping an eye on Bay Area artists’ work makes all the difference. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s nothing like feeling like your community supports you and gets you,” Hall says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced today the launch of a \u003ca href=\"https://krfoundation.org/inaugural-rainin-fellowship-announced/\" rel=\"noopener noreferrer\" target=\"_blank\">new fellowship\u003c/a> for artists working in dance, film, public space and theater. The Rainin Fellowship awards four unrestricted grants of $100,000 to help artists maintain their lives and practices in the San Francisco Bay Area. The inaugural recipients are \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Amara Tabor-Smith\u003c/a>, \u003ca href=\"https://www.margohall.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Margo Hall\u003c/a>, \u003ca href=\"http://peopleskitchencollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval), and \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a>. \u003c/p>\n\u003cp>The fellows, whose work includes deeply vulnerable performance experiences, theater by and for people of color, food-centered art and activism, and creative approaches to documentary film, are described by the Rainin Foundation in today’s announcement as artists “who push the boundaries of creative expression, anchor local communities, and advance the field.” \u003c/p>\n\u003cfigure id=\"attachment_13894796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RaininFellows_1200.jpg\" alt=\"\" width=\"1200\" height=\"300\" class=\"size-full wp-image-13894796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-768x192.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2021 Rainin Fellows Amara Tabor-Smith, Margo Hall, Rodrigo Reyes and People’s Kitchen Collective (Saqib Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson). \u003ccite>(L to R photos by Jean Melesaine, Lisa Keating, Jennifer Duran, and Molly DeCoudreaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hall, whose many roles in the Bay Area theater world include actor, director, playwright and educator—and as of last year, \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\" rel=\"noopener noreferrer\" target=\"_blank\">artistic director\u003c/a> of San Francisco’s Lorraine Hansberry Theatre—this fellowship provides a sense of validation. \u003c/p>\n\u003cp>“It solidified the fact that all the work I’ve done is paying off,” she says. “And not just because of the financial award of the fellowship, but because of the true recognition for the work I’ve done in the Bay Area.”\u003c/p>\n\u003cp>“I decided long ago that this was my home and I wanted to dedicate my energy and time to a community I believe in,” she continues. “I’m so happy that I did because I have built relationships that have carried me through my career and will carry me through my lifetime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rainin Foundation Chief Program Officer Shelley Trott says plans for the fellowship, which was administered by the national arts funding nonprofit \u003ca href=\"https://www.unitedstatesartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">United States Artists\u003c/a>, predate the coronavirus pandemic and its toll on the local arts sector. While working on a strategic plan in 2017, she says, the foundation turned its attention to helping Bay Area artists thrive. It was clear just how many people were leaving the region, often forced to choose between their practices and affordability.\u003c/p>\n\u003cp>“We felt that it would be really important to have a program that provided direct support to individual artists at a level that would help them maintain a life and a living in the Bay Area given all the economic pressures,” Trott says.\u003c/p>\n\u003cp>Surveying other fellowships across the country and taking into account the Bay Area’s high cost of living, Rainin landed on $100,000 based on a year’s worth of living expenses. Because the grant is unrestricted, the fellows have complete freedom in their spending. They can even draw down on the total grant amount over a period of years, based on their needs and the tax implications of the added income. The fellowship also offers recipients help with financial planning, communications, marketing and legal services.\u003c/p>\n\u003cp>The fellowship is guaranteed to run annually for three years, but the Rainin Foundation anticipates it will continue beyond that term. \u003c/p>\n\u003cp>While the funding goes to just one artist (or in the case of People’s Kitchen Collective, a collaborative of three artists), the Rainin Fellowship is geared towards the enrichment of the entire Bay Area arts community. “We thought a lot about this concept of an anchor artist,” Trott says. “That’s an artist who’s deeply rooted in this community and in this region, who reflects the diverse communities of the Bay Area. And their practice also tends to uplift other artists as well, to influence and inspire.”