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"title": "'Be it, so others can see it.' SF 'Hamilton' Actors Run Improv Workshop at San Jose High School",
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"content": "\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mayan Fashion a Feast for the Eyes in San Jose",
"headTitle": "Mayan Fashion a Feast for the Eyes in San Jose | KQED",
"content": "\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. [youtube https://www.youtube.com/watch?v=j2WZsDB2LHM]\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Mayan Traje at the San Jose Museum of Quilts and Textiles is a rare opportunity to explore the history and creativity of the dress form.",
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"title": "Mayan Fashion a Feast for the Eyes in San Jose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. \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/j2WZsDB2LHM'\n title='//www.youtube.com/embed/j2WZsDB2LHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In San Jose’s Japantown, Contemporary Transience Takes on Historical Weight",
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"content": "\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=RqATb20dO34]\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>\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/RqATb20dO34'\n title='//www.youtube.com/embed/RqATb20dO34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Diaspora in Bloom: Assyrian-American Art on View in San Jose",
"headTitle": "Diaspora in Bloom: Assyrian-American Art on View in San Jose | KQED",
"content": "\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7pa54hWROpQ][aside postID='news_10796779,news_2359,forum_2010101859436' label='Related Coverage']All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LI_Oe-jtgdI]\u003c/p>\n\u003cp>“There’s usually a question on the audition form that says, ‘Which roles are you interested in taking?’ I will write down a male role, and 99% of the time, I do not get called back for that role and it is cast as a male.”\u003c/p>\n\u003cp>[aside postID='arts_13858609,arts_13858699,forum_2010101855532' label='Related Coverage']What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=M6b9ITKGWQM]\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>\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/M6b9ITKGWQM'\n title='//www.youtube.com/embed/M6b9ITKGWQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>[youtube https://www.youtube.com/watch?v=ilUCwLLdltQ]\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Enjoying San Jose this summer could easily be a full-time job, what with this look ahead to good times for you and your crew.",
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"title": "Summer Guide 2019: How the South Bay Plans to Party This Summer | KQED",
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"headline": "Summer Guide 2019: How the South Bay Plans to Party This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\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/ilUCwLLdltQ'\n title='//www.youtube.com/embed/ilUCwLLdltQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A local 16 year-old born and raised in San Jose flies to Dallas Tuesday to play in one of the most prestigious piano competitions on the planet.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cliburn.org/?performer=sarah-tuan\" target=\"_blank\" rel=\"noopener\">Sarah Tuan\u003c/a>, a junior at Valley Christian High School, says she practices four to five hours a day. She loves Chopin, along with origami, bubble milk tea, and cats. But right now her focus is Chopin.\u003c/p>\n\u003cp>[aside postID='news_11679413,arts_11311114,arts_11129413' label='Related Coverage']Why classical music? It’s not just that her mom is a piano teacher. “I feel like there’s a lot of um very complicated classical stories told in classical music. You know, bringing a very traditional art to the modern world, I think it’s something very exciting and fascinating for me to do.” Tuan has been playing piano for 10 years now.\u003c/p>\n\u003cp>A student now of Cal State Fullerton’s \u003ca href=\"https://www.fullerton.edu/arts/music/about_us/faculty_administration/an_n.php\" target=\"_blank\" rel=\"noopener\">Ning An \u003c/a>who’s been been featured on NPR’s \u003ca href=\"https://www.fromthetop.org/musician/sarah-tuan/\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>, Tuan has won several competitions already. But the \u003ca href=\"https://www.cliburn.org\" target=\"_blank\" rel=\"noopener\">Cliburn International Junior Piano Competition\u003c/a> is of the world’s toughest for pianists aged 13-17.\u003c/p>\n\u003cp>230 teenagers from 32 countries applied to compete. Just 24 were accepted. Tuan has prepared 10 pieces to play in three rounds, including the Chopin Etude in G-sharp Minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=3kX29ljnz8c&w=560&h=315]”Especially in these last few days, it’s like, you know, a runner sprinting to finish the last lap of a marathon,” Tuan said.\u003c/p>\n\u003cp>The sports analogy is an apt one. One of the judges has said these kids are all capable of making a living from their musical talent, something quite rare these days.