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"content": "\u003cp>Two films anchoring this fall’s \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\">San Francisco Dance Film Festival\u003c/a> trace the growth of two trailblazing dance companies on opposite sides of the globe, led by men haunted by their ancestral pasts. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/ailey/\" rel=\"noopener noreferrer\" target=\"_blank\">Ailey\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/contemporary/firestarter-the-story-of-bangarra/\" rel=\"noopener noreferrer\" target=\"_blank\">Firestarter\u003c/a>\u003c/i> are gripping accounts of the social and political turmoil that fueled the creative geniuses of Alvin Ailey in America and brothers Stephen, David and Russell Page in Australia. They offer a rare window into the breadth of the \u003ca href=\"https://www.alvinailey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ailey\u003c/a> repertoire and \u003ca href=\"https://www.bangarra.com.au/\" target=\"_blank\" rel=\"noopener noreferrer\">Bangarra Dance Theatre\u003c/a>’s contemporary embrace of Aboriginal dance traditions.\u003c/p>\n\u003cp>“Using our art form as our weapon is the way we have to fight,” says dancemaker and Bangarra artistic director Stephen Page of the longstanding injustices against Australia’s First Nations people that \u003ca href=\"https://www.nma.gov.au/defining-moments/resources/aboriginal-land-rights-act\" target=\"_blank\" rel=\"noopener noreferrer\">robbed them of their land\u003c/a>, \u003ca href=\"https://www.reuters.com/world/asia-pacific/australia-establish-280-mln-reparations-fund-stolen-generation-2021-08-04/\" target=\"_blank\" rel=\"noopener noreferrer\">wrested children from families\u003c/a>, and forced them to assimilate in an attempt to “breed the Black out of them.” In profoundly stirring and visually spectacular works like \u003ci>Ochres\u003c/i>, an interplay of sacred Aboriginal rites and symbols with aspects of modern Aboriginal life, and \u003ci>Bennelong\u003c/i>, an epic retelling of the life of the Aboriginal leader who mediated with British colonial authorities, Bangarra has celebrated indigenous culture and resilience.\u003c/p>\n\u003cp>\u003ci>Firestarter\u003c/i> is a frank, deep dive into the lives of the Page brothers, including composer David and dancer-choreographer Russell—the arc of their lives both tragic and uplifting.\u003c/p>\n\u003cp>https://youtu.be/e3REMs9I9Tg\u003c/p>\n\u003cp>\u003ci>Ailey\u003c/i> takes a more oblique approach to its subject, who was born in Depression-era Texas to a single mother and who largely kept his personal life private. Perhaps the best clues to the man lie in his work, from his early \u003ci>Blues Suite\u003c/i>, reminiscent of the honky-tonks of his youth, “where we let it all hang out… [at] a time where people didn’t have much but they had each other,” as he noted in an interview, to his blockbuster \u003ci>Revelations\u003c/i>, \u003ci>Masakela Language\u003c/i>’s blistering portrait of apartheid, and \u003ci>Cry\u003c/i>, his gut-wrenching tribute to Black women.[aside postID='arts_11955434']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ailey died at 58 but his company has flourished, and like Bangarra, was one of the earliest to assemble a world-class company of principally Black and Indigenous dancers and collaborative artists. Representation in dance can be transformative—and while concert dance on world stages may still be \u003ca href=\"https://amsterdamnews.com/news/2016/03/18/diversity-dance-new-hot-topic/\">afflicted\u003c/a> by \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\">tokenism\u003c/a>, some of the thought-provoking films at this year’s festival foreground dance as a celebration of identity and dance as embodied activism.\u003c/p>\n\u003cp>In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/folk-world/chishkale-the-blessing-of-the-acorn/\" rel=\"noopener noreferrer\" target=\"_blank\">Chishkale: The Blessing of the Acorn\u003c/a>\u003c/i>, a modern-day dance by young Pomo Indian women in the East Bay frames efforts to reclaim indigenous land and to conserve the Tan Oak tree, a sacred source of acorns that have fed indigenous tribes for generations.\u003c/p>\n\u003cfigure id=\"attachment_13904709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/CHISHKALE_01.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13904709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernadette Smith in ‘Chishkale.’ \u003ccite>(Linda Mai Green)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/long-format/live-performance-capture/black-magic/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Magic\u003c/a>\u003c/i>, multimedia artist Rashaad Newsome used motion tracking software and film and editing techniques to amplify a sense of the superheroic in an electrifying live performance. The sensational sound design surrounds the performers with musicians, a choir, opera singer and MC and layers a spoken manifesto of the Black male body on top of vogue beats, the sinuous lines of flute and sax, sacred plainchant and mesmerizing vocals.\u003c/p>\n\u003cp>Digital magic of another kind revamps the 19th-century comic ballet \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/i>, choreographed by Ted Brandsen for Dutch National Ballet. A cutting-edge mix of live action and animation whisks this absurd yarn into the 21st century, satirizing modern beauty standards and the vapidity of the beauty industry. The villain, now a deranged plastic surgeon, faces the quick-witted Swan (Swanhilda in the original), danced by ballerina \u003ca href=\"https://www.nbcnews.com/news/nbcblk/against-all-odds-ballerina-michaela-deprince-s-remarkable-journey-n783921\">Michaela DePrince\u003c/a>.\u003c/p>\n\u003cp>DePrince, who will be present at the film’s U.S. theatrical opening on Saturday, Oct. 16, has become a real-life heroine to many young people, for her extraordinary journey from an orphanage in Sierra Leone to America and on to the world’s leading ballet stages, and for her outspokenness against racism in ballet.\u003c/p>\n\u003cfigure id=\"attachment_13904710\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Coppelia_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"772\" class=\"size-full wp-image-13904710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-768x494.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swan (Michaela DePrince) and Franz (Daniel Camargo) in ‘Coppelia.’ \u003ccite>(Jeff Tudor, Steven De Beul and Ben Tesseu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival has plenty of locally focused offerings as well. In a time of heightened racial conflict and pandemic isolation, dance as a yearning to connect is depicted in a short conceived by Gary Morgan (a.k.a. Ice cold 3000) of the Oakland-based Turf Feinz dance crew. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/screendance/ballet/what-i-see/\" rel=\"noopener noreferrer\" target=\"_blank\">What I See\u003c/a>\u003c/i> unites dancers from Oakland Ballet and Turf Feinz in a moody, spellbinding collision of dance styles.\u003c/p>\n\u003cp>Before turfing, there was boogaloo—also an Oakland phenomenon. In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/hip-hop-street/big-dubb/\" rel=\"noopener noreferrer\" target=\"_blank\">Big Dubb\u003c/a>\u003c/i>, Darrin Hodges, one of the pioneers of boogaloo, revisits old haunts, recalling the era of the Black Panthers and James Brown’s funk innovations, when drugs flooded into Oakland and when survival, to him, hinged on the dance.\u003c/p>\n\u003cp>But what can dancers do when studios and stages are shuttered and gathering to train, battle, partner and rehearse poses a potential threat to public health? Like we did with so many activities over the past year and a half, Juliet McMains’ \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/tango/milongueando-en-sf/\" rel=\"noopener noreferrer\" target=\"_blank\">Milongueando\u003c/a>\u003c/i> takes tango milonguero outdoors. Steps meant for crowded, cigarette smoke-filled dancehalls are now traced on sidewalks, beaches, dirt paths and rooftops around San Francisco. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two films anchoring this fall’s \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\">San Francisco Dance Film Festival\u003c/a> trace the growth of two trailblazing dance companies on opposite sides of the globe, led by men haunted by their ancestral pasts. