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"title": "How to Build a Filipino American Cultural Center Without a Roof",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Walk quickly past SoMa’s 5th and Mission Garage and you might not notice \u003ca href=\"https://balaykreative.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Balay Kreative Studios\u003c/a>. But if you amble, the signs are there—quite literally. First there’s the brightly colored flags advertising some of the studio’s tenants (“\u003ca href=\"https://ybgfestival.org/event/tito-ramon/2022-06-10/\" target=\"_blank\" rel=\"noopener noreferrer\">Tito Ramon’s Pop-Up Puppet Theater\u003c/a>” is the most enticing). Then there’s the denim-backed sign for Balay Kreative itself. At eye level, the studio’s address (863 Mission) is rendered in three different colors of laser-cut plastic. The windows are covered in comic-book-style illustrations of notable figures from Filipino history—except for one that’s set up in a kind of \u003ci>TRL\u003c/i> display for pandemic-era livestreaming. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/p>\n\u003cp>What’s inside is just as eclectic and vibrant as the sidewalk view hints. The studio’s 3,200 square feet, provided to Balay Kreative by the SFMTA, has been built out to suit the needs of roughly a half-dozen Filipino American artists, designers and small businesses in an ongoing experiment in the creation of a cultural hub. On my visit, Balay Kreative’s Executive Director Desi Danganan gives me an energetic tour, pointing out artists who met in the studio and collaborated, experiments in retail presentations, and the table where he spends most afternoons working.\u003c/p>\n\u003cp>This studio is just one facet of Balay Kreative. The Filipino arts accelerator is currently accepting applications for its \u003ca href=\"https://balaykreative.com/grants-2022\" target=\"_blank\" rel=\"noopener noreferrer\">second round of grants\u003c/a> after dispersing funds to around 20 artists and projects in 2020. It helps program the parking lot-turned-lush-event-space \u003ca href=\"https://www.kapwagardens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kapwa Gardens\u003c/a>, and it’s working towards a future brick-and-mortar Filipino American Cultural Center in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13913991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-24-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan poses for a portrait at Balay Kreative in San Francisco, Calif. on May, 20, 2022. Danganan is the executive director at Balay Kreative. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this activity is in service to a very specific goal: take the idea of the SOMA Pilipinas Filipino Heritage District, established in 2016, and make it an economically sustainable reality through the power of arts and culture. San Francisco is home to \u003ca href=\"https://sf.gov/information/cultural-districts-program\" target=\"_blank\" rel=\"noopener noreferrer\">nine cultural districts\u003c/a>, the oldest (Japantown) was recognized in 2013, the newest (the Sunset Chinese Cultural District) officially launched on May 22, 2022. Naming a cultural district is only the first step. SOMA Pilipinas, 1.5 square miles in the South of Market neighborhood, aims to celebrate the Filipino community, prevent displacement and develop economic and racial justice initiatives.\u003c/p>\n\u003cp>“Arts and culture, that’s the key,” Danganan says. “That’s going to be the anchor to really accelerate this kind of community engagement of coming back into your community, giving back and rebuilding it.” His vision is for Mission Street to become a commercial corridor of Filipino American shops, restaurants and cultural spaces.\u003c/p>\n\u003cp>Balay Kreative does a lot with a very small team, and Danganan says the goal isn’t to grow the organization. “It’s about growing the arts and culture community,” he says. “That’s why we’re so determined to regrant money out. It shouldn’t be about Balay Kreative coming up with all of the ideas for our community. It’s all about being that platform, that accelerator for the rest of our community members to fulfill their dreams and visions.”\u003c/p>\n\u003cfigure id=\"attachment_13913961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913961\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-14-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Mariko Rosales poses for a portrait in her space at Balay Kreative on May 20, 2022 in San Francisco. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A House of Creatives\u003c/h2>\n\u003cp>The story of Balay Kreative starts with \u003ca href=\"https://www.undiscoveredsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Undiscovered SF\u003c/a>, a creative night market set up in 2017 by Kultivate Labs, an arts and economic development nonprofit that Danganan also leads.