\u003c/p>\n\u003cp>The competition hopes to excite the ambitions of contestants at a key moment in their young lives, and turn them towards doing this professionally for the rest of us. Tuan says she hasn’t made her mind up yet about a career as a pianist, but she’ll do something involving music.\u003c/p>\n\u003cp>“It definitely has to be related to music because I really can’t imagine myself doing anything else.”\u003c/p>\n\u003cul>\n\u003cli>May 31–June 1, 2019 – Preliminary Round\u003c/li>\n\u003cli>June 2–3, 2019 – Quarterfinal Round\u003c/li>\n\u003cli>June 5–6, 2019 – Semifinal Round\u003c/li>\n\u003cli>June 8, 2019 – Final Round and Awards Ceremony\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>The entire competition will be webcast live at \u003ca href=\"https://www.cliburn.org/\">cliburn.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why classical music? It’s not just that her mom is a piano teacher. “I feel like there’s a lot of um very complicated classical stories told in classical music. You know, bringing a very traditional art to the modern world, I think it’s something very exciting and fascinating for me to do.” Tuan has been playing piano for 10 years now.\u003c/p>\n\u003cp>A student now of Cal State Fullerton’s \u003ca href=\"https://www.fullerton.edu/arts/music/about_us/faculty_administration/an_n.php\" target=\"_blank\" rel=\"noopener\">Ning An \u003c/a>who’s been been featured on NPR’s \u003ca href=\"https://www.fromthetop.org/musician/sarah-tuan/\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>, Tuan has won several competitions already. But the \u003ca href=\"https://www.cliburn.org\" target=\"_blank\" rel=\"noopener\">Cliburn International Junior Piano Competition\u003c/a> is of the world’s toughest for pianists aged 13-17.\u003c/p>\n\u003cp>230 teenagers from 32 countries applied to compete. Just 24 were accepted. Tuan has prepared 10 pieces to play in three rounds, including the Chopin Etude in G-sharp Minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/3kX29ljnz8c'\n title='//www.youtube.com/embed/3kX29ljnz8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”Especially in these last few days, it’s like, you know, a runner sprinting to finish the last lap of a marathon,” Tuan said.\u003c/p>\n\u003cp>The sports analogy is an apt one. One of the judges has said these kids are all capable of making a living from their musical talent, something quite rare these days.\u003c/p>\n\u003cp>The competition hopes to excite the ambitions of contestants at a key moment in their young lives, and turn them towards doing this professionally for the rest of us. Tuan says she hasn’t made her mind up yet about a career as a pianist, but she’ll do something involving music.\u003c/p>\n\u003cp>“It definitely has to be related to music because I really can’t imagine myself doing anything else.”\u003c/p>\n\u003cul>\n\u003cli>May 31–June 1, 2019 – Preliminary Round\u003c/li>\n\u003cli>June 2–3, 2019 – Quarterfinal Round\u003c/li>\n\u003cli>June 5–6, 2019 – Semifinal Round\u003c/li>\n\u003cli>June 8, 2019 – Final Round and Awards Ceremony\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>The entire competition will be webcast live at \u003ca href=\"https://www.cliburn.org/\">cliburn.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Silent Sky' Shines a Spotlight on a Woman in Love with Astronomy",
"headTitle": "‘Silent Sky’ Shines a Spotlight on a Woman in Love with Astronomy | KQED",
"content": "\u003cp>Which is worse? To have your work minimized as boring and routine? Or trumpeted to the heavens but the credit hogged by the man you work for? These narratives are sadly common when you look at the history of women in science — but they make for good theater, as in the play \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> in San Jose.\u003ci>\u003c/i>\u003c/p>\n\u003cp>The play focuses on a woman named Henrietta Swan Leavitt, whose work laid the ground for later revelations, like the idea the universe is much bigger than our little solar system.\u003c/p>\n\u003cp>When the Harvard Observatory hired her at the turn of the 20th century, women weren’t allowed to look through its telescopes. The delicate dears might catch a chill in the evening air. Also, they could be paid a whole lot less than men.\u003c/p>\n\u003cp>Leavitt and other “computers,” as female mathematicians were called then, volunteered or worked for 30 cents an hour cataloguing the brightness of stars on photographic plates taken by astronomer Edward Charles Pickering. But Leavitt, looking down at those plates of Cepheid variable stars, had an a-ha moment. Well, two of them, really.\u003c/p>\n\u003cp>The brightness of these “variable” stars varies, from day to day or week to week. Leavitt figured out that the longer a star took to change brightness, the brighter it actually was. So, if a star took a longer time to change brightness than others but didn’t appear brighter, it must be farther away.