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/ailey/\" rel=\"noopener noreferrer\" target=\"_blank\">Ailey\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/contemporary/firestarter-the-story-of-bangarra/\" rel=\"noopener noreferrer\" target=\"_blank\">Firestarter\u003c/a>\u003c/i> are gripping accounts of the social and political turmoil that fueled the creative geniuses of Alvin Ailey in America and brothers Stephen, David and Russell Page in Australia. They offer a rare window into the breadth of the \u003ca href=\"https://www.alvinailey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ailey\u003c/a> repertoire and \u003ca href=\"https://www.bangarra.com.au/\" target=\"_blank\" rel=\"noopener noreferrer\">Bangarra Dance Theatre\u003c/a>’s contemporary embrace of Aboriginal dance traditions.\u003c/p>\n\u003cp>“Using our art form as our weapon is the way we have to fight,” says dancemaker and Bangarra artistic director Stephen Page of the longstanding injustices against Australia’s First Nations people that \u003ca href=\"https://www.nma.gov.au/defining-moments/resources/aboriginal-land-rights-act\" target=\"_blank\" rel=\"noopener noreferrer\">robbed them of their land\u003c/a>, \u003ca href=\"https://www.reuters.com/world/asia-pacific/australia-establish-280-mln-reparations-fund-stolen-generation-2021-08-04/\" target=\"_blank\" rel=\"noopener noreferrer\">wrested children from families\u003c/a>, and forced them to assimilate in an attempt to “breed the Black out of them.” In profoundly stirring and visually spectacular works like \u003ci>Ochres\u003c/i>, an interplay of sacred Aboriginal rites and symbols with aspects of modern Aboriginal life, and \u003ci>Bennelong\u003c/i>, an epic retelling of the life of the Aboriginal leader who mediated with British colonial authorities, Bangarra has celebrated indigenous culture and resilience.\u003c/p>\n\u003cp>\u003ci>Firestarter\u003c/i> is a frank, deep dive into the lives of the Page brothers, including composer David and dancer-choreographer Russell—the arc of their lives both tragic and uplifting.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e3REMs9I9Tg'\n title='//www.youtube.com/embed/e3REMs9I9Tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Ailey\u003c/i> takes a more oblique approach to its subject, who was born in Depression-era Texas to a single mother and who largely kept his personal life private. Perhaps the best clues to the man lie in his work, from his early \u003ci>Blues Suite\u003c/i>, reminiscent of the honky-tonks of his youth, “where we let it all hang out… [at] a time where people didn’t have much but they had each other,” as he noted in an interview, to his blockbuster \u003ci>Revelations\u003c/i>, \u003ci>Masakela Language\u003c/i>’s blistering portrait of apartheid, and \u003ci>Cry\u003c/i>, his gut-wrenching tribute to Black women.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ailey died at 58 but his company has flourished, and like Bangarra, was one of the earliest to assemble a world-class company of principally Black and Indigenous dancers and collaborative artists. Representation in dance can be transformative—and while concert dance on world stages may still be \u003ca href=\"https://amsterdamnews.com/news/2016/03/18/diversity-dance-new-hot-topic/\">afflicted\u003c/a> by \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\">tokenism\u003c/a>, some of the thought-provoking films at this year’s festival foreground dance as a celebration of identity and dance as embodied activism.\u003c/p>\n\u003cp>In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/folk-world/chishkale-the-blessing-of-the-acorn/\" rel=\"noopener noreferrer\" target=\"_blank\">Chishkale: The Blessing of the Acorn\u003c/a>\u003c/i>, a modern-day dance by young Pomo Indian women in the East Bay frames efforts to reclaim indigenous land and to conserve the Tan Oak tree, a sacred source of acorns that have fed indigenous tribes for generations.\u003c/p>\n\u003cfigure id=\"attachment_13904709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/CHISHKALE_01.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13904709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernadette Smith in ‘Chishkale.’ \u003ccite>(Linda Mai Green)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/long-format/live-performance-capture/black-magic/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Magic\u003c/a>\u003c/i>, multimedia artist Rashaad Newsome used motion tracking software and film and editing techniques to amplify a sense of the superheroic in an electrifying live performance. The sensational sound design surrounds the performers with musicians, a choir, opera singer and MC and layers a spoken manifesto of the Black male body on top of vogue beats, the sinuous lines of flute and sax, sacred plainchant and mesmerizing vocals.\u003c/p>\n\u003cp>Digital magic of another kind revamps the 19th-century comic ballet \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/i>, choreographed by Ted Brandsen for Dutch National Ballet. A cutting-edge mix of live action and animation whisks this absurd yarn into the 21st century, satirizing modern beauty standards and the vapidity of the beauty industry. The villain, now a deranged plastic surgeon, faces the quick-witted Swan (Swanhilda in the original), danced by ballerina \u003ca href=\"https://www.nbcnews.com/news/nbcblk/against-all-odds-ballerina-michaela-deprince-s-remarkable-journey-n783921\">Michaela DePrince\u003c/a>.\u003c/p>\n\u003cp>DePrince, who will be present at the film’s U.S. theatrical opening on Saturday, Oct. 16, has become a real-life heroine to many young people, for her extraordinary journey from an orphanage in Sierra Leone to America and on to the world’s leading ballet stages, and for her outspokenness against racism in ballet.\u003c/p>\n\u003cfigure id=\"attachment_13904710\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Coppelia_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"772\" class=\"size-full wp-image-13904710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-768x494.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swan (Michaela DePrince) and Franz (Daniel Camargo) in ‘Coppelia.’ \u003ccite>(Jeff Tudor, Steven De Beul and Ben Tesseu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival has plenty of locally focused offerings as well. In a time of heightened racial conflict and pandemic isolation, dance as a yearning to connect is depicted in a short conceived by Gary Morgan (a.k.a. Ice cold 3000) of the Oakland-based Turf Feinz dance crew. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/screendance/ballet/what-i-see/\" rel=\"noopener noreferrer\" target=\"_blank\">What I See\u003c/a>\u003c/i> unites dancers from Oakland Ballet and Turf Feinz in a moody, spellbinding collision of dance styles.\u003c/p>\n\u003cp>Before turfing, there was boogaloo—also an Oakland phenomenon. In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/hip-hop-street/big-dubb/\" rel=\"noopener noreferrer\" target=\"_blank\">Big Dubb\u003c/a>\u003c/i>, Darrin Hodges, one of the pioneers of boogaloo, revisits old haunts, recalling the era of the Black Panthers and James Brown’s funk innovations, when drugs flooded into Oakland and when survival, to him, hinged on the dance.\u003c/p>\n\u003cp>But what can dancers do when studios and stages are shuttered and gathering to train, battle, partner and rehearse poses a potential threat to public health? Like we did with so many activities over the past year and a half, Juliet McMains’ \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/tango/milongueando-en-sf/\" rel=\"noopener noreferrer\" target=\"_blank\">Milongueando\u003c/a>\u003c/i> takes tango milonguero outdoors. Steps meant for crowded, cigarette smoke-filled dancehalls are now traced on sidewalks, beaches, dirt paths and rooftops around San Francisco. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Film festival trailers are bite-size enticements—morsels of marketing—that often boast big ambitions: Express the spirit of the program along with its breadth, and convey the mission of the organization as well as its exemplary curatorial taste. The trailer for the \u003ca href=\"https://sfdancefilmfest.org\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 15–24 in theaters and online) hits all those marks and delivers a dose of joy to boot. Give your day a boost and check it out:\u003c/p>\n\u003cp>https://youtu.be/6inXwvf4Qow\u003c/p>\n\u003cp>I generally consider filmed dance (and theater, for that matter) a poor substitute for the high-wire energy of live performance, but I took a couple takeaways from the trailer. The pandemic year propelled throngs of dancers outdoors, to create and commit performances to film. Second, their need to connect—to communicate with an audience—was as powerful as their drive to make art.\u003c/p>\n\u003cp>A festival preview involves more than reviewing the trailer, even if it is particularly instructive in this case. To be sure, the long-form pieces in the program were conceived, shot and well into postproduction before the coronavirus breached anyone’s consciousness. Blending animation and ballet to delicious effect, the family-friendly fairy tale \u003cem>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/em> receives its U.S. theatrical premiere on opening night (Oct. 16 at Fort Mason’s Cowell Theatre, with Sierra Leone-born ballerina and activist Michaela DePrince on hand).