\u003c/p>\n\u003cp>Those gatherings in and around the Old Mint were an enormous success, drawing crowds and press attention and fostering a real sense of belonging within the local Filipino American community. Robin Aquilizan sold at numerous night markets with her family’s streetwear brand \u003ca href=\"https://www.bayaniart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayani Art\u003c/a>. “I’m telling you, it’s one of the best events in the Bay Area,” she says. “It’s always a great time. The community is super, super supportive.”\u003c/p>\n\u003cp>In 2019, the San Francisco Mayor’s Office of Housing and Community Development awarded Kultivate Labs a $275,000 grant to support the development of a new Filipino American Cultural Center in SoMa. Balay Kreative (“House of Creatives”) began with a core team of Danganan, Kim Acebo Arteche (now co-director of the Berkeley Art Center) and Gina Mariko Rosales (founder of the event-production company \u003ca href=\"https://www.makeitmariko.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make it Mariko\u003c/a>, which co-organizes Undiscovered SF). [aside postID=\"arts_13913890\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-La-Dona-1020x574.jpg\"]\u003c/p>\n\u003cp>“We did a lot of intensive community outreach with the artists and culture-bearers to get their ideas on, ‘If there was a blank slate of what a Filipino American Cultural Center could look like, what would it be?’” Danganan says. “A lot of the things that came up were professional development, artists’ workshop space and multidisciplinary pop-ups.”\u003c/p>\n\u003cp>Instead of focusing singularly on the development of an eventual brick-and-mortar cultural center, the team wanted to avoid what Danganan calls “perfection paralysis.” Through regranting, experimentation and temporary projects, the organization has proven arts and culture can be nurtured no matter the circumstances—pandemic included—and that an investment in the local Filipino American community can have widespread, even global, effects.\u003c/p>\n\u003cp>Their first round of grants, in amounts of $2,000 to $5,000, funded an eclectic sampling of contemporary practices in the Bay Area Filipino diaspora. They include a multidisciplinary \u003ca href=\"https://erinacalejo.com/ahxstoryofrenting\" target=\"_blank\" rel=\"noopener noreferrer\">visual history of displacement and resilience\u003c/a>, a traditional \u003ca href=\"https://balaykreative.com/stories-content/rachel-lozada\" target=\"_blank\" rel=\"noopener noreferrer\">Ilocano inabel weaving workshop\u003c/a>, and a \u003ca href=\"https://balaykreative.com/stories-content/wofford\" target=\"_blank\" rel=\"noopener noreferrer\">suite of paintings and drawings\u003c/a> about a Filipina American Olympic diver.\u003c/p>\n\u003cp>The ideas and artistry were already there, Danganan says, “We, as Balay Kreative, were just a catalyst for our community.”\u003c/p>\n\u003cfigure id=\"attachment_13913958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resident artists at work in their individual spaces on May 20, 2022 in San Francisco, Calif. in the Balay Kreative studio. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Back to Indigenous Communities in the Philippines\u003c/h2>\n\u003cp>In some instances, the money given to local artists—itself a regranting of funds from the city of San Francisco—went on to generate even more philanthropy. \u003ca href=\"http://www.kimrequesto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kim Requesto\u003c/a>’s photo zine \u003ci>UNEDITED FILM\u003c/i>, shot before she left the Philippines on maybe the last day possible in March 2020, documents her visit to the T’boli community at Gono Hofo Heritage Center in Lake Sebu.\u003c/p>\n\u003cp>As a trained Philippine folk dancer and member of the \u003ca href=\"https://www.parangal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Parangal Dance Company\u003c/a>, much of Requesto’s work involves visiting and learning from Indigenous communities in the Philippines, studying their dances, music, chants and clothing. [aside postID=\"arts_13913821\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-Endeavors-1020x574.jpg\"]\u003c/p>\n\u003cp>With permission from the T’boli community leader and the grant from Balay Kreative, Requesto set about turning her photos into a $27 zine, raising over $2,000 that she sent directly back to the Philippines. “One thing they had mentioned is that they wanted to create a larger school of living traditions,” Requesto explains. “[That school will] support the community members, especially the youth, as they’re growing—literally.”