\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ film ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes, a Mexican director based in Oakland, says he moved to the Bay Area in search of that artistic community. His latest film, \u003ci>\u003ca href=\"https://rrcinema.com/films-499/\" rel=\"noopener noreferrer\" target=\"_blank\">499\u003c/a>\u003c/i>, follows a reawakened conquistador as he interacts with people in contemporary Mexico, and pinpoints the brutal legacy of colonialism in today’s humanitarian crises. \u003c/p>\n\u003cp>“I recently joined the Bay Area Video Coalition as the co-director for their \u003ca href=\"https://bavc.org/mediamaker\" rel=\"noopener noreferrer\" target=\"_blank\">MediaMaker Fellowship\u003c/a>, which is a wonderful program that mentors filmmakers working on their first feature documentaries,” he says. “And being part of that has just really helped me to dig into a lot of the things that I love about Bay, which is the collaborative, open-to-dialogue experience, and the nourishing diversity of our space here.”\u003c/p>\n\u003cp>Another part of the Rainin Fellowship’s goal is to raise the profile of Bay Area artists—including those who don’t ultimately receive the grant. Trott says over 100 artists nominated by local experts in their fields were invited to submit applications, which were read by national reviewers and then a panel of local jurors, a process that introduced Bay Area artists to arts professionals across the country.\u003c/p>\n\u003cp>“I think it’s going to mean the world to the Bay Area,” says Hall of the Rainin Fellowship’s potential long-term impact. “Just the thought of having that kind of financial foundation will help you want to stay in the Bay.” Knowing that someone is keeping an eye on Bay Area artists’ work makes all the difference. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s nothing like feeling like your community supports you and gets you,” Hall says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Bay Area Artists Shine in This Year’s Creative Capital Awards | KQED",
"content": "\u003cp>The Bay Area arts community has a strong showing in the latest round of \u003ca href=\"https://creative-capital.org/2020/12/08/the-2021-creative-capital-awards/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Capital Awards\u003c/a>, a national granting program that provides artists with up to $50,000 to realize ambitious, often large-scale projects. The funds are also combined with mentorship and advisory services to develop the capacity of the artists in each cohort.\u003c/p>\n\u003cp>[aside postID='arts_13836809']Of the 35 projects selected to receive the 2021 awards, six include Bay Area artists working in a variety of disciplines; their proposals include sci-fi inspired meals, documentary film, creative nonfiction and a floating opera. The local recipients are multidisciplinary collaborative \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson, Saqib Keval); documentary filmmaker \u003ca href=\"https://throughmylens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Reid Davenport\u003c/a>; educator and writer \u003ca href=\"https://www.annefinger.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Finger\u003c/a>; novelist \u003ca href=\"https://www.mengj.in/\" target=\"_blank\" rel=\"noopener noreferrer\">Meng Jin\u003c/a>; musician and composer \u003ca href=\"http://kurtrohde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Rohde\u003c/a>; and documentary filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Débora Souza Silva\u003c/a>.\u003c/p>\n\u003cp>Creative Capital received nearly 4,000 applications way back in February 2020; the awards were announced on Dec. 8. “I almost forgot!” says Jin.\u003c/p>\n\u003cp>While the world today looks very different from the one in which the grantees wrote their applications, the Creative Capital Awards favor a development process that gives artists the time and support to adapt to challenges along the way (like, say, a global pandemic), though all six grantees said their plans remained pretty close to their proposals.\u003c/p>\n\u003cfigure id=\"attachment_13890635\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890635\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective, ‘STREETS!,’ 2018 in Oakland. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For People’s Kitchen Collective, this timeline means they’ll be able to fully take advantage of Creative Capital’s expansive national network to connect with programming partners in various communities. “With Creative Capital, that ‘yes’ comes with so many more yeses,” says Jackson, who currently lives in Las Vegas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The collaborative’s project, \u003ci>\u003ca href=\"https://creative-capital.org/projects/earthseed/\" target=\"_blank\" rel=\"noopener noreferrer\">Earthseed\u003c/a>\u003c/i>, will create resource kits and a series of meals inspired by Octavia Butler’s \u003ci>Parables\u003c/i> books and the Black Panther Party’s programs. Even though the trio is spread across three different cities (Bhaumik lives in Oakland, Keval in Mexico City), the Bay Area’s history of artistic activism feeds their practice.