\u003c/p>\n\u003cfigure id=\"attachment_13904717\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Amit_02.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13904717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amit Patel performs in Fremont, California. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13889913']Closer to home, the festival’s shorts programs offer more inspiration per minute than seems possible. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/screendance/contemporary/dance-heals-at-catharine-clark-gallery/\" rel=\"noopener noreferrer\" target=\"_blank\">Dance Heals: BOXBLUR\u003c/a>” serves up eight shorts and a live performance by Amit Patel at Catharine Clark Gallery on Oct. 17. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/dancing-queens/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancing Queens\u003c/a>” (Oct. 23 at Brava Theatre) is a kaleidoscope of out-and-proud works featuring Rashaad Newsome’s jaw-dropping, show-stopping \u003cem>Black Magic\u003c/em>, an extravagant marriage of free dance, free jazz, rap and spoken word (and a gospel-tinged vocal quartet!).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thrillingly diverse (in every way) “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/bay-area-shorts/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Shorts\u003c/a>” program (Oct. 24 at Brava) delivers revelation after revelation that dance can be the most personal, direct medium for expressing identity. Mariella Morales’ \u003cem>Forces of Nature\u003c/em>, produced and directed by Alafia Dance Ensemble’s artistic director and choreographer, is a mesmerizing series of outdoor dances celebrating the Afro-Brazilian religious and spiritual tradition of orixás. Shot on an enclosed glass porch strewn with hourglasses and surrounded by snowy vistas—evoking pandemic isolation and the yearning to be seen—Katerina Wong’s austerely beautiful \u003cem>Slipping Sand\u003c/em> employs the gracefulness of movement to push against time.\u003c/p>\n\u003cp>\u003cem>Rorschach\u003c/em>, a sharp-edged, riveting collaboration between dancer Benjamin Defaria and filmmaker Valentina Reneff-Olson, unfolds in vignettes in a freight elevator shaft and other confined spaces accompanied by a panoply of off-screen voices. “I don’t believe you can plan,” the last speaker says. “Life happens to you.” And there you have the pandemic in two sentences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film festival trailers are bite-size enticements—morsels of marketing—that often boast big ambitions: Express the spirit of the program along with its breadth, and convey the mission of the organization as well as its exemplary curatorial taste. The trailer for the \u003ca href=\"https://sfdancefilmfest.org\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 15–24 in theaters and online) hits all those marks and delivers a dose of joy to boot. Give your day a boost and check it out:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6inXwvf4Qow'\n title='//www.youtube.com/embed/6inXwvf4Qow'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I generally consider filmed dance (and theater, for that matter) a poor substitute for the high-wire energy of live performance, but I took a couple takeaways from the trailer. The pandemic year propelled throngs of dancers outdoors, to create and commit performances to film. Second, their need to connect—to communicate with an audience—was as powerful as their drive to make art.\u003c/p>\n\u003cp>A festival preview involves more than reviewing the trailer, even if it is particularly instructive in this case. To be sure, the long-form pieces in the program were conceived, shot and well into postproduction before the coronavirus breached anyone’s consciousness. Blending animation and ballet to delicious effect, the family-friendly fairy tale \u003cem>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/em> receives its U.S. theatrical premiere on opening night (Oct. 16 at Fort Mason’s Cowell Theatre, with Sierra Leone-born ballerina and activist Michaela DePrince on hand).\u003c/p>\n\u003cfigure id=\"attachment_13904717\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Amit_02.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13904717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amit Patel performs in Fremont, California. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Closer to home, the festival’s shorts programs offer more inspiration per minute than seems possible. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/screendance/contemporary/dance-heals-at-catharine-clark-gallery/\" rel=\"noopener noreferrer\" target=\"_blank\">Dance Heals: BOXBLUR\u003c/a>” serves up eight shorts and a live performance by Amit Patel at Catharine Clark Gallery on Oct. 17. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/dancing-queens/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancing Queens\u003c/a>” (Oct. 23 at Brava Theatre) is a kaleidoscope of out-and-proud works featuring Rashaad Newsome’s jaw-dropping, show-stopping \u003cem>Black Magic\u003c/em>, an extravagant marriage of free dance, free jazz, rap and spoken word (and a gospel-tinged vocal quartet!).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thrillingly diverse (in every way) “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/bay-area-shorts/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Shorts\u003c/a>” program (Oct. 24 at Brava) delivers revelation after revelation that dance can be the most personal, direct medium for expressing identity. Mariella Morales’ \u003cem>Forces of Nature\u003c/em>, produced and directed by Alafia Dance Ensemble’s artistic director and choreographer, is a mesmerizing series of outdoor dances celebrating the Afro-Brazilian religious and spiritual tradition of orixás. Shot on an enclosed glass porch strewn with hourglasses and surrounded by snowy vistas—evoking pandemic isolation and the yearning to be seen—Katerina Wong’s austerely beautiful \u003cem>Slipping Sand\u003c/em> employs the gracefulness of movement to push against time.\u003c/p>\n\u003cp>\u003cem>Rorschach\u003c/em>, a sharp-edged, riveting collaboration between dancer Benjamin Defaria and filmmaker Valentina Reneff-Olson, unfolds in vignettes in a freight elevator shaft and other confined spaces accompanied by a panoply of off-screen voices. “I don’t believe you can plan,” the last speaker says. “Life happens to you.” And there you have the pandemic in two sentences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The growth of the SF Dance Film Festival’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). \u003c/p>\n\u003cp>Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a> takes place Oct. 15–24, in-theater and online through Marquee TV.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The growth of the SF Dance Film Festival’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). \u003c/p>\n\u003cp>Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a> takes place Oct. 15–24, in-theater and online through Marquee TV.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Film Festivals and Premieres Worth Your While This Fall",
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"content": "\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/AXhpTZeG4eg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\n\u003cp>https://youtu.be/eMMLRnXPPJk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>https://youtu.be/TcPk2p0Zaw4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\n\u003cp>https://youtu.be/Lagauhb5GyY\u003c/p>\n\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\n\u003cp>https://youtu.be/kAJXFRshQfw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n",
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"headline": "Bay Area Film Festivals and Premieres Worth Your While This Fall",
"datePublished": "2021-09-01T12:00:24-07:00",
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"source": "Fall Arts Guide 2021",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AXhpTZeG4eg'\n title='//www.youtube.com/embed/AXhpTZeG4eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eMMLRnXPPJk'\n title='//www.youtube.com/embed/eMMLRnXPPJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TcPk2p0Zaw4'\n title='//www.youtube.com/embed/TcPk2p0Zaw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Lagauhb5GyY'\n title='//www.youtube.com/embed/Lagauhb5GyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kAJXFRshQfw'\n title='//www.youtube.com/embed/kAJXFRshQfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "100 Years of Merce Cunningham, Celebrated in San Francisco",