\u003c/p>\n\u003cp>In these instances, she sees herself as a bridge between Indigenous communities and the Bay Area Filipino diaspora. “We can uplift each other in ways that are needed,” she says. “Here, a lot of people are looking to connect and learn more. Back home, people are also looking for support.”\u003c/p>\n\u003cp>For Requesto, support from Balay Kreative extended beyond the grant. As the recipient of a 2020 Individual Artist Grant from the San Francisco Arts Commission, she needed a public way to present the three dance films she created with the funds. Enter Balay Kreative’s streaming hub, which was built out during the pandemic to provide creatives of various disciplines (including DJs, chefs and podcasters) with a way to stream their work to sheltered-in-place audiences.\u003c/p>\n\u003cp>2020 Balay Kreative grantees like Requesto were also given access to a nine-class series of professional development workshops called “\u003ca href=\"https://balaykreative.com/event-calendar/kreative-growth-masterclass\" target=\"_blank\" rel=\"noopener noreferrer\">Kreative Growth: Masterclass\u003c/a>.” Even though she wasn’t able to tune into all of the sessions live, Requesto knows she can dip into the archive at any time. [pullquote size=\"medium\" citation=\"Desi Danganan, executive director of Balay Kreative\" align=\"right\"]‘A lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts. There wasn’t that role model for them to see that art is an option for you as a career.’[/pullquote]\u003c/p>\n\u003cp>“I have them in my back pocket,” she says. “It’s really helpful because if I need advice, I can go into that and listen to the lessons.” It’s something she says she didn’t have access to when she was just starting out as an artist, when tips and opportunities came mostly through word of mouth.\u003c/p>\n\u003ch2>The Impact of Hyperfocus\u003c/h2>\n\u003cp>Grantees like \u003ca href=\"https://arcega.us/section/501274-TNT-Traysikel.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>TNT Traysikel\u003c/i>\u003c/a>, a public artwork and ongoing documentary project by Mike Arcega and Paolo Asuncion, are veterans of the Bay Area nonprofit funding world. But to receive recognition from Balay Kreative, Arcega says, was special. “It’s unusual for a Filipino-centered organization to have funds to give,” he wrote over email. “The community is often starved of resources.”\u003c/p>\n\u003cp>Their spectacularly painted and karaoke-outfitted motorized tricycle, which serves as a vehicle (pun intended) for intergenerational conversations about Filipino American experiences, has been \u003ca href=\"https://www.instagram.com/tnt_traysikel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">stealing the show\u003c/a> at Bay Area arts events for a while now. Soon, it will grace the Asian Art Museum for \u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Carlos Villa: Worlds in Collision\u003c/i>\u003c/a>, a much-anticipated retrospective of the late Filipino American artist’s work.\u003c/p>\n\u003cfigure id=\"attachment_13914001\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg\" alt=\"Three men in and around a brightly painted motorized tricycle\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paolo Asuncion (left) and Mike Arcega (right) with ‘TNT Traysikel’ at the Mini Mural Festival hosted by SOMA Pilipinas at SFMOMA on Aug. 29, 2021. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Balay Kreative grant went towards updating some of the team’s technology. “Since we’re working on a project that is centered in SoMa,” Arcega wrote, “we are able to represent ourselves, the district and our community in a better light.”\u003c/p>\n\u003cp>For Robin Aquilizan of Bayani Art, the impact may be generations in the making. She used her 2020 Balay Kreative grant to support the publication of a \u003ca href=\"https://www.bayaniart.com/shop/book-bundle-1-bayani-childrens-book-series/\" target=\"_blank\" rel=\"noopener noreferrer\">children’s book series\u003c/a> written by Aquilizan and Aaron Jurell Sarmiento and illustrated by Tata Ponsi Alfonso. The first three books tell the stories of Philippine revolutionaries Gabriela Silang, Lapu Lapu and Andrés Bonifacio. “We used to just create art and apparel, wanting to educate people,” Aquilizan says of her family’s decade-old business. “And because the Philippines has been colonized for more than 350 plus years, a lot of our history was erased. So we wanted to expand beyond that and start doing books.”\u003c/p>\n\u003cp>Aquilizan says the books keep selling out, in part because of Balay Kreative’s efforts to promote them.