\u003c/p>\n\u003cp>“It’s this question of ‘How do we find ways to survive that come from within, from our own communities?’” Bhaumik says. “The Bay Area is full of these examples of people taking survival into their own hands and working between groups.” Now, when so much of the world and the systems it operates upon need to be rebuilt, Bhaumik says ideas of food sovereignty and mutual aid are even more important.\u003c/p>\n\u003cp>With this award comes a sense of stability. “It’s been really hard during this year to envision the future,” says Jin, noting the award changed that. \u003ca href=\"https://creative-capital.org/projects/mothers-and-girls-a-fake-memoir/\" target=\"_blank\" rel=\"noopener noreferrer\">Her novel\u003c/a>, which she also calls a “fake memoir,” addresses the contemporary conversation around autofiction, a big “new” literary genre \u003ca href=\"https://newrepublic.com/article/159951/can-black-novelist-write-autofiction\" target=\"_blank\" rel=\"noopener noreferrer\">mostly identified\u003c/a> with European and white American writers. “I want to rescope and rethink the ways in which autobiography and autobiographical readings affect writers of color in particular,” she says.\u003c/p>\n\u003cp>She’s also looking forward to connecting with other artists, not necessarily writers, in the Creative Capital cohort. “I’m interested in conceiving of fiction-writing as an active performance similar to the work of a performance artist,” she says. “I’m excited to be able to have conversations with artists who are experts in these kinds of ideas.”\u003c/p>\n\u003cfigure id=\"attachment_13890636\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Reid Davenport’s ‘I Didn’t See You There.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davenport, who has already shot much of the footage for his documentary film \u003ci>\u003ca href=\"https://creative-capital.org/projects/i-didnt-see-you-there/\" target=\"_blank\" rel=\"noopener noreferrer\">I Didn’t See You There\u003c/a>\u003c/i> says, “Any time I can join a cohort I try to do so.” His work on the project started two years ago with the appearance of a circus tent outside his Oakland apartment, leading Davenport to examine the legacy of the “freak show” in his own life as a disabled filmmaker.\u003c/p>\n\u003cp>Similarly, Silva is already four years into her documentary, \u003ci>\u003ca href=\"https://creative-capital.org/projects/black-mothers/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Mothers\u003c/a>\u003c/i> which follows two women in \u003ca href=\"https://www.elle.com/culture/career-politics/news/a38111/who-are-mothers-of-the-movement-dnc/\" target=\"_blank\" rel=\"noopener noreferrer\">Mothers of the Movement\u003c/a>, a nationwide network of mothers whose children were killed by police.\u003c/p>\n\u003cp>For Silva, Oakland and its people have been a huge influence. “\u003ci>Black Mothers\u003c/i> really started with the case of Oscar Grant and the important work that his mother, Wanda, his uncle Cephus Johnson (‘Uncle Bobby’) and several local activists have been doing for over a decade,” she wrote in an email.\u003c/p>\n\u003cp>Her long-term commitment to the women at the center of her film is crucial to its aesthetic. “Ultimately,” she says, “I hope to create a film that reflects not only how I see the mothers but how they see themselves.”\u003c/p>\n\u003cfigure id=\"attachment_13890638\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-De%CC%81bora-Souza-Silva-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Débora Souza Silva’s ‘Black Mothers.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other projects will take Bay Area awardees farther afield—for Finger and Rohde, to Berlin and New York, respectively. Finger’s book of personal essays, \u003ci>\u003ca href=\"https://creative-capital.org/projects/wheeling-in-berlin/\" target=\"_blank\" rel=\"noopener noreferrer\">Wheeling in Berlin\u003c/a>\u003c/i> is inspired by the figure of the “meandering dandy.” She hopes to be able to return to Germany soon to further inform her writing on historical figures, disability in art and her own travels as a wheelchair-user.\u003c/p>\n\u003cp>Each group of awardees traditionally gathers for a retreat to share their projects with one other. Finger looks forward to this being an in-person event. “To me it’s so much better when we can be with other people and talk in hallways and go out to dinner,” she says.\u003c/p>\n\u003cp>And for San Francisco-based Rohde, part of a three-person team behind \u003ci>\u003ca href=\"https://creative-capital.org/projects/newtown-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">Newtown Odyssey\u003c/a>\u003c/i> (the aforementioned floating opera), travel to the site of his eventual performance piece is complicated by more than just the current pandemic: the project plans to be carbon neutral.\u003c/p>\n\u003cp>The opera itself will address issues of climate change, environmental justice and civic responsibility, but the specifics are still very much up in the air. “This is no question the most experimental space I’ve worked in,” Rohde says. Collaborating with New York artist Marie Lorenz and Syracuse writer Dana Spiotta, Rohde will compose the music for an opera to be performed and seen on a polluted industrial waterway between Brooklyn and Queens.