\u003c/p>\n\u003cfigure id=\"attachment_13857560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg\" alt=\"Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at a clutch of these stars in the same astronomic neighborhood, the Magellanic Clouds, she came to another conclusion: if one star looked much brighter than another, it was probably brighter. Together, these observations help astronomers figure out relative distances between stars and the Earth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you know how quickly the star is changing brightness, you can actually measure its distance. It helped us establish the size and scale of the universe,” said \u003ca href=\"http://www.ucolick.org/~egates/\" target=\"_blank\" rel=\"noopener\">Elinor Gates\u003c/a> of Lick Observatory was a local science consultant for the City Lights production of Silent Sky, written by \u003ca href=\"http://laurengunderson.com\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> of San Francisco.\u003c/p>\n\u003cp>Gunderson has a taste for science and a habit of profiling women under-represented in history. Leavitt, she said, was an obvious choice. “Her story is a beautiful one. Her scientific discovery is profound. She really had a major impact. It was a real pleasure and an honor to tell her story,” Gunderson said.\u003c/p>\n\u003cp>\u003cem>Silent Sky\u003c/em> has been making the rounds of small community theaters around the country since its publication in 2010. It debuted in the Bay Area in \u003ca href=\"https://www.kqed.org/arts/129311/seeking-answers-in-a-silent-sky\" target=\"_blank\" rel=\"noopener\">2014\u003c/a> with a \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> production.\u003c/p>\n\u003cp>Science and Leavitt’s love for it may be at the heart of the play, but Gunderson externalizes what could be a quiet internal drama by exploring Leavitt’s relationships with family and colleagues.\u003c/p>\n\u003cfigure id=\"attachment_13857562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg\" alt=\""Pickering's Harem," so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming.\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-160x117.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-768x562.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1020x746.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1200x878.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers.jpeg 1762w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Pickering’s Harem,” so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming. \u003ccite>(Photo: Courtesy of Harvard College Observatory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Married sister Margaret provides a convenient Victorian Era counterpoint, content to keep to the domestic sphere as society expected at the time.\u003c/p>\n\u003cp>Wisecracking buddies Williamina Fleming and Annie Jump Cannon stand in for the team of Harvard computers Leavitt worked with. Of course, Fleming and Cannon were accomplished astronomers as well, stultified in many of the same ways. The Harvard Computers in that room you see pictured above were full of scientific talent, and if they weren’t respected properly, they were surrounded by data they could use.\u003c/p>\n\u003cp>In real life, Cannon shares credit with Pickering for designing the Harvard Classification Scheme, the first serious attempt to classify stars based on their temperatures and spectral types. Fleming, who first came to Harvard to work as a maid, is best known now for her discovery of the Horsehead Nebula in 1888.\u003c/p>\n\u003cp>“It’s not actually the story of one incredible woman. It’s the story of four!” said Gunderson. “I’m inspired because it’s a true story. They were doing this menial work, but even so, they discovered things that changed the course of astronomy.”\u003c/p>\n\u003cp>“It’s about all of these people who are just so hungry for the truth,” said actress \u003ca href=\"http://www.mariagmarquis.com\" target=\"_blank\" rel=\"noopener\">Maria Marquis\u003c/a>, who plays Leavitt. Her favorite line in the play? “The real point is seeing something bigger, and knowing you’re a small part of it, if you’re lucky. In the end, that is a life well lived.”\u003c/p>\n\u003cfigure id=\"attachment_13857559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg\" alt=\"For women in the early 1900s, balancing career and family was never easy. Here, Henrietta's (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For women in the early 1900s, balancing career and family was never easy. Here, Henrietta’s (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13853573,forum_2010101864798,news_10342438' label='Related Coverage']Marquis is a stand in for all of us who admire astronomy from a distance. “If you talk to astronomers, they all know who [Leavitt] is. But we aren’t taught about her at all. So I did a bunch of research then, after being cast, and was like, ‘Why are we not yelling her name from the rooftops?’”\u003c/p>\n\u003cp>Leavitt did publish her findings, and her name was on those papers, but their importance didn’t become clear to the world until years later, when Edwin Hubble used her work to show how the universe is expanding.\u003c/p>\n\u003cp>Hubble often said Leavitt deserved a Nobel Prize for her work, but even though he was a nominator on the Nobel committee, it was Swedish mathematician Gustaf Mittag-Leffler who tried to nominate Leavitt in 1924. He was too late. Leavitt died in 1921, and Nobel Prizes can’t be awarded posthumously.\u003c/p>\n\u003cp>She never got proper credit during her lifetime, but Leavitt’s work lit the way for later discoveries. It would take decades for the rest of the world to catch up to a woman with an irrepressible passion for astronomy.