\u003c/p>\n\u003cp>[aside postID='arts_11764070']\u003c/p>\n\u003ch2>A ‘Multiplication’ of Artists Supporting Artists\u003c/h2>\n\u003cp>Danganan says he and the Balay Kreative team have learned a lot from their first round of regranting. The 2022 grants will go out to just seven projects, expanding the scope of support. Recipients will receive three months of free studio space in the Mission Street studios or nearby 447 Minna St., and free access to three programming spaces for the presentation of their work. They will again get to be part of the Masterclass sessions. And perhaps most valuably, they will be paired with mentors in their field of practice.\u003c/p>\n\u003cfigure id=\"attachment_13913960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric “EJ” Pena poses for a portrait in his mentor’s space at Balay Kreative on May 20, 2022 in San Francisco. Pena is an aspiring designer and learns from Balay Kreative resident artist, ChiChai Mateo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that’s super unique because a lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts,” Danganan says. “There wasn’t that role model for them to see that art is an option for you as a career.” To watch someone of a similar background following their passion and succeeding, Danganan says, can be transformative.\u003c/p>\n\u003cp>With everyone coming out of the total shutdown of the pandemic at different speeds, it’s especially important to Balay Kreative to provide as much support—in as many different ways—as artists need right now, whether that’s mural-painting opportunities, an outdoor stage, or training to apply for the next grant. [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>And while Balay Kreative has made a big impact in a very short while, Danganan believes there’s room for new organizations and new approaches to building cultural hubs. “There was this sentiment before that there shouldn’t be another arts organizer in the community because there is this scarcity mentality,” he says. “But I think we’re all starting to learn that there’s room for everybody, especially if we all specialize in different types of arts and culture and find ways to collaborate and support one another.”\u003c/p>\n\u003cp>“We want our community to think of it like multiplication,” he concludes. “Having more arts isn’t subtraction. It’s multiplication.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Walk quickly past SoMa’s 5th and Mission Garage and you might not notice \u003ca href=\"https://balaykreative.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Balay Kreative Studios\u003c/a>. But if you amble, the signs are there—quite literally. First there’s the brightly colored flags advertising some of the studio’s tenants (“\u003ca href=\"https://ybgfestival.org/event/tito-ramon/2022-06-10/\" target=\"_blank\" rel=\"noopener noreferrer\">Tito Ramon’s Pop-Up Puppet Theater\u003c/a>” is the most enticing). Then there’s the denim-backed sign for Balay Kreative itself. At eye level, the studio’s address (863 Mission) is rendered in three different colors of laser-cut plastic. The windows are covered in comic-book-style illustrations of notable figures from Filipino history—except for one that’s set up in a kind of \u003ci>TRL\u003c/i> display for pandemic-era livestreaming. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s inside is just as eclectic and vibrant as the sidewalk view hints. The studio’s 3,200 square feet, provided to Balay Kreative by the SFMTA, has been built out to suit the needs of roughly a half-dozen Filipino American artists, designers and small businesses in an ongoing experiment in the creation of a cultural hub. On my visit, Balay Kreative’s Executive Director Desi Danganan gives me an energetic tour, pointing out artists who met in the studio and collaborated, experiments in retail presentations, and the table where he spends most afternoons working.\u003c/p>\n\u003cp>This studio is just one facet of Balay Kreative. The Filipino arts accelerator is currently accepting applications for its \u003ca href=\"https://balaykreative.com/grants-2022\" target=\"_blank\" rel=\"noopener noreferrer\">second round of grants\u003c/a> after dispersing funds to around 20 artists and projects in 2020. It helps program the parking lot-turned-lush-event-space \u003ca href=\"https://www.kapwagardens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kapwa Gardens\u003c/a>, and it’s working towards a future brick-and-mortar Filipino American Cultural Center in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13913991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-24-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan poses for a portrait at Balay Kreative in San Francisco, Calif. on May, 20, 2022. Danganan is the executive director at Balay Kreative. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this activity is in service to a very specific goal: take the idea of the SOMA Pilipinas Filipino Heritage District, established in 2016, and make it an economically sustainable reality through the power of arts and culture. San Francisco is home to \u003ca href=\"https://sf.gov/information/cultural-districts-program\" target=\"_blank\" rel=\"noopener noreferrer\">nine cultural districts\u003c/a>, the oldest (Japantown) was recognized in 2013, the newest (the Sunset Chinese Cultural District) officially launched on May 22, 2022. Naming a cultural district is only the first step. SOMA Pilipinas, 1.5 square miles in the South of Market neighborhood, aims to celebrate the Filipino community, prevent displacement and develop economic and racial justice initiatives.\u003c/p>\n\u003cp>“Arts and culture, that’s the key,” Danganan says. “That’s going to be the anchor to really accelerate this kind of community engagement of coming back into your community, giving back and rebuilding it.” His vision is for Mission Street to become a commercial corridor of Filipino American shops, restaurants and cultural spaces.\u003c/p>\n\u003cp>Balay Kreative does a lot with a very small team, and Danganan says the goal isn’t to grow the organization. “It’s about growing the arts and culture community,” he says. “That’s why we’re so determined to regrant money out. It shouldn’t be about Balay Kreative coming up with all of the ideas for our community. It’s all about being that platform, that accelerator for the rest of our community members to fulfill their dreams and visions.”\u003c/p>\n\u003cfigure id=\"attachment_13913961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913961\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-14-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Mariko Rosales poses for a portrait in her space at Balay Kreative on May 20, 2022 in San Francisco. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A House of Creatives\u003c/h2>\n\u003cp>The story of Balay Kreative starts with \u003ca href=\"https://www.undiscoveredsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Undiscovered SF\u003c/a>, a creative night market set up in 2017 by Kultivate Labs, an arts and economic development nonprofit that Danganan also leads.\u003c/p>\n\u003cp>Those gatherings in and around the Old Mint were an enormous success, drawing crowds and press attention and fostering a real sense of belonging within the local Filipino American community. Robin Aquilizan sold at numerous night markets with her family’s streetwear brand \u003ca href=\"https://www.bayaniart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayani Art\u003c/a>. “I’m telling you, it’s one of the best events in the Bay Area,” she says. “It’s always a great time. The community is super, super supportive.”\u003c/p>\n\u003cp>In 2019, the San Francisco Mayor’s Office of Housing and Community Development awarded Kultivate Labs a $275,000 grant to support the development of a new Filipino American Cultural Center in SoMa. Balay Kreative (“House of Creatives”) began with a core team of Danganan, Kim Acebo Arteche (now co-director of the Berkeley Art Center) and Gina Mariko Rosales (founder of the event-production company \u003ca href=\"https://www.makeitmariko.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make it Mariko\u003c/a>, which co-organizes Undiscovered SF). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We did a lot of intensive community outreach with the artists and culture-bearers to get their ideas on, ‘If there was a blank slate of what a Filipino American Cultural Center could look like, what would it be?’” Danganan says. “A lot of the things that came up were professional development, artists’ workshop space and multidisciplinary pop-ups.”\u003c/p>\n\u003cp>Instead of focusing singularly on the development of an eventual brick-and-mortar cultural center, the team wanted to avoid what Danganan calls “perfection paralysis.” Through regranting, experimentation and temporary projects, the organization has proven arts and culture can be nurtured no matter the circumstances—pandemic included—and that an investment in the local Filipino American community can have widespread, even global, effects.\u003c/p>\n\u003cp>Their first round of grants, in amounts of $2,000 to $5,000, funded an eclectic sampling of contemporary practices in the Bay Area Filipino diaspora. They include a multidisciplinary \u003ca href=\"https://erinacalejo.com/ahxstoryofrenting\" target=\"_blank\" rel=\"noopener noreferrer\">visual history of displacement and resilience\u003c/a>, a traditional \u003ca href=\"https://balaykreative.com/stories-content/rachel-lozada\" target=\"_blank\" rel=\"noopener noreferrer\">Ilocano inabel weaving workshop\u003c/a>, and a \u003ca href=\"https://balaykreative.com/stories-content/wofford\" target=\"_blank\" rel=\"noopener noreferrer\">suite of paintings and drawings\u003c/a> about a Filipina American Olympic diver.