\u003c/p>\n\u003cfigure id=\"attachment_13890637\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890637\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An aerial image of Marie Lorenz’s ‘Tide Taxi’ on a polluted waterway. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rohde has to consider not just creating something that will be outside (a particular acoustic challenge), but on multiple, possibly moving stages. Questions of power, amplification, live instruments, pre-recorded sound, seasonal elements and the effect of those elements on instruments are all in play. “I can’t ask you to take your cello out in a boat,” he says.\u003c/p>\n\u003cp>The Creative Capital Award is meant for just such projects: challenging, expansive ones that change the way we think about what the arts can accomplish. \u003ci>Newtown Odyssey\u003c/i>’s commitment to carbon neutrality—an issue rarely broached in the fine art world—is a case in point.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Since our talk, I have been using a number of online carbon emission offset calculators,” Rohde later wrote in an email. “It looks like I will be planting a few trees for that round-trip flight next summer!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area arts community has a strong showing in the latest round of \u003ca href=\"https://creative-capital.org/2020/12/08/the-2021-creative-capital-awards/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Capital Awards\u003c/a>, a national granting program that provides artists with up to $50,000 to realize ambitious, often large-scale projects. The funds are also combined with mentorship and advisory services to develop the capacity of the artists in each cohort.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of the 35 projects selected to receive the 2021 awards, six include Bay Area artists working in a variety of disciplines; their proposals include sci-fi inspired meals, documentary film, creative nonfiction and a floating opera. The local recipients are multidisciplinary collaborative \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson, Saqib Keval); documentary filmmaker \u003ca href=\"https://throughmylens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Reid Davenport\u003c/a>; educator and writer \u003ca href=\"https://www.annefinger.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Finger\u003c/a>; novelist \u003ca href=\"https://www.mengj.in/\" target=\"_blank\" rel=\"noopener noreferrer\">Meng Jin\u003c/a>; musician and composer \u003ca href=\"http://kurtrohde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Rohde\u003c/a>; and documentary filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Débora Souza Silva\u003c/a>.\u003c/p>\n\u003cp>Creative Capital received nearly 4,000 applications way back in February 2020; the awards were announced on Dec. 8. “I almost forgot!” says Jin.\u003c/p>\n\u003cp>While the world today looks very different from the one in which the grantees wrote their applications, the Creative Capital Awards favor a development process that gives artists the time and support to adapt to challenges along the way (like, say, a global pandemic), though all six grantees said their plans remained pretty close to their proposals.\u003c/p>\n\u003cfigure id=\"attachment_13890635\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890635\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective, ‘STREETS!,’ 2018 in Oakland. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For People’s Kitchen Collective, this timeline means they’ll be able to fully take advantage of Creative Capital’s expansive national network to connect with programming partners in various communities. “With Creative Capital, that ‘yes’ comes with so many more yeses,” says Jackson, who currently lives in Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The collaborative’s project, \u003ci>\u003ca href=\"https://creative-capital.org/projects/earthseed/\" target=\"_blank\" rel=\"noopener noreferrer\">Earthseed\u003c/a>\u003c/i>, will create resource kits and a series of meals inspired by Octavia Butler’s \u003ci>Parables\u003c/i> books and the Black Panther Party’s programs. Even though the trio is spread across three different cities (Bhaumik lives in Oakland, Keval in Mexico City), the Bay Area’s history of artistic activism feeds their practice.\u003c/p>\n\u003cp>“It’s this question of ‘How do we find ways to survive that come from within, from our own communities?’” Bhaumik says. “The Bay Area is full of these examples of people taking survival into their own hands and working between groups.” Now, when so much of the world and the systems it operates upon need to be rebuilt, Bhaumik says ideas of food sovereignty and mutual aid are even more important.