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"content": "\u003cp>Nine philanthropic foundations have joined forces to fill a funding gap created by mid-year budget cuts to Oakland’s \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Cultural Affairs Division\u003c/a>. The \u003ca href=\"https://www.ebcf.org/post/east-bay-community-foundation-announces-600000-fund-to-support-24-oakland-arts-and-culture-organizations-this-summer/\">$600,000 emergency fund\u003c/a> will channel one-time grants of up to $28,500 to 24 local arts and culture organizations to support their summer programming.\u003c/p>\n\u003cp>The grant recipients initially received funds from Oakland’s Organizational Assistance Program in 2023, expecting the two-year grant to renew for the fiscal year 2024–25. When the city council eliminated the Cultural Affairs Division’s general fund allocation, Acting Cultural Funding Coordinator Pamela Mattera and former Cultural Funding Coordinator Raquel Iglesias led the effort to replace the missing funds.\u003c/p>\n\u003cp>Donations to the emergency pool come from the Akonadi Foundation, East Bay Community Foundation, Fleishhacker Foundation, Gerbode Foundation, Hellman Foundation, Kenneth Rainin Foundation, San Francisco Foundation, Stupski Family Fund and an anonymous source. The East Bay Community Foundation will coordinate the dispersal of funds. \u003c/p>\n\u003cp>The grants are for general operating funds, a rare and valuable category of funding that allows nonprofits to spend money as they see fit. “They can pay for insurance, pay for those programs and community engagement work that they all do,” says Iglesias. “These grants really support everything as opposed to being earmarked for something specific.”\u003c/p>\n\u003cp>The list of 24 grantees includes \u003ca href=\"https://www.kqed.org/arts/13955533/creative-growth-sfmoma-the-house-that-art-built-review\">Creative Growth\u003c/a>, EastSide Arts Alliance, the Oakland Interfaith Gospel Choir and the Oakland Theater Project. Collectively, the grantees support over 600 Oakland-based artists and 10,000 arts and cultural activities, according to today’s announcement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving forward, there is no allocation for such grants in the city’s budget. “The future of cultural funding in Oakland is unknown,” Iglesias says.\u003c/p>\n\u003cp>[aside postID='arts_13978209']This is not the first time private foundations have stepped in to help fill gaps left by recent cuts to public funding. The \u003ca href=\"https://www.mellon.org/news/americas-humanities-councils-get-a-lifeline\">Mellon Foundation\u003c/a> announced $15 million in emergency funds for state humanities councils after the National Endowment for the Humanities eliminated funding. The Andy Warhol Foundation and Helen Frankenthaler Foundation committed to fund \u003ca href=\"https://warholfoundation.org/2025/05/07/warhol-and-frankenthaler-foundations-commit-800000-to-support-visual-arts-programs-impacted-by-suspended-nea-grant-initiative/\">80 community arts organizations\u003c/a> affected by the end of the National Endowment for the Arts’ Challenge America Grant.\u003c/p>\n\u003cp>Meanwhile, locally, artists and arts advocates like Iglesias remain committed to advocating for the job of \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Oakland’s cultural affairs manager\u003c/a>, last held by Roberto Bedoya, who retired in October. (Lex Leifheit is serving as interim manager of cultural affairs through November 2025.) The city council cut the position by adopting Oakland’s latest budget on June 11. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today’s announcement, Iglesias points out, shows just how important it is to have someone advocating for Oakland arts and culture to private foundations. “By allowing that position to come back, it gives the city a chance to raise this money moving forward,” she says. “Without that type of leadership in place, it’s just not possible.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nine philanthropic foundations have joined forces to fill a funding gap created by mid-year budget cuts to Oakland’s \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Cultural Affairs Division\u003c/a>. The \u003ca href=\"https://www.ebcf.org/post/east-bay-community-foundation-announces-600000-fund-to-support-24-oakland-arts-and-culture-organizations-this-summer/\">$600,000 emergency fund\u003c/a> will channel one-time grants of up to $28,500 to 24 local arts and culture organizations to support their summer programming.