"headTitle": "100 Years of Merce Cunningham, Celebrated in San Francisco | KQED",
"content": "\u003cp>The oft-revered yet enigmatic choreographer \u003ca href=\"https://www.mercecunningham.org/about/merce-cunningham/\" target=\"_blank\" rel=\"noopener\">Merce Cunningham\u003c/a> would have turned 100 in April, and an explosion of tributes by dance institutions \u003ca href=\"https://bachtrack.com/review-merce-cunningham-centennial-joyce-theater-new-york-april-2019\" target=\"_blank\" rel=\"noopener\">large\u003c/a> and \u003ca href=\"http://ballettothepeople.com/2019/03/22/scramble-the-seasons-and-the-elements-of-style-from-the-ever-stylish-new-york-theatre-ballet/\" target=\"_blank\" rel=\"noopener\">small\u003c/a> include events \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">as imaginative and quixotic\u003c/a> as his own. Cunningham was a disruptor and a pioneer, whose (non)collaborations with composer \u003ca href=\"https://www.wfmt.com/2017/02/24/composer-john-cage-choreographer-merce-cunningham-changed-art-collaboration/\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> and artists like \u003ca href=\"https://frieze.com/article/bride-bachelors-and-robert-rauschenberg\" target=\"_blank\" rel=\"noopener\">Robert Rauschenberg\u003c/a>, \u003ca href=\"https://www.theguardian.com/stage/2005/jun/06/dance\" target=\"_blank\" rel=\"noopener\">Andy Warhol\u003c/a>, and \u003ca href=\"https://news.artnet.com/exhibitions/merce-cunningham-common-time-869543\" target=\"_blank\" rel=\"noopener\">Jasper Johns\u003c/a> unmoored dance from music, narrative, and scenic design, sometimes \u003ca href=\"https://www.theguardian.com/stage/2016/nov/24/merce-cunningham-review-variations-v-1966\" target=\"_blank\" rel=\"noopener\">mystifying\u003c/a> and even \u003ca href=\"https://www.weeklystandard.com/robert-greskovic/merce-cunningham\" target=\"_blank\" rel=\"noopener\">infuriating\u003c/a> audiences.\u003c/p>\n\u003cp>Perhaps more than any other 20th century choreographer, Cunningham inspired those who danced with him to experiment and take risks in the creation of their own work, which usually looked nothing like his. As the Bay Area choreographer \u003ca href=\"https://charlesmoulton.com\" target=\"_blank\" rel=\"noopener\">Charles Moulton\u003c/a>, who \u003ca href=\"http://charlesmoulton.com/on-joining-the-merce-cunningham-company/\" target=\"_blank\" rel=\"noopener\">danced with Cunningham\u003c/a> from 1973 to 1976, told me, “The root of his work was his love of dance, of the form. His own work was his own – uncompromising, beautiful, crystalline – but he loved other choreography as well. He had this extremely refined, elegant, and in many ways difficult aesthetic and yet he was a huge fan of dance of all kinds. There was a great openness which influenced me.”\u003c/p>\n\u003cfigure id=\"attachment_13856030\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg\" alt=\"\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1200x1198.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1920x1917.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Roess-Smith, Karen Attix, Robert Kovich, and Merce Cunningham in ‘TV Rerun,’ 1972. Score by Gordon Mumma, costumes by Jasper Johns. (Photo by Jack Mitchell)\u003c/figcaption>\u003c/figure>\n\u003cp>Though Cunningham’s company was based in New York, a 1955 West Coast tour sparked a long \u003ca href=\"https://dancersgroup.org/2011/03/musing-on-merce-the-bay-area-remembers-cunningham/\" target=\"_blank\" rel=\"noopener\">love affair\u003c/a> with California. In recent years, though, you might not know it: the Bay Area hasn’t seen a revival of a Cunningham work since the (now-defunct) Ballet San Jose gave a crisp account of his \u003cem>\u003ca href=\"https://www.huffpost.com/entry/ballet-san-jose-bows-to-modern-masters_b_3139627\" target=\"_blank\" rel=\"noopener\">Duets\u003c/a> \u003c/em>in 2013.\u003c/p>\n\u003cp>In a nod to Cunningham’s innovations with technology and film, Dance Film SF—presenters of the San Francisco Dance Film Festival—will \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">screen\u003c/a> \u003cem>Assemblage\u003c/em>, his very first extended work created expressly for film, alongside \u003cem>If the Dancer Dances\u003c/em>, a new documentary that illuminates the challenges of restaging one of his iconic works.\u003c/p>\n\u003cfigure id=\"attachment_13855999\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855999\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Dance Company in ‘Assemblage,’ 1968. (Photo courtesy Dance Film SF)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Assemblage’: “Everyone could have an idea”\u003c/h3>\n\u003cp>In 1968, Cunningham’s company was coming off a disaster-ridden South American tour. Though they had broken out of obscurity after a triumphant London season in 1964, and had recently been appointed a resident company at the Brooklyn Academy of Music, company finances remained dire. The filming of a three-week caper on the sunny streets of San Francisco in October reinvigorated the company, wrote dancer Carolyn Brown in her \u003ca href=\"https://www.newyorker.com/magazine/2007/06/04/chance-and-circumstance\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That film was \u003cem>Assemblage\u003c/em>, produced by KQED-TV and directed by Richard O. Moore, who, with Cunningham, masterminded a cinematic collision of dance and architecture set in and around the newly redeveloped \u003ca href=\"https://www.ghirardellisq.com/history\" target=\"_blank\" rel=\"noopener\">Ghirardelli Square\u003c/a>. The concept behind that redevelopment, with its echoes of an industrial past, would soon be mimicked in urban restoration projects across America. But in 1968, it was a \u003ca href=\"http://experiments.californiahistoricalsociety.org/urban-renaissance-with-mermaids-lawrence-halprins-ghirardelli-square/\" target=\"_blank\" rel=\"noopener\">pioneer\u003c/a>, not unlike the Merce Cunningham Dance Company.\u003c/p>\n\u003cfigure id=\"attachment_13856026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg\" alt=\"\" width=\"800\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1020x826.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1200x972.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1920x1555.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Brown at Ghirardelli Square, filming Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>When the dancers showed up for filming, sculptor Ruth Asawa’s bronze mermaids had just splashed down in a courtyard fountain. Asawa’s image of bare-breasted mermaids nursing mer-babies provoked some \u003ca href=\"https://www.artandarchitecture-sf.com/ruth-asawa-at-ghirardelli-square.html\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a>, but the radical feminist statement made a striking backdrop to the dancers’ escapades—as did the frequent glimpses of Alcatraz, of modernist architectural elements juxtaposed against rosy brick façades, and the American flag buffeted by a brisk wind.\u003c/p>\n\u003cp>I spoke with \u003ca href=\"https://www.newyorker.com/magazine/2016/02/22/valda-setterfield-in-lear\" target=\"_blank\" rel=\"noopener\">Valda Setterfield\u003c/a>, the celebrated dancer-actor and an early company stalwart, who recalled, “It was the first film that I’d worked in, and what I was immediately struck with was the work of the technicians on the film—and the gear that they had to lug around, which they did with great grace.” Three cameramen moved in and around the dancers, at distances both intimate and remote, with no fixed blueprint. “There was a kind of ease about it,” Setterfield noted, “an ease borne out of an unknown-ness, for me at any rate.” Although the company had rehearsed a few sequences, Cunningham or one of the dancers would frequently get an idea on the spot, and the company and crew would just go with it. Amid the playful improvisations, she stressed, “We were very attentive to where the crew were and what they needed.”\u003c/p>\n\u003cp>https://vimeo.com/332732849\u003c/p>\n\u003cp>“I loved those kind of moments that could happen with Merce,” she went on, “particularly in a situation like this which wasn’t fully structured.” Setterfield remarked on how unusual it was for the dancers to be performing in the daytime, and for the crew to be shooting in natural light, frequently capturing passers-by in the frame. She embraced the experience: “I love the sea, and it smelled of the sea. There was a kind of freedom and pleasure about what we did.”