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Silent Sky \u003c/strong>runs May 16 – June 16, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Francisco playwright Lauren Gunderson resurrects the story of a trailblazing astronomer and her cohort.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is worse? To have your work minimized as boring and routine? Or trumpeted to the heavens but the credit hogged by the man you work for? These narratives are sadly common when you look at the history of women in science — but they make for good theater, as in the play \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> in San Jose.\u003ci>\u003c/i>\u003c/p>\n\u003cp>The play focuses on a woman named Henrietta Swan Leavitt, whose work laid the ground for later revelations, like the idea the universe is much bigger than our little solar system.\u003c/p>\n\u003cp>When the Harvard Observatory hired her at the turn of the 20th century, women weren’t allowed to look through its telescopes. The delicate dears might catch a chill in the evening air. Also, they could be paid a whole lot less than men.\u003c/p>\n\u003cp>Leavitt and other “computers,” as female mathematicians were called then, volunteered or worked for 30 cents an hour cataloguing the brightness of stars on photographic plates taken by astronomer Edward Charles Pickering. But Leavitt, looking down at those plates of Cepheid variable stars, had an a-ha moment. Well, two of them, really.\u003c/p>\n\u003cp>The brightness of these “variable” stars varies, from day to day or week to week. Leavitt figured out that the longer a star took to change brightness, the brighter it actually was. So, if a star took a longer time to change brightness than others but didn’t appear brighter, it must be farther away.\u003c/p>\n\u003cfigure id=\"attachment_13857560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg\" alt=\"Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at a clutch of these stars in the same astronomic neighborhood, the Magellanic Clouds, she came to another conclusion: if one star looked much brighter than another, it was probably brighter. Together, these observations help astronomers figure out relative distances between stars and the Earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you know how quickly the star is changing brightness, you can actually measure its distance. It helped us establish the size and scale of the universe,” said \u003ca href=\"http://www.ucolick.org/~egates/\" target=\"_blank\" rel=\"noopener\">Elinor Gates\u003c/a> of Lick Observatory was a local science consultant for the City Lights production of Silent Sky, written by \u003ca href=\"http://laurengunderson.com\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> of San Francisco.\u003c/p>\n\u003cp>Gunderson has a taste for science and a habit of profiling women under-represented in history. Leavitt, she said, was an obvious choice. “Her story is a beautiful one. Her scientific discovery is profound. She really had a major impact. It was a real pleasure and an honor to tell her story,” Gunderson said.\u003c/p>\n\u003cp>\u003cem>Silent Sky\u003c/em> has been making the rounds of small community theaters around the country since its publication in 2010. It debuted in the Bay Area in \u003ca href=\"https://www.kqed.org/arts/129311/seeking-answers-in-a-silent-sky\" target=\"_blank\" rel=\"noopener\">2014\u003c/a> with a \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> production.\u003c/p>\n\u003cp>Science and Leavitt’s love for it may be at the heart of the play, but Gunderson externalizes what could be a quiet internal drama by exploring Leavitt’s relationships with family and colleagues.\u003c/p>\n\u003cfigure id=\"attachment_13857562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg\" alt=\""Pickering's Harem," so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming.\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-160x117.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-768x562.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1020x746.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1200x878.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers.jpeg 1762w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Pickering’s Harem,” so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming. \u003ccite>(Photo: Courtesy of Harvard College Observatory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Married sister Margaret provides a convenient Victorian Era counterpoint, content to keep to the domestic sphere as society expected at the time.\u003c/p>\n\u003cp>Wisecracking buddies Williamina Fleming and Annie Jump Cannon stand in for the team of Harvard computers Leavitt worked with. Of course, Fleming and Cannon were accomplished astronomers as well, stultified in many of the same ways. The Harvard Computers in that room you see pictured above were full of scientific talent, and if they weren’t respected properly, they were surrounded by data they could use.\u003c/p>\n\u003cp>In real life, Cannon shares credit with Pickering for designing the Harvard Classification Scheme, the first serious attempt to classify stars based on their temperatures and spectral types. Fleming, who first came to Harvard to work as a maid, is best known now for her discovery of the Horsehead Nebula in 1888.