\u003c/p>\n\u003cp>The grant recipients initially received funds from Oakland’s Organizational Assistance Program in 2023, expecting the two-year grant to renew for the fiscal year 2024–25. When the city council eliminated the Cultural Affairs Division’s general fund allocation, Acting Cultural Funding Coordinator Pamela Mattera and former Cultural Funding Coordinator Raquel Iglesias led the effort to replace the missing funds.\u003c/p>\n\u003cp>Donations to the emergency pool come from the Akonadi Foundation, East Bay Community Foundation, Fleishhacker Foundation, Gerbode Foundation, Hellman Foundation, Kenneth Rainin Foundation, San Francisco Foundation, Stupski Family Fund and an anonymous source. The East Bay Community Foundation will coordinate the dispersal of funds. \u003c/p>\n\u003cp>The grants are for general operating funds, a rare and valuable category of funding that allows nonprofits to spend money as they see fit. “They can pay for insurance, pay for those programs and community engagement work that they all do,” says Iglesias. “These grants really support everything as opposed to being earmarked for something specific.”\u003c/p>\n\u003cp>The list of 24 grantees includes \u003ca href=\"https://www.kqed.org/arts/13955533/creative-growth-sfmoma-the-house-that-art-built-review\">Creative Growth\u003c/a>, EastSide Arts Alliance, the Oakland Interfaith Gospel Choir and the Oakland Theater Project. Collectively, the grantees support over 600 Oakland-based artists and 10,000 arts and cultural activities, according to today’s announcement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving forward, there is no allocation for such grants in the city’s budget. “The future of cultural funding in Oakland is unknown,” Iglesias says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is not the first time private foundations have stepped in to help fill gaps left by recent cuts to public funding. The \u003ca href=\"https://www.mellon.org/news/americas-humanities-councils-get-a-lifeline\">Mellon Foundation\u003c/a> announced $15 million in emergency funds for state humanities councils after the National Endowment for the Humanities eliminated funding. The Andy Warhol Foundation and Helen Frankenthaler Foundation committed to fund \u003ca href=\"https://warholfoundation.org/2025/05/07/warhol-and-frankenthaler-foundations-commit-800000-to-support-visual-arts-programs-impacted-by-suspended-nea-grant-initiative/\">80 community arts organizations\u003c/a> affected by the end of the National Endowment for the Arts’ Challenge America Grant.\u003c/p>\n\u003cp>Meanwhile, locally, artists and arts advocates like Iglesias remain committed to advocating for the job of \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Oakland’s cultural affairs manager\u003c/a>, last held by Roberto Bedoya, who retired in October. (Lex Leifheit is serving as interim manager of cultural affairs through November 2025.) The city council cut the position by adopting Oakland’s latest budget on June 11. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today’s announcement, Iglesias points out, shows just how important it is to have someone advocating for Oakland arts and culture to private foundations. “By allowing that position to come back, it gives the city a chance to raise this money moving forward,” she says. “Without that type of leadership in place, it’s just not possible.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Four Bay Area artists have been awarded grants of $100,000 each from the \u003ca href=\"https://krfoundation.org/\">Kenneth Rainin Foundation\u003c/a> as part of its 2025 Rainin Arts Fellowship.\u003c/p>\n\u003cp>This year’s fellows are \u003ca href=\"https://www.firstvoice.org/\">Brenda Wong Aoki\u003c/a>, \u003ca href=\"https://www.christychan.com/\">Christy Chan\u003c/a>, \u003ca href=\"https://www.kylecaseychu.com/\">Kyle Casey Chu\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">Vanessa Sanchez\u003c/a>. The unrestricted $100,000 grants are meant to be spent in whichever way each artist feel best supports their individual practices.\u003c/p>\n\u003cp>[aside postid='arts_13899808'] “I never would have dreamed of receiving a fellowship that comes with such robust support and with no conditions attached,” Chan told KQED Arts via email. “The Rainin Fellowship is an act of trust in art and also an act of trust in artists.”\u003c/p>\n\u003cp>Chan was awarded the foundation’s public space fellowship for her large-scale video installations and projections that are designed to challenge white supremacy and systemic inequality. In 2021, her \u003ca href=\"https://www.kqed.org/arts/13899808/asian-american-artists-light-up-buildings-with-guerilla-messages-of-solidarity\">\u003cem>Dear America\u003c/em>\u003c/a> series directly addressed anti-Asian hate with projections on high-rise buildings throughout the Bay, with messages in English and eight different Asian languages. More recently, Chan’s 2023 public art project \u003cem>Fainting Couch\u003c/em> explored issues of power, fragility and class systems.