\u003c/p>\n\u003cp>Much of the film reflects that spirit—very much a ’60s vibe, especially when the women shed their ‘uniforms’ of tights and leotards for geometric-patterned mini-dresses and silver go-go boots. There are also meditative moments and images of poignant, otherworldly beauty, as the dancers, each so distinctive, negotiate the rigor of Cunningham’s prescribed movements. Most striking are those scenes in which structures like stair railings are stripped of their material presence, becoming screens onto which outbursts of dance are projected—and conversely, when dancers’ bodies become screens for projected images of rolling clouds and the splashing fountain. Then there was Cunningham, racing wildly around the complex like a fugitive, dropping and rolling as if shots had been fired.\u003c/p>\n\u003cfigure id=\"attachment_13856027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856027\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1920x1368.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Jeff Slayton at Ghirardelli Square filming of Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>I also caught up with Bill Yahraus, who operated one of the three cameras for \u003cem>Assemblage\u003c/em>. He was a newbie on the KQED team but, in that egalitarian unit, while they were shooting, “everyone could have an idea,” he said. He ended up in sole charge of post-production, though, which took months, he said, to achieve the special effects—the intricate fragmenting and superimposing of imagery that make the film so startling and immediate.\u003c/p>\n\u003cp>“Every effect was a surprise,” Yahraus explained, “because each involved multiple passes, either with an overhead camera or through a printer, before the film was processed. So I never knew exactly what they would look like until they came back from the lab. There was a large element of randomness to all of it.” That spirit spilled into the soundtrack, developed independently from the dance by John Cage, Gordon Mumma, and David Tudor, who ran around the Square and farther afield, taping the drone of traffic, the clackety-clack of trains, desultory sidewalk conversations, birdsong, the groaning of the Golden Gate Bridge and the static of urban life.\u003c/p>\n\u003cfigure id=\"attachment_13856016\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davalois Fearon and Nicholas Sciscione in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘If the Dancer Dances’: “How does ephemeral work live on?”\u003c/h3>\n\u003cp>Among the nine dancers in \u003cem>Assemblage\u003c/em> was a young Meg Harper, who had joined the company barely a year before. She appears again, nearly 50 years later, as a luminous presence in \u003ca href=\"https://ifthedancer.com\" target=\"_blank\" rel=\"noopener\">\u003cem>If the Dancer Dances\u003c/em>\u003c/a>, which will screen in San Francisco on the same day as \u003cem>Assemblage\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://vimeo.com/323308357\" rel=\"noopener\" target=\"_blank\">new documentary\u003c/a> follows the 2015 restaging of Cunningham’s darkly mysterious \u003cem>RainForest\u003c/em> on the \u003ca href=\"https://walkerart.org/magazine/performance-thoughts-stephen-petronio-dance-company-rainforest-2\" target=\"_blank\" rel=\"noopener\">Stephen Petronio Company\u003c/a>. Unusually, three stagers were involved: Harper, Rashaun Mitchell, and Andrea Weber, who each belonged to different generations of the Merce Cunningham Dance Company. A fourth Cunningham alumna, Melissa Toogood, joined the cast as a guest dancer, bringing a bullets-whizzing-by energy to this revival.\u003c/p>\n\u003cp>I sat down in New York with filmmakers Lise Friedman and Maia Wechsler, who talked about the hard labor and inherent frustrations in transmitting dance down to new generations. It’s a task that requires the “transferring of movement, body-to-body,” as Friedman put it. She herself danced with Cunningham from 1977 to 1984. After his death in 2009 and the \u003ca href=\"https://www.npr.org/2011/08/06/139021889/merce-cunninghams-legacy-the-dance-goes-on\" target=\"_blank\" rel=\"noopener\">disbanding\u003c/a> of his company, on his instructions, two years later, she teamed up with Wechsler to tackle the question, “How does ephemeral work live on?”\u003c/p>\n\u003cfigure id=\"attachment_13856011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Stephen Petronio Company dancer Davalois Fearon in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Mitchell, who danced in the company from 2004 until it disbanded, reflects: “It was always really clear to us that he [Cunningham] did not want us to be the people who came before. He did not want us to emulate something that had already happened. He wanted us to find our own self within this movement.”\u003c/p>\n\u003cp>Echoing a sentiment expressed by Harper in the film, Friedman noted, “Staging doesn’t usually settle in the bodies of the dancers until after [the stagers] are gone, until after they’ve done it for a while. When you can sense the sense of ownership, that these dancers feel they have the right to dance these roles.”\u003c/p>\n\u003cfigure id=\"attachment_13856038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856038 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Maurice Spivey in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Night of 100 Solos’: “A dancer has to find a way to begin again each day”\u003c/h3>\n\u003cp>On what would have been Cunningham’s 100th birthday, on April 16, much of the dance world was riveted by back-to-back performances \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">livestreamed\u003c/a> from London, New York and Los Angeles, each an absorbing jumble of solos from six decades of his career. Like the one-off ‘events’ for which Cunningham would repurpose bits and pieces of rep, the \u003cem>\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">Night of 100 Solos\u003c/a> \u003c/em>scaled the concept up and took it global.\u003c/p>\n\u003cp>The 100 solos were performed by 75 dancers from diverse backgrounds, none of whom had ever danced with the Cunningham company but who were coached for this occasion by former Cunningham dancers. They ranged widely in age, physique, and training, from classical ballet to modern and street dance, and included many more dancers of color than have danced Cunningham’s work in the past.\u003c/p>\n\u003cfigure id=\"attachment_13856033\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856033 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Centennial ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes a soloist would be truly alone on stage. More often, dancers would cross paths companionably, and ensembles of three or four would tackle their assignments in close proximity, though they would rarely interact. Movement passages that have no common thread but happened to take place at the same time suddenly seemed to invite conversation, intimacy, or battle. (\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">The entire \u003cem>Night of 100 Solos\u003c/em> can be viewed here until July 19, 2019\u003c/a>.)\u003c/p>\n\u003cp>When I asked her about \u003cem>100 Solos\u003c/em>, Lise Friedman commented, “Merce’s work can withstand this mutability. There are so many ways in which his work can be seen.”\u003c/p>\n\u003cp>A few of the solos were repeated in all three cities, in a charming round-the-world handoff. These included the high-octane solo from \u003cem>Travelogue \u003c/em>in which the dancer jumps around with clanking tin cans strapped to his legs (courtesy of Robert Rauschenberg), and John Cage’s infamous \u003ca href=\"https://www.npr.org/2000/05/08/1073885/4-33\" target=\"_blank\" rel=\"noopener\">\u003cem>4’33”\u003c/em>\u003c/a>—in which the musician is instructed not to play anything for four minutes and 33 seconds—which was reinterpreted for dance in all three cities, with all 25 dancers on stage each time, to hypnotic effect.\u003c/p>\n\u003cfigure id=\"attachment_13856040\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856040 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorrin Brubaker in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003cem>100 Solos \u003c/em>rolled on with no climax or resolution, an extraordinary serenity settled in, with wave after wave of performers signaling to us and to each other, “I got this.” Some, like New York City Ballet’s Sara Mearns, wrestled more visibly with the knotty technique; others, like the Royal Ballet’s Joseph Sissens and Francesca Hayward, former Bill T. Jones/Arnie Zane Company member Shayla-Vie Jenkins, and José Limón dancer Savannah Spratt, conquered and stretched it.\u003c/p>\n\u003cp>Friedman told me: “Merce loved to see the struggle, loved to see awkwardness in a dancer. He appreciated the risk-taking.” It reminded me of something Cunningham once said in an \u003ca href=\"https://brooklynrail.org/2019/04/dance/MERCES-WAY\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>.\u003c/p>\n\u003cp>“A dancer,” he said, “has to find a way to begin again each day.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dance Film SF airs ‘Assemblage’ and ‘If the Dancer Dances’ on Saturday, May 4, at the Delancey Street Screening Room. Tickets and information \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The 'uncompromising, crystalline' dance pioneer is honored with two films—one from KQED's archives, set in Ghirardelli Square in 1968.",