\u003c/p>\n\u003cp>“It’s not actually the story of one incredible woman. It’s the story of four!” said Gunderson. “I’m inspired because it’s a true story. They were doing this menial work, but even so, they discovered things that changed the course of astronomy.”\u003c/p>\n\u003cp>“It’s about all of these people who are just so hungry for the truth,” said actress \u003ca href=\"http://www.mariagmarquis.com\" target=\"_blank\" rel=\"noopener\">Maria Marquis\u003c/a>, who plays Leavitt. Her favorite line in the play? “The real point is seeing something bigger, and knowing you’re a small part of it, if you’re lucky. In the end, that is a life well lived.”\u003c/p>\n\u003cfigure id=\"attachment_13857559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg\" alt=\"For women in the early 1900s, balancing career and family was never easy. Here, Henrietta's (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For women in the early 1900s, balancing career and family was never easy. Here, Henrietta’s (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Marquis is a stand in for all of us who admire astronomy from a distance. “If you talk to astronomers, they all know who [Leavitt] is. But we aren’t taught about her at all. So I did a bunch of research then, after being cast, and was like, ‘Why are we not yelling her name from the rooftops?’”\u003c/p>\n\u003cp>Leavitt did publish her findings, and her name was on those papers, but their importance didn’t become clear to the world until years later, when Edwin Hubble used her work to show how the universe is expanding.\u003c/p>\n\u003cp>Hubble often said Leavitt deserved a Nobel Prize for her work, but even though he was a nominator on the Nobel committee, it was Swedish mathematician Gustaf Mittag-Leffler who tried to nominate Leavitt in 1924. He was too late. Leavitt died in 1921, and Nobel Prizes can’t be awarded posthumously.\u003c/p>\n\u003cp>She never got proper credit during her lifetime, but Leavitt’s work lit the way for later discoveries. It would take decades for the rest of the world to catch up to a woman with an irrepressible passion for astronomy.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Silent Sky \u003c/strong>runs May 16 – June 16, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“For reasons unknown I saw him running,” says a voiceover in Carrie Mae Weems’ 15-minute video \u003ci>People of a Darker Hue\u003c/i>. The piece poetically and specifically commemorates the unarmed black men, women and children shot and killed by police leading up to the video’s 2016 creation, but that precise bit of dialogue could also subtitle Steffani Jemison’s \u003ci>Escaped Lunatic\u003c/i>. In that piece, staged in empty lots and playgrounds around Houston, four members of a local parkour team run across the static shots, their acrobatic movements offering multiple interpretations. Are they fleeing something, chasing something, or simply—joyfully—running?\u003c/p>\n\u003cp>Both videos featured in the San Jose Museum of Art’s \u003ci>\u003ca href=\"https://sjmusart.org/exhibition/screen-acts-women-film-and-video\" rel=\"noopener\" target=\"_blank\">Screen Acts: Women in Film and Video\u003c/a>\u003c/i>, on view through June 30. Curated by Kathryn Wade and Rory Padeken around ideas of cinematic tropes (such as Jemison’s chase sequences), even more compelling is all five artists’ ability to skillfully depict or describe action without offering explanation. (I know this is happening, but I don’t know why.) The results include dreamlike parables, fragmented documentations or, in Weems’ case, a heartfelt, expansive eulogy. \u003c/p>\n\u003cfigure id=\"attachment_13856271\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg\" alt=\"Elena Damiani, video still from 'Intersticio,' 2012.\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13856271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Elena Damiani, video still from ‘Intersticio,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes even two points of view offer no definitive truth. In Jazmín López’s \u003ci>Juego Vivo\u003c/i>, two back-to-back views of the same scene create a harrowing vision of a child’s game made real—and possibly deadly. Sometimes images are at odds with words. Elena Damiani’s \u003ci>Intersticio\u003c/i> muses on non-specific sites, providing enigmatic narration over a slideshow of found images that have the dispassionate, scientific focus of a geologist’s fieldnotes. \u003c/p>\n\u003cp>And sometimes there’s simply no way to encompass everything informing a particular moment. In the Ethnocine Collective’s \u003ci>For My Art\u003c/i>, five female performance artists in Yangon, Myanmar enact their art in the streets, markets, malls and docks, enlisting ordinary people as their collaborators and audiences. Capturing non-art audiences regarding performances with nervousness, laughter, suspicion and nonchalance, \u003ci>For My Art\u003c/i> emphasizes the bravery and vulnerability inherent in taking art out of white-wall settings, while gathering some of the sights, sounds and imagined smells of the life that inspire these artists.