\u003c/p>\n\u003cp>“In a time when the cultural power of artists and art orgs are being challenged by abuses of power in the government,” Chan said, “this fellowship guarantees my artistic freedom for a little while longer.”\u003c/p>\n\u003cfigure id=\"attachment_13899813\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Asian America is America’ projected above Oakland’s Lake Merritt, as part of the series ‘Dear America,’ 2021. \u003ccite>(Christy Chan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Chan, theater fellow Aoki noted the impact of recent government cuts on her practice — and the relief the Rainin grant will provide her. Aoki is a performer, playwright and director whose productions blend Japanese legends, symphonic jazz and her family’s own long history in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aoki told KQED that \u003ca href=\"https://www.firstvoice.org/about-first-voice\">First Voice\u003c/a>, the arts organization she co-founded with her husband, jazz musician \u003ca href=\"https://www.instagram.com/p/DE--1yZzO44/?hl=en&img_index=1\">Mark Izu\u003c/a>, “lost 75% of its funding under the new administration.” The financial hit represented an extra hard blow after losing Izu to cancer in January.\u003c/p>\n\u003cp>“I’m 72 years old,” Aoki said via email, “and yet this award feels like a luminous pearl, shining in the midst of darkness and chaos. It reminds me that I’m still here, still doing the work I was put on this planet to do. I am uplifted. I am grateful. And I promise to use this honor to nourish us all.”\u003c/p>\n\u003cp>[aside postid='arts_13880670']This year’s film fellowship was awarded to writer, performer and filmmaker Kyle Casey Chu (a.k.a. Panda Dulce), who is one of the founding queens of the legendary \u003ca href=\"https://www.kqed.org/news/tag/drag-queen-story-hour\">\u003cem>Drag Queen Story Hour\u003c/em>\u003c/a>. (Chu successfully completed a reading to children at the San Lorenzo Public Library in 2022, despite a violent \u003ca href=\"https://www.kqed.org/news/11916918/sheriffs-investigating-hate-crime-after-alleged-proud-boys-disrupt-drag-queen-story-hour-with-homophobic-slurs\">interruption by a group of Proud Boys\u003c/a>.) Earlier this month, Chu released her debut novel, \u003ca href=\"https://www.goodreads.com/book/show/216497050-the-queen-bees-of-tybee-county\">\u003cem>The Queen Bees of Tybee County\u003c/em>\u003c/a>, about a teenager in the South reckoning with their gender and sexuality after discovering the world of pageants.\u003c/p>\n\u003cp>“My work honors the diverse creative communities I came of age with in San Francisco,” Chu said in an email. “People who lovingly helped me crystallize my voice and vision as an artist — too many of which have already been displaced. This fellowship is helping me preserve these legacies and advance filmmaking itself towards a more inclusive, equitable future.”\u003c/p>\n\u003cp>Receiving the Rainin Foundation’s dance fellowship, choreographer Vanessa Sanchez is the founder of San Francisco’s \u003ca href=\"https://lamezclasf.net/\">La Mezcla dance company\u003c/a>. The group uses a combination of tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. They usually do so while wearing distinctive zoot suits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U_vm9EU0YBU\u003c/p>\n\u003cp>“It’s a really emotional experience for me continuing the legacy of resistance and survival that these women had to overcome,” Sanchez told KQED Arts in 2020, “and then being able to put that on a stage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sanchez is also currently an artist-in-residence at \u003ca href=\"https://www.brava.org/\">Brava! For Women in the Arts\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Four Bay Area artists have been awarded grants of $100,000 each from the \u003ca href=\"https://krfoundation.org/\">Kenneth Rainin Foundation\u003c/a> as part of its 2025 Rainin Arts Fellowship.\u003c/p>\n\u003cp>This year’s fellows are \u003ca href=\"https://www.firstvoice.org/\">Brenda Wong Aoki\u003c/a>, \u003ca href=\"https://www.christychan.com/\">Christy Chan\u003c/a>, \u003ca href=\"https://www.kylecaseychu.com/\">Kyle Casey Chu\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">Vanessa Sanchez\u003c/a>. The unrestricted $100,000 grants are meant to be spent in whichever way each artist feel best supports their individual practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “I never would have dreamed of receiving a fellowship that comes with such robust support and with no conditions attached,” Chan told KQED Arts via email. “The Rainin Fellowship is an act of trust in art and also an act of trust in artists.”