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"description": "The 'uncompromising, crystalline' dance pioneer is honored with two films—one from KQED's archives, set in Ghirardelli Square in 1968.",
"title": "100 Years of Merce Cunningham, Celebrated in San Francisco | KQED",
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"headline": "100 Years of Merce Cunningham, Celebrated in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The oft-revered yet enigmatic choreographer \u003ca href=\"https://www.mercecunningham.org/about/merce-cunningham/\" target=\"_blank\" rel=\"noopener\">Merce Cunningham\u003c/a> would have turned 100 in April, and an explosion of tributes by dance institutions \u003ca href=\"https://bachtrack.com/review-merce-cunningham-centennial-joyce-theater-new-york-april-2019\" target=\"_blank\" rel=\"noopener\">large\u003c/a> and \u003ca href=\"http://ballettothepeople.com/2019/03/22/scramble-the-seasons-and-the-elements-of-style-from-the-ever-stylish-new-york-theatre-ballet/\" target=\"_blank\" rel=\"noopener\">small\u003c/a> include events \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">as imaginative and quixotic\u003c/a> as his own. Cunningham was a disruptor and a pioneer, whose (non)collaborations with composer \u003ca href=\"https://www.wfmt.com/2017/02/24/composer-john-cage-choreographer-merce-cunningham-changed-art-collaboration/\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> and artists like \u003ca href=\"https://frieze.com/article/bride-bachelors-and-robert-rauschenberg\" target=\"_blank\" rel=\"noopener\">Robert Rauschenberg\u003c/a>, \u003ca href=\"https://www.theguardian.com/stage/2005/jun/06/dance\" target=\"_blank\" rel=\"noopener\">Andy Warhol\u003c/a>, and \u003ca href=\"https://news.artnet.com/exhibitions/merce-cunningham-common-time-869543\" target=\"_blank\" rel=\"noopener\">Jasper Johns\u003c/a> unmoored dance from music, narrative, and scenic design, sometimes \u003ca href=\"https://www.theguardian.com/stage/2016/nov/24/merce-cunningham-review-variations-v-1966\" target=\"_blank\" rel=\"noopener\">mystifying\u003c/a> and even \u003ca href=\"https://www.weeklystandard.com/robert-greskovic/merce-cunningham\" target=\"_blank\" rel=\"noopener\">infuriating\u003c/a> audiences.\u003c/p>\n\u003cp>Perhaps more than any other 20th century choreographer, Cunningham inspired those who danced with him to experiment and take risks in the creation of their own work, which usually looked nothing like his. As the Bay Area choreographer \u003ca href=\"https://charlesmoulton.com\" target=\"_blank\" rel=\"noopener\">Charles Moulton\u003c/a>, who \u003ca href=\"http://charlesmoulton.com/on-joining-the-merce-cunningham-company/\" target=\"_blank\" rel=\"noopener\">danced with Cunningham\u003c/a> from 1973 to 1976, told me, “The root of his work was his love of dance, of the form. His own work was his own – uncompromising, beautiful, crystalline – but he loved other choreography as well. He had this extremely refined, elegant, and in many ways difficult aesthetic and yet he was a huge fan of dance of all kinds. There was a great openness which influenced me.”\u003c/p>\n\u003cfigure id=\"attachment_13856030\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg\" alt=\"\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1200x1198.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972-1920x1917.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/TV-Rerun.-Jack-Mitchell_1972.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Roess-Smith, Karen Attix, Robert Kovich, and Merce Cunningham in ‘TV Rerun,’ 1972. Score by Gordon Mumma, costumes by Jasper Johns. (Photo by Jack Mitchell)\u003c/figcaption>\u003c/figure>\n\u003cp>Though Cunningham’s company was based in New York, a 1955 West Coast tour sparked a long \u003ca href=\"https://dancersgroup.org/2011/03/musing-on-merce-the-bay-area-remembers-cunningham/\" target=\"_blank\" rel=\"noopener\">love affair\u003c/a> with California. In recent years, though, you might not know it: the Bay Area hasn’t seen a revival of a Cunningham work since the (now-defunct) Ballet San Jose gave a crisp account of his \u003cem>\u003ca href=\"https://www.huffpost.com/entry/ballet-san-jose-bows-to-modern-masters_b_3139627\" target=\"_blank\" rel=\"noopener\">Duets\u003c/a> \u003c/em>in 2013.\u003c/p>\n\u003cp>In a nod to Cunningham’s innovations with technology and film, Dance Film SF—presenters of the San Francisco Dance Film Festival—will \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">screen\u003c/a> \u003cem>Assemblage\u003c/em>, his very first extended work created expressly for film, alongside \u003cem>If the Dancer Dances\u003c/em>, a new documentary that illuminates the challenges of restaging one of his iconic works.\u003c/p>\n\u003cfigure id=\"attachment_13855999\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855999\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Assemblage5.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Dance Company in ‘Assemblage,’ 1968. (Photo courtesy Dance Film SF)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Assemblage’: “Everyone could have an idea”\u003c/h3>\n\u003cp>In 1968, Cunningham’s company was coming off a disaster-ridden South American tour. Though they had broken out of obscurity after a triumphant London season in 1964, and had recently been appointed a resident company at the Brooklyn Academy of Music, company finances remained dire. The filming of a three-week caper on the sunny streets of San Francisco in October reinvigorated the company, wrote dancer Carolyn Brown in her \u003ca href=\"https://www.newyorker.com/magazine/2007/06/04/chance-and-circumstance\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That film was \u003cem>Assemblage\u003c/em>, produced by KQED-TV and directed by Richard O. Moore, who, with Cunningham, masterminded a cinematic collision of dance and architecture set in and around the newly redeveloped \u003ca href=\"https://www.ghirardellisq.com/history\" target=\"_blank\" rel=\"noopener\">Ghirardelli Square\u003c/a>. The concept behind that redevelopment, with its echoes of an industrial past, would soon be mimicked in urban restoration projects across America. But in 1968, it was a \u003ca href=\"http://experiments.californiahistoricalsociety.org/urban-renaissance-with-mermaids-lawrence-halprins-ghirardelli-square/\" target=\"_blank\" rel=\"noopener\">pioneer\u003c/a>, not unlike the Merce Cunningham Dance Company.\u003c/p>\n\u003cfigure id=\"attachment_13856026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg\" alt=\"\" width=\"800\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1020x826.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1200x972.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968-1920x1555.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CBrown_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Brown at Ghirardelli Square, filming Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>When the dancers showed up for filming, sculptor Ruth Asawa’s bronze mermaids had just splashed down in a courtyard fountain. Asawa’s image of bare-breasted mermaids nursing mer-babies provoked some \u003ca href=\"https://www.artandarchitecture-sf.com/ruth-asawa-at-ghirardelli-square.html\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a>, but the radical feminist statement made a striking backdrop to the dancers’ escapades—as did the frequent glimpses of Alcatraz, of modernist architectural elements juxtaposed against rosy brick façades, and the American flag buffeted by a brisk wind.\u003c/p>\n\u003cp>I spoke with \u003ca href=\"https://www.newyorker.com/magazine/2016/02/22/valda-setterfield-in-lear\" target=\"_blank\" rel=\"noopener\">Valda Setterfield\u003c/a>, the celebrated dancer-actor and an early company stalwart, who recalled, “It was the first film that I’d worked in, and what I was immediately struck with was the work of the technicians on the film—and the gear that they had to lug around, which they did with great grace.” Three cameramen moved in and around the dancers, at distances both intimate and remote, with no fixed blueprint. “There was a kind of ease about it,” Setterfield noted, “an ease borne out of an unknown-ness, for me at any rate.” Although the company had rehearsed a few sequences, Cunningham or one of the dancers would frequently get an idea on the spot, and the company and crew would just go with it. Amid the playful improvisations, she stressed, “We were very attentive to where the crew were and what they needed.