\u003c/p>\n\u003cp>With this award comes a sense of stability. “It’s been really hard during this year to envision the future,” says Jin, noting the award changed that. \u003ca href=\"https://creative-capital.org/projects/mothers-and-girls-a-fake-memoir/\" target=\"_blank\" rel=\"noopener noreferrer\">Her novel\u003c/a>, which she also calls a “fake memoir,” addresses the contemporary conversation around autofiction, a big “new” literary genre \u003ca href=\"https://newrepublic.com/article/159951/can-black-novelist-write-autofiction\" target=\"_blank\" rel=\"noopener noreferrer\">mostly identified\u003c/a> with European and white American writers. “I want to rescope and rethink the ways in which autobiography and autobiographical readings affect writers of color in particular,” she says.\u003c/p>\n\u003cp>She’s also looking forward to connecting with other artists, not necessarily writers, in the Creative Capital cohort. “I’m interested in conceiving of fiction-writing as an active performance similar to the work of a performance artist,” she says. “I’m excited to be able to have conversations with artists who are experts in these kinds of ideas.”\u003c/p>\n\u003cfigure id=\"attachment_13890636\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Reid Davenport’s ‘I Didn’t See You There.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davenport, who has already shot much of the footage for his documentary film \u003ci>\u003ca href=\"https://creative-capital.org/projects/i-didnt-see-you-there/\" target=\"_blank\" rel=\"noopener noreferrer\">I Didn’t See You There\u003c/a>\u003c/i> says, “Any time I can join a cohort I try to do so.” His work on the project started two years ago with the appearance of a circus tent outside his Oakland apartment, leading Davenport to examine the legacy of the “freak show” in his own life as a disabled filmmaker.\u003c/p>\n\u003cp>Similarly, Silva is already four years into her documentary, \u003ci>\u003ca href=\"https://creative-capital.org/projects/black-mothers/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Mothers\u003c/a>\u003c/i> which follows two women in \u003ca href=\"https://www.elle.com/culture/career-politics/news/a38111/who-are-mothers-of-the-movement-dnc/\" target=\"_blank\" rel=\"noopener noreferrer\">Mothers of the Movement\u003c/a>, a nationwide network of mothers whose children were killed by police.\u003c/p>\n\u003cp>For Silva, Oakland and its people have been a huge influence. “\u003ci>Black Mothers\u003c/i> really started with the case of Oscar Grant and the important work that his mother, Wanda, his uncle Cephus Johnson (‘Uncle Bobby’) and several local activists have been doing for over a decade,” she wrote in an email.\u003c/p>\n\u003cp>Her long-term commitment to the women at the center of her film is crucial to its aesthetic. “Ultimately,” she says, “I hope to create a film that reflects not only how I see the mothers but how they see themselves.”\u003c/p>\n\u003cfigure id=\"attachment_13890638\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-De%CC%81bora-Souza-Silva-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Débora Souza Silva’s ‘Black Mothers.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other projects will take Bay Area awardees farther afield—for Finger and Rohde, to Berlin and New York, respectively. Finger’s book of personal essays, \u003ci>\u003ca href=\"https://creative-capital.org/projects/wheeling-in-berlin/\" target=\"_blank\" rel=\"noopener noreferrer\">Wheeling in Berlin\u003c/a>\u003c/i> is inspired by the figure of the “meandering dandy.” She hopes to be able to return to Germany soon to further inform her writing on historical figures, disability in art and her own travels as a wheelchair-user.\u003c/p>\n\u003cp>Each group of awardees traditionally gathers for a retreat to share their projects with one other. Finger looks forward to this being an in-person event. “To me it’s so much better when we can be with other people and talk in hallways and go out to dinner,” she says.\u003c/p>\n\u003cp>And for San Francisco-based Rohde, part of a three-person team behind \u003ci>\u003ca href=\"https://creative-capital.org/projects/newtown-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">Newtown Odyssey\u003c/a>\u003c/i> (the aforementioned floating opera), travel to the site of his eventual performance piece is complicated by more than just the current pandemic: the project plans to be carbon neutral.\u003c/p>\n\u003cp>The opera itself will address issues of climate change, environmental justice and civic responsibility, but the specifics are still very much up in the air. “This is no question the most experimental space I’ve worked in,” Rohde says. Collaborating with New York artist Marie Lorenz and Syracuse writer Dana Spiotta, Rohde will compose the music for an opera to be performed and seen on a polluted industrial waterway between Brooklyn and Queens.\u003c/p>\n\u003cfigure id=\"attachment_13890637\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890637\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An aerial image of Marie Lorenz’s ‘Tide Taxi’ on a polluted waterway. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rohde has to consider not just creating something that will be outside (a particular acoustic challenge), but on multiple, possibly moving stages. Questions of power, amplification, live instruments, pre-recorded sound, seasonal elements and the effect of those elements on instruments are all in play. “I can’t ask you to take your cello out in a boat,” he says.