\u003c/p>\n\u003cp>Again and again, despite the visual evidence on display, the artists of \u003ci>Screen Acts\u003c/i> prove the impossibility of a single source of truth—which itself is a refreshing reminder of art’s ambiguous and challenging nature, all in just under one hour of looping play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“For reasons unknown I saw him running,” says a voiceover in Carrie Mae Weems’ 15-minute video \u003ci>People of a Darker Hue\u003c/i>. The piece poetically and specifically commemorates the unarmed black men, women and children shot and killed by police leading up to the video’s 2016 creation, but that precise bit of dialogue could also subtitle Steffani Jemison’s \u003ci>Escaped Lunatic\u003c/i>. In that piece, staged in empty lots and playgrounds around Houston, four members of a local parkour team run across the static shots, their acrobatic movements offering multiple interpretations. Are they fleeing something, chasing something, or simply—joyfully—running?\u003c/p>\n\u003cp>Both videos featured in the San Jose Museum of Art’s \u003ci>\u003ca href=\"https://sjmusart.org/exhibition/screen-acts-women-film-and-video\" rel=\"noopener\" target=\"_blank\">Screen Acts: Women in Film and Video\u003c/a>\u003c/i>, on view through June 30. Curated by Kathryn Wade and Rory Padeken around ideas of cinematic tropes (such as Jemison’s chase sequences), even more compelling is all five artists’ ability to skillfully depict or describe action without offering explanation. (I know this is happening, but I don’t know why.) The results include dreamlike parables, fragmented documentations or, in Weems’ case, a heartfelt, expansive eulogy. \u003c/p>\n\u003cfigure id=\"attachment_13856271\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg\" alt=\"Elena Damiani, video still from 'Intersticio,' 2012.\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13856271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/eblast2-03-28-19-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Elena Damiani, video still from ‘Intersticio,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes even two points of view offer no definitive truth. In Jazmín López’s \u003ci>Juego Vivo\u003c/i>, two back-to-back views of the same scene create a harrowing vision of a child’s game made real—and possibly deadly. Sometimes images are at odds with words. Elena Damiani’s \u003ci>Intersticio\u003c/i> muses on non-specific sites, providing enigmatic narration over a slideshow of found images that have the dispassionate, scientific focus of a geologist’s fieldnotes. \u003c/p>\n\u003cp>And sometimes there’s simply no way to encompass everything informing a particular moment. In the Ethnocine Collective’s \u003ci>For My Art\u003c/i>, five female performance artists in Yangon, Myanmar enact their art in the streets, markets, malls and docks, enlisting ordinary people as their collaborators and audiences. Capturing non-art audiences regarding performances with nervousness, laughter, suspicion and nonchalance, \u003ci>For My Art\u003c/i> emphasizes the bravery and vulnerability inherent in taking art out of white-wall settings, while gathering some of the sights, sounds and imagined smells of the life that inspire these artists.\u003c/p>\n\u003cp>Again and again, despite the visual evidence on display, the artists of \u003ci>Screen Acts\u003c/i> prove the impossibility of a single source of truth—which itself is a refreshing reminder of art’s ambiguous and challenging nature, all in just under one hour of looping play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Young San Jose Poets Urge Us All to Pick Up That Trash, Pretty Please",
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"content": "\u003cp>The idea is so obvious and clever, you wonder why this kind of thing isn’t everywhere: children’s poems about our troubled planet, urging us to keep it clean. Or clean\u003cstrong>\u003cem>er\u003c/em>\u003c/strong>, anyways. Starting with litter.\u003c/p>\n\u003cp>Kerry Adams Hapner, Cultural Affairs Director for San Jose, explained that \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=6310\" target=\"_blank\" rel=\"noopener\">\u003cem>Litter-ature\u003c/em>\u003c/a>\u003cem>, \u003c/em>as the program is called, cultivated then featured 10 winning poems on 500 trash cans in 17 different business improvement districts around the city,\u003c/p>\n\u003cp>“We have a call to action. It’s our youth that recognizes we have to change. Otherwise, we’re going to lose different parts of this beautiful earth.”\u003c/p>\n\u003cfigure id=\"attachment_13855477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg\" alt='\"Please\" and \"This\" by Ishani Cheshire, 12th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Please” and “This” by Ishani Cheshire, 12th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of middle and high school students sent in more than 300 short poems. Then, a panel of judges led by Santa Clara County’s Poet Laureate \u003ca href=\"https://poetlaureateblog.org/author/mightymikemcgee/\" target=\"_blank\" rel=\"noopener\">Mike McGee\u003c/a> sorted through all of it: thoughtful, anguished, half-hearted, even funny.\u003c/p>\n\u003cp>“We sweated over the fact we could only pick 10. It was really hard,” he said, adding, “Kids are thinking about their environment, because they’re seeing adults not doing anything about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12808325,arts_13077335,arts_13661123' label='Related Coverage']Ouch, but fair point.