\u003c/p>\n\u003cp>Chan was awarded the foundation’s public space fellowship for her large-scale video installations and projections that are designed to challenge white supremacy and systemic inequality. In 2021, her \u003ca href=\"https://www.kqed.org/arts/13899808/asian-american-artists-light-up-buildings-with-guerilla-messages-of-solidarity\">\u003cem>Dear America\u003c/em>\u003c/a> series directly addressed anti-Asian hate with projections on high-rise buildings throughout the Bay, with messages in English and eight different Asian languages. More recently, Chan’s 2023 public art project \u003cem>Fainting Couch\u003c/em> explored issues of power, fragility and class systems.\u003c/p>\n\u003cp>“In a time when the cultural power of artists and art orgs are being challenged by abuses of power in the government,” Chan said, “this fellowship guarantees my artistic freedom for a little while longer.”\u003c/p>\n\u003cfigure id=\"attachment_13899813\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/2_Dear-America_Asian-America-is-America_COVER-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Asian America is America’ projected above Oakland’s Lake Merritt, as part of the series ‘Dear America,’ 2021. \u003ccite>(Christy Chan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Chan, theater fellow Aoki noted the impact of recent government cuts on her practice — and the relief the Rainin grant will provide her. Aoki is a performer, playwright and director whose productions blend Japanese legends, symphonic jazz and her family’s own long history in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aoki told KQED that \u003ca href=\"https://www.firstvoice.org/about-first-voice\">First Voice\u003c/a>, the arts organization she co-founded with her husband, jazz musician \u003ca href=\"https://www.instagram.com/p/DE--1yZzO44/?hl=en&img_index=1\">Mark Izu\u003c/a>, “lost 75% of its funding under the new administration.” The financial hit represented an extra hard blow after losing Izu to cancer in January.\u003c/p>\n\u003cp>“I’m 72 years old,” Aoki said via email, “and yet this award feels like a luminous pearl, shining in the midst of darkness and chaos. It reminds me that I’m still here, still doing the work I was put on this planet to do. I am uplifted. I am grateful. And I promise to use this honor to nourish us all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This year’s film fellowship was awarded to writer, performer and filmmaker Kyle Casey Chu (a.k.a. Panda Dulce), who is one of the founding queens of the legendary \u003ca href=\"https://www.kqed.org/news/tag/drag-queen-story-hour\">\u003cem>Drag Queen Story Hour\u003c/em>\u003c/a>. (Chu successfully completed a reading to children at the San Lorenzo Public Library in 2022, despite a violent \u003ca href=\"https://www.kqed.org/news/11916918/sheriffs-investigating-hate-crime-after-alleged-proud-boys-disrupt-drag-queen-story-hour-with-homophobic-slurs\">interruption by a group of Proud Boys\u003c/a>.) Earlier this month, Chu released her debut novel, \u003ca href=\"https://www.goodreads.com/book/show/216497050-the-queen-bees-of-tybee-county\">\u003cem>The Queen Bees of Tybee County\u003c/em>\u003c/a>, about a teenager in the South reckoning with their gender and sexuality after discovering the world of pageants.\u003c/p>\n\u003cp>“My work honors the diverse creative communities I came of age with in San Francisco,” Chu said in an email. “People who lovingly helped me crystallize my voice and vision as an artist — too many of which have already been displaced. This fellowship is helping me preserve these legacies and advance filmmaking itself towards a more inclusive, equitable future.”\u003c/p>\n\u003cp>Receiving the Rainin Foundation’s dance fellowship, choreographer Vanessa Sanchez is the founder of San Francisco’s \u003ca href=\"https://lamezclasf.net/\">La Mezcla dance company\u003c/a>. The group uses a combination of tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. They usually do so while wearing distinctive zoot suits.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U_vm9EU0YBU'\n title='//www.youtube.com/embed/U_vm9EU0YBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a really emotional experience for me continuing the legacy of resistance and survival that these women had to overcome,” Sanchez told KQED Arts in 2020, “and then being able to put that on a stage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sanchez is also currently an artist-in-residence at \u003ca href=\"https://www.brava.org/\">Brava! For Women in the Arts\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each",
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"content": "\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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