\u003c/p>\n\u003cp>The Creative Capital Award is meant for just such projects: challenging, expansive ones that change the way we think about what the arts can accomplish. \u003ci>Newtown Odyssey\u003c/i>’s commitment to carbon neutrality—an issue rarely broached in the fine art world—is a case in point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since our talk, I have been using a number of online carbon emission offset calculators,” Rohde later wrote in an email. “It looks like I will be planting a few trees for that round-trip flight next summer!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp class=\"p1\">You can’t fight for justice, equity and freedom on an empty stomach. The co-founders of \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">People’s Kitchen Collective\u003c/span>\u003c/a> (PKC), Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval, believe in the power of conversation and community over shared meals—and the necessity of bridging racial, religious and generational divides to build solidarity.\u003c/p>\n\u003cp class=\"p1\">Over the course of a year, PKC organized a four-meal series called “From the FARM, to the KITCHEN, to the TABLE, to the STREETS,” nourishing people with courses sourced from their own family recipes, community members and historical references. As PKC says, “In our kitchen, food has flavor.”\u003c/p>\n\u003cp class=\"p1\">“TABLE” brought together communities affected by xenophobic immigration policies, including Flora Ninomiya, a survivor of the internment camps of Japanese Americans established under Executive Order 9066, and Misha Abbas, a Muslim textile artist from Pakistan.\u003c/p>\n\u003cp class=\"p1\">“The Muslim travel ban and the idea that we don’t belong here, that’s how the Japanese were seen,” says Abbas, who created and naturally died furoshiki, traditional Japanese wrapping cloths, using flowers from Ninomiya’s land. “We’re part of the same struggle.”\u003c/p>\n\u003cp class=\"p1\">For the culminating meal, PKC fed 500 guests, with dishes inspired by the Black Panthers’ Free Breakfast Program—at a single long table that spanned an entire West Oakland city block.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">“We’re Black and brown people at a table together in a Black and brown neighborhood, claiming space, and that’s political,” says Keval. This is especially true in West Oakland, where rapid gentrification is pushing longtime residents and artists out of the neighborhood. One need only a look at the Alena Museum, the community arts space out of which PKC has operated the last two years, and \u003ca href=\"https://www.mercurynews.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">its likely displacement\u003c/span>\u003c/a>, as an example of looming cultural erasure in the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">PKC’s mission to “nourish the revolution” is both radical and completely in earnest. “At every meal,” Keval says, “we want you to be moved, moved out into a place where you’re publicly advocating for the issues that matter.” — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">You can’t fight for justice, equity and freedom on an empty stomach. The co-founders of \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">People’s Kitchen Collective\u003c/span>\u003c/a> (PKC), Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval, believe in the power of conversation and community over shared meals—and the necessity of bridging racial, religious and generational divides to build solidarity.\u003c/p>\n\u003cp class=\"p1\">Over the course of a year, PKC organized a four-meal series called “From the FARM, to the KITCHEN, to the TABLE, to the STREETS,” nourishing people with courses sourced from their own family recipes, community members and historical references. As PKC says, “In our kitchen, food has flavor.”\u003c/p>\n\u003cp class=\"p1\">“TABLE” brought together communities affected by xenophobic immigration policies, including Flora Ninomiya, a survivor of the internment camps of Japanese Americans established under Executive Order 9066, and Misha Abbas, a Muslim textile artist from Pakistan.\u003c/p>\n\u003cp class=\"p1\">“The Muslim travel ban and the idea that we don’t belong here, that’s how the Japanese were seen,” says Abbas, who created and naturally died furoshiki, traditional Japanese wrapping cloths, using flowers from Ninomiya’s land. “We’re part of the same struggle.”\u003c/p>\n\u003cp class=\"p1\">For the culminating meal, PKC fed 500 guests, with dishes inspired by the Black Panthers’ Free Breakfast Program—at a single long table that spanned an entire West Oakland city block.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 13
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"order": 15
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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"politicalbreakdown": {
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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