\u003c/p>\n\u003cp>San Jose artist \u003ca href=\"https://www.coroflot.com/artorigin\" target=\"_blank\" rel=\"noopener\">Carlos Pérez,\u003c/a> who made his name designing the first logo for Apple back in 1977, helped to make the poems pop visually with dreamy, ecologically evocative graphics, printed on aluminum sides that wrap the trash cans.\u003c/p>\n\u003cp>“I felt the spirit of each one and created an image behind it. We wanted to keep the images supportive but quiet, so that the poetry would come through,” Pérez said.\u003c/p>\n\u003cp>“If you look really closely at the art, there’s a lot happening in it,” said McGee. “He has a great way of taking the words he’s given and then applying colors to them.”\u003c/p>\n\u003cfigure id=\"attachment_13855478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg\" alt='\"Summer is hotter\" by Ethan Xie, 11th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Summer is hotter” by Ethan Xie, 11th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Winning poets got gift certificates to the bookseller Barnes and Noble, recognition from the city, of course, and glossy booklets of their poems designed by Pérez.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Litter-ature\u003c/em> is an eminently \u003ca href=\"https://www.instagram.com/explore/tags/litteraturesj/\" target=\"_blank\" rel=\"noopener\">Instagramable\u003c/a> spin on the one-day litter cleanups you usually see on Earth Day. With these cans, there’s no excuse! Pick up that trash, people, and put it where it belongs! Whether you snap a selfie while doing it is up to you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea is so obvious and clever, you wonder why this kind of thing isn’t everywhere: children’s poems about our troubled planet, urging us to keep it clean. Or clean\u003cstrong>\u003cem>er\u003c/em>\u003c/strong>, anyways. Starting with litter.\u003c/p>\n\u003cp>Kerry Adams Hapner, Cultural Affairs Director for San Jose, explained that \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=6310\" target=\"_blank\" rel=\"noopener\">\u003cem>Litter-ature\u003c/em>\u003c/a>\u003cem>, \u003c/em>as the program is called, cultivated then featured 10 winning poems on 500 trash cans in 17 different business improvement districts around the city,\u003c/p>\n\u003cp>“We have a call to action. It’s our youth that recognizes we have to change. Otherwise, we’re going to lose different parts of this beautiful earth.”\u003c/p>\n\u003cfigure id=\"attachment_13855477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg\" alt='\"Please\" and \"This\" by Ishani Cheshire, 12th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-5-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Please” and “This” by Ishani Cheshire, 12th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of middle and high school students sent in more than 300 short poems. Then, a panel of judges led by Santa Clara County’s Poet Laureate \u003ca href=\"https://poetlaureateblog.org/author/mightymikemcgee/\" target=\"_blank\" rel=\"noopener\">Mike McGee\u003c/a> sorted through all of it: thoughtful, anguished, half-hearted, even funny.\u003c/p>\n\u003cp>“We sweated over the fact we could only pick 10. It was really hard,” he said, adding, “Kids are thinking about their environment, because they’re seeing adults not doing anything about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ouch, but fair point.\u003c/p>\n\u003cp>San Jose artist \u003ca href=\"https://www.coroflot.com/artorigin\" target=\"_blank\" rel=\"noopener\">Carlos Pérez,\u003c/a> who made his name designing the first logo for Apple back in 1977, helped to make the poems pop visually with dreamy, ecologically evocative graphics, printed on aluminum sides that wrap the trash cans.\u003c/p>\n\u003cp>“I felt the spirit of each one and created an image behind it. We wanted to keep the images supportive but quiet, so that the poetry would come through,” Pérez said.\u003c/p>\n\u003cp>“If you look really closely at the art, there’s a lot happening in it,” said McGee. “He has a great way of taking the words he’s given and then applying colors to them.”\u003c/p>\n\u003cfigure id=\"attachment_13855478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg\" alt='\"Summer is hotter\" by Ethan Xie, 11th Grade' width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Litter-Ature-Poem-8-021319.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Summer is hotter” by Ethan Xie, 11th Grade \u003ccite>(Photo: Courtesy of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Winning poets got gift certificates to the bookseller Barnes and Noble, recognition from the city, of course, and glossy booklets of their poems designed by Pérez.