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I loved those kind of moments that could happen with Merce,” she went on, “particularly in a situation like this which wasn’t fully structured.” Setterfield remarked on how unusual it was for the dancers to be performing in the daytime, and for the crew to be shooting in natural light, frequently capturing passers-by in the frame. She embraced the experience: “I love the sea, and it smelled of the sea. There was a kind of freedom and pleasure about what we did.”\u003c/p>\n\u003cp>Much of the film reflects that spirit—very much a ’60s vibe, especially when the women shed their ‘uniforms’ of tights and leotards for geometric-patterned mini-dresses and silver go-go boots. There are also meditative moments and images of poignant, otherworldly beauty, as the dancers, each so distinctive, negotiate the rigor of Cunningham’s prescribed movements. Most striking are those scenes in which structures like stair railings are stripped of their material presence, becoming screens onto which outbursts of dance are projected—and conversely, when dancers’ bodies become screens for projected images of rolling clouds and the splashing fountain. Then there was Cunningham, racing wildly around the complex like a fugitive, dropping and rolling as if shots had been fired.\u003c/p>\n\u003cfigure id=\"attachment_13856027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856027\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968-1920x1368.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/MHarperJSlayton_Young1968.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Jeff Slayton at Ghirardelli Square filming of Merce Cunningham’s ‘Assemblage,’ 1968. (Photo: Bill Young)\u003c/figcaption>\u003c/figure>\n\u003cp>I also caught up with Bill Yahraus, who operated one of the three cameras for \u003cem>Assemblage\u003c/em>. He was a newbie on the KQED team but, in that egalitarian unit, while they were shooting, “everyone could have an idea,” he said. He ended up in sole charge of post-production, though, which took months, he said, to achieve the special effects—the intricate fragmenting and superimposing of imagery that make the film so startling and immediate.\u003c/p>\n\u003cp>“Every effect was a surprise,” Yahraus explained, “because each involved multiple passes, either with an overhead camera or through a printer, before the film was processed. So I never knew exactly what they would look like until they came back from the lab. There was a large element of randomness to all of it.” That spirit spilled into the soundtrack, developed independently from the dance by John Cage, Gordon Mumma, and David Tudor, who ran around the Square and farther afield, taping the drone of traffic, the clackety-clack of trains, desultory sidewalk conversations, birdsong, the groaning of the Golden Gate Bridge and the static of urban life.\u003c/p>\n\u003cfigure id=\"attachment_13856016\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Nick.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davalois Fearon and Nicholas Sciscione in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘If the Dancer Dances’: “How does ephemeral work live on?”\u003c/h3>\n\u003cp>Among the nine dancers in \u003cem>Assemblage\u003c/em> was a young Meg Harper, who had joined the company barely a year before. She appears again, nearly 50 years later, as a luminous presence in \u003ca href=\"https://ifthedancer.com\" target=\"_blank\" rel=\"noopener\">\u003cem>If the Dancer Dances\u003c/em>\u003c/a>, which will screen in San Francisco on the same day as \u003cem>Assemblage\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://vimeo.com/323308357\" rel=\"noopener\" target=\"_blank\">new documentary\u003c/a> follows the 2015 restaging of Cunningham’s darkly mysterious \u003cem>RainForest\u003c/em> on the \u003ca href=\"https://walkerart.org/magazine/performance-thoughts-stephen-petronio-dance-company-rainforest-2\" target=\"_blank\" rel=\"noopener\">Stephen Petronio Company\u003c/a>. Unusually, three stagers were involved: Harper, Rashaun Mitchell, and Andrea Weber, who each belonged to different generations of the Merce Cunningham Dance Company. A fourth Cunningham alumna, Melissa Toogood, joined the cast as a guest dancer, bringing a bullets-whizzing-by energy to this revival.\u003c/p>\n\u003cp>I sat down in New York with filmmakers Lise Friedman and Maia Wechsler, who talked about the hard labor and inherent frustrations in transmitting dance down to new generations. It’s a task that requires the “transferring of movement, body-to-body,” as Friedman put it. She herself danced with Cunningham from 1977 to 1984. After his death in 2009 and the \u003ca href=\"https://www.npr.org/2011/08/06/139021889/merce-cunninghams-legacy-the-dance-goes-on\" target=\"_blank\" rel=\"noopener\">disbanding\u003c/a> of his company, on his instructions, two years later, she teamed up with Wechsler to tackle the question, “How does ephemeral work live on?”\u003c/p>\n\u003cfigure id=\"attachment_13856011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Dava-and-Meg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meg Harper and Stephen Petronio Company dancer Davalois Fearon in ‘If the Dancer Dances.’ (Photo courtesy Monument Releasing)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Mitchell, who danced in the company from 2004 until it disbanded, reflects: “It was always really clear to us that he [Cunningham] did not want us to be the people who came before. He did not want us to emulate something that had already happened. He wanted us to find our own self within this movement.”\u003c/p>\n\u003cp>Echoing a sentiment expressed by Harper in the film, Friedman noted, “Staging doesn’t usually settle in the bodies of the dancers until after [the stagers] are gone, until after they’ve done it for a while. When you can sense the sense of ownership, that these dancers feel they have the right to dance these roles.”\u003c/p>\n\u003cfigure id=\"attachment_13856038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856038 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_07-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Maurice Spivey in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Night of 100 Solos’: “A dancer has to find a way to begin again each day”\u003c/h3>\n\u003cp>On what would have been Cunningham’s 100th birthday, on April 16, much of the dance world was riveted by back-to-back performances \u003ca href=\"https://www.npr.org/2019/04/20/715224514/100-dances-for-100-years-of-merce-cunningham\" target=\"_blank\" rel=\"noopener\">livestreamed\u003c/a> from London, New York and Los Angeles, each an absorbing jumble of solos from six decades of his career. Like the one-off ‘events’ for which Cunningham would repurpose bits and pieces of rep, the \u003cem>\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">Night of 100 Solos\u003c/a> \u003c/em>scaled the concept up and took it global.\u003c/p>\n\u003cp>The 100 solos were performed by 75 dancers from diverse backgrounds, none of whom had ever danced with the Cunningham company but who were coached for this occasion by former Cunningham dancers. They ranged widely in age, physique, and training, from classical ballet to modern and street dance, and included many more dancers of color than have danced Cunningham’s work in the past.\u003c/p>\n\u003cfigure id=\"attachment_13856033\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856033 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_17.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merce Cunningham Centennial ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes a soloist would be truly alone on stage. More often, dancers would cross paths companionably, and ensembles of three or four would tackle their assignments in close proximity, though they would rarely interact. Movement passages that have no common thread but happened to take place at the same time suddenly seemed to invite conversation, intimacy, or battle. (\u003ca href=\"https://www.mercecunningham.org/activities/night-of-100-solos/\" target=\"_blank\" rel=\"noopener\">The entire \u003cem>Night of 100 Solos\u003c/em> can be viewed here until July 19, 2019\u003c/a>.)\u003c/p>\n\u003cp>When I asked her about \u003cem>100 Solos\u003c/em>, Lise Friedman commented, “Merce’s work can withstand this mutability. There are so many ways in which his work can be seen.”\u003c/p>\n\u003cp>A few of the solos were repeated in all three cities, in a charming round-the-world handoff. These included the high-octane solo from \u003cem>Travelogue \u003c/em>in which the dancer jumps around with clanking tin cans strapped to his legs (courtesy of Robert Rauschenberg), and John Cage’s infamous \u003ca href=\"https://www.npr.org/2000/05/08/1073885/4-33\" target=\"_blank\" rel=\"noopener\">\u003cem>4’33”\u003c/em>\u003c/a>—in which the musician is instructed not to play anything for four minutes and 33 seconds—which was reinterpreted for dance in all three cities, with all 25 dancers on stage each time, to hypnotic effect.\u003c/p>\n\u003cfigure id=\"attachment_13856040\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856040 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Night-of-100-Solos_67-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorrin Brubaker in ‘Night of 100 Solos’ at CAP UCLA. (Photo: Reed Hutchinson)\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003cem>100 Solos \u003c/em>rolled on with no climax or resolution, an extraordinary serenity settled in, with wave after wave of performers signaling to us and to each other, “I got this.” Some, like New York City Ballet’s Sara Mearns, wrestled more visibly with the knotty technique; others, like the Royal Ballet’s Joseph Sissens and Francesca Hayward, former Bill T. Jones/Arnie Zane Company member Shayla-Vie Jenkins, and José Limón dancer Savannah Spratt, conquered and stretched it.\u003c/p>\n\u003cp>Friedman told me: “Merce loved to see the struggle, loved to see awkwardness in a dancer. He appreciated the risk-taking.” It reminded me of something Cunningham once said in an \u003ca href=\"https://brooklynrail.org/2019/04/dance/MERCES-WAY\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>.\u003c/p>\n\u003cp>“A dancer,” he said, “has to find a way to begin again each day.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dance Film SF airs ‘Assemblage’ and ‘If the Dancer Dances’ on Saturday, May 4, at the Delancey Street Screening Room. Tickets and information \u003ca href=\"https://www.sfdancefilmfest.org/merce-cunningham-at-100/assemblage/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Lumiere and Edison independently invented the motion picture camera in the 1890s, did they have specific subjects (or purposes) in mind? Louis filmed people and trains in real-life action, while Tom brought jugglers, wrestlers and other physical performers into his black-box studio. However, both were inspired by Eadweard Muybridge’s photographs of galloping horses for California magnate Leland Stanford, suggesting that they primarily valued the camera as a medium for recording movement.\u003c/p>\n\u003cp>In short order, narrative filmmakers discovered the power of the human face, and then the human voice. A century on, we crave close-ups and demand dialogue. The \u003ca href=\"http://www.sfdancefilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 4–14 at the Brava Theater and other venues) is a kind of oasis that returns us to the happy realization that the movies were made for movement. At the same time, the lineup defies the imperative of Hollywood musicals (think Astaire and Rogers, Fosse and Verdon, Stone and Gosling), that every picture and every dance has to tell a story.\u003c/p>\n\u003cfigure id=\"attachment_13841950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg\" alt=\"Still from 'BaseBallet: Into the Game.'\" width=\"1920\" height=\"809\" class=\"size-full wp-image-13841950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-800x337.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-768x324.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1020x430.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1200x506.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1180x497.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-960x405.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-240x101.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-375x158.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-520x219.jpeg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘BaseBallet: Into the Game.’ \u003ccite>(Courtesy of San Francisco Dance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free your mind and your feet will follow. (Or is it the other way around?) Taking that bit of wisdom as our guide, the most liberating program in this year’s S.F. Dance Film Festival may well be “Shorts 1: Concentric Circles” (Thursday, Oct. 11 at 5pm), a compilation of short works from here and yon that were each conceived as a collaboration between choreography and cinematography. \u003c/p>\n\u003cp>Sure, the lineup includes more accessible options, including histories (\u003cem>American Tap\u003c/em>), explorations of the creative process (\u003cem>Play Serious\u003c/em>) and filmed performance (\u003cem>BaseBallet: Into the Game\u003c/em>). But filmmaking, and dance for that matter, is about taking a leap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Lumiere and Edison independently invented the motion picture camera in the 1890s, did they have specific subjects (or purposes) in mind? Louis filmed people and trains in real-life action, while Tom brought jugglers, wrestlers and other physical performers into his black-box studio. However, both were inspired by Eadweard Muybridge’s photographs of galloping horses for California magnate Leland Stanford, suggesting that they primarily valued the camera as a medium for recording movement.\u003c/p>\n\u003cp>In short order, narrative filmmakers discovered the power of the human face, and then the human voice. A century on, we crave close-ups and demand dialogue. The \u003ca href=\"http://www.sfdancefilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 4–14 at the Brava Theater and other venues) is a kind of oasis that returns us to the happy realization that the movies were made for movement. At the same time, the lineup defies the imperative of Hollywood musicals (think Astaire and Rogers, Fosse and Verdon, Stone and Gosling), that every picture and every dance has to tell a story.\u003c/p>\n\u003cfigure id=\"attachment_13841950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg\" alt=\"Still from 'BaseBallet: Into the Game.'\" width=\"1920\" height=\"809\" class=\"size-full wp-image-13841950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-800x337.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-768x324.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1020x430.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1200x506.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1180x497.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-960x405.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-240x101.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-375x158.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-520x219.jpeg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘BaseBallet: Into the Game.’ \u003ccite>(Courtesy of San Francisco Dance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free your mind and your feet will follow. (Or is it the other way around?) Taking that bit of wisdom as our guide, the most liberating program in this year’s S.F. Dance Film Festival may well be “Shorts 1: Concentric Circles” (Thursday, Oct. 11 at 5pm), a compilation of short works from here and yon that were each conceived as a collaboration between choreography and cinematography. \u003c/p>\n\u003cp>Sure, the lineup includes more accessible options, including histories (\u003cem>American Tap\u003c/em>), explorations of the creative process (\u003cem>Play Serious\u003c/em>) and filmed performance (\u003cem>BaseBallet: Into the Game\u003c/em>). But filmmaking, and dance for that matter, is about taking a leap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
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"order": 19
},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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"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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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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},
"commonwealth-club": {
"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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
"freakonomics-radio": {
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"meta": {
"site": "radio",
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},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
"title": "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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"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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},
"link": "/radio/program/how-i-built-this",
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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": {
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"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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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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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"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"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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