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Litter-ature\u003c/em> is an eminently \u003ca href=\"https://www.instagram.com/explore/tags/litteraturesj/\" target=\"_blank\" rel=\"noopener\">Instagramable\u003c/a> spin on the one-day litter cleanups you usually see on Earth Day. With these cans, there’s no excuse! Pick up that trash, people, and put it where it belongs! Whether you snap a selfie while doing it is up to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, KQED’s local \u003cem>Morning Edition\u003c/em> host Brian Watt set up shop in the Silicon Valley bureau in San Jose. He made sure to check out the best the region has to offer: \u003ca href=\"https://www.kqed.org/news/11736402/inside-san-joses-shark-tank-the-sounds-of-playoff-fever\" target=\"_blank\" rel=\"noopener\">ice hockey\u003c/a> at the SAP Center, dirigible development at Moffett Field (a coming Bay Curious story from yours truly), and of course, baritone \u003ca href=\"https://trevornealbaritone.com\" target=\"_blank\" rel=\"noopener\">Trevor Neal\u003c/a> of \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13806981,arts_13805009,arts_13842695' label='Related Coverage']For prep work ahead of the interview, “I called my aunt who sings opera,” Watt says of Fleur Paysour, a contralto who these days, works as a spokeswoman for the \u003ca href=\"https://nmaahc.si.edu\" target=\"_blank\" rel=\"noopener\">National Museum of African American History and Culture\u003c/a>. “She definitely wanted me to ask [Neal] about performances he had to really work up to. And how he manages his voice on days when it isn’t cooperating.”\u003c/p>\n\u003cp>Neal said, “You can only do the best that you can do that day. And my mom always instilled in me, you have to believe in yourself first.”\u003c/p>\n\u003cp>Paysour also asked Watt to ask Neal about what it’s like to be a top flight African-American opera singer. Neal, as it happens, created a Facebook \u003ca href=\"https://www.facebook.com/groups/244681085882660/\" target=\"_blank\" rel=\"noopener\">group\u003c/a>, where black opera performers can let loose and discuss their experiences in a safe space. Current topics include role discrimination and the lack of people of color in administrative positions in the arts.\u003c/p>\n\u003cp>Watt says it was refreshing to talk to a master of his craft who is nonetheless extremely down to earth. “He’s obviously a big singer, but he is a very regular fellow.”\u003c/p>\n\u003cfigure id=\"attachment_13853946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg\" alt=\"KQED's Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our job is to tell a story,” said Neal. “It’s important for us to show we’re not this upper crust elite. We are accessible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for that voice? Watt says the sensation of listening is something akin to “being in a wind tunnel.”\u003c/p>\n\u003cp>Neal’s contract with Opera San Jose as a member of the resident company is rolling to a close. His last role before leaving is the American consul Sharpless in \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cem>Madama Butterly\u003c/em>\u003c/a>. “Of course, you have to come see the show!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Madama Butterfly\u003c/strong> runs through April 13-28, 2019 at Opera San Jose. For more information, click \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For prep work ahead of the interview, “I called my aunt who sings opera,” Watt says of Fleur Paysour, a contralto who these days, works as a spokeswoman for the \u003ca href=\"https://nmaahc.si.edu\" target=\"_blank\" rel=\"noopener\">National Museum of African American History and Culture\u003c/a>. “She definitely wanted me to ask [Neal] about performances he had to really work up to. And how he manages his voice on days when it isn’t cooperating.”\u003c/p>\n\u003cp>Neal said, “You can only do the best that you can do that day. And my mom always instilled in me, you have to believe in yourself first.”\u003c/p>\n\u003cp>Paysour also asked Watt to ask Neal about what it’s like to be a top flight African-American opera singer. Neal, as it happens, created a Facebook \u003ca href=\"https://www.facebook.com/groups/244681085882660/\" target=\"_blank\" rel=\"noopener\">group\u003c/a>, where black opera performers can let loose and discuss their experiences in a safe space. Current topics include role discrimination and the lack of people of color in administrative positions in the arts.\u003c/p>\n\u003cp>Watt says it was refreshing to talk to a master of his craft who is nonetheless extremely down to earth. “He’s obviously a big singer, but he is a very regular fellow.”\u003c/p>\n\u003cfigure id=\"attachment_13853946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg\" alt=\"KQED's Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our job is to tell a story,” said Neal. “It’s important for us to show we’re not this upper crust elite. We are accessible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for that voice? Watt says the sensation of listening is something akin to “being in a wind tunnel.”\u003c/p>\n\u003cp>Neal’s contract with Opera San Jose as a member of the resident company is rolling to a close. His last role before leaving is the American consul Sharpless in \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cem>Madama Butterly\u003c/em>\u003c/a>. “Of course, you have to come see the show!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Madama Butterfly\u003c/strong> runs through April 13-28, 2019 at Opera San Jose. For more information, click \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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},
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},
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"isBot": true
}
}