\u003c/p>\n\u003cp>The ideas and artistry were already there, Danganan says, “We, as Balay Kreative, were just a catalyst for our community.”\u003c/p>\n\u003cfigure id=\"attachment_13913958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resident artists at work in their individual spaces on May 20, 2022 in San Francisco, Calif. in the Balay Kreative studio. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Back to Indigenous Communities in the Philippines\u003c/h2>\n\u003cp>In some instances, the money given to local artists—itself a regranting of funds from the city of San Francisco—went on to generate even more philanthropy. \u003ca href=\"http://www.kimrequesto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kim Requesto\u003c/a>’s photo zine \u003ci>UNEDITED FILM\u003c/i>, shot before she left the Philippines on maybe the last day possible in March 2020, documents her visit to the T’boli community at Gono Hofo Heritage Center in Lake Sebu.\u003c/p>\n\u003cp>As a trained Philippine folk dancer and member of the \u003ca href=\"https://www.parangal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Parangal Dance Company\u003c/a>, much of Requesto’s work involves visiting and learning from Indigenous communities in the Philippines, studying their dances, music, chants and clothing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With permission from the T’boli community leader and the grant from Balay Kreative, Requesto set about turning her photos into a $27 zine, raising over $2,000 that she sent directly back to the Philippines. “One thing they had mentioned is that they wanted to create a larger school of living traditions,” Requesto explains. “[That school will] support the community members, especially the youth, as they’re growing—literally.”\u003c/p>\n\u003cp>In these instances, she sees herself as a bridge between Indigenous communities and the Bay Area Filipino diaspora. “We can uplift each other in ways that are needed,” she says. “Here, a lot of people are looking to connect and learn more. Back home, people are also looking for support.”\u003c/p>\n\u003cp>For Requesto, support from Balay Kreative extended beyond the grant. As the recipient of a 2020 Individual Artist Grant from the San Francisco Arts Commission, she needed a public way to present the three dance films she created with the funds. Enter Balay Kreative’s streaming hub, which was built out during the pandemic to provide creatives of various disciplines (including DJs, chefs and podcasters) with a way to stream their work to sheltered-in-place audiences.\u003c/p>\n\u003cp>2020 Balay Kreative grantees like Requesto were also given access to a nine-class series of professional development workshops called “\u003ca href=\"https://balaykreative.com/event-calendar/kreative-growth-masterclass\" target=\"_blank\" rel=\"noopener noreferrer\">Kreative Growth: Masterclass\u003c/a>.” Even though she wasn’t able to tune into all of the sessions live, Requesto knows she can dip into the archive at any time. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have them in my back pocket,” she says. “It’s really helpful because if I need advice, I can go into that and listen to the lessons.” It’s something she says she didn’t have access to when she was just starting out as an artist, when tips and opportunities came mostly through word of mouth.\u003c/p>\n\u003ch2>The Impact of Hyperfocus\u003c/h2>\n\u003cp>Grantees like \u003ca href=\"https://arcega.us/section/501274-TNT-Traysikel.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>TNT Traysikel\u003c/i>\u003c/a>, a public artwork and ongoing documentary project by Mike Arcega and Paolo Asuncion, are veterans of the Bay Area nonprofit funding world. But to receive recognition from Balay Kreative, Arcega says, was special. “It’s unusual for a Filipino-centered organization to have funds to give,” he wrote over email. “The community is often starved of resources.”\u003c/p>\n\u003cp>Their spectacularly painted and karaoke-outfitted motorized tricycle, which serves as a vehicle (pun intended) for intergenerational conversations about Filipino American experiences, has been \u003ca href=\"https://www.instagram.com/tnt_traysikel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">stealing the show\u003c/a> at Bay Area arts events for a while now. Soon, it will grace the Asian Art Museum for \u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Carlos Villa: Worlds in Collision\u003c/i>\u003c/a>, a much-anticipated retrospective of the late Filipino American artist’s work.\u003c/p>\n\u003cfigure id=\"attachment_13914001\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg\" alt=\"Three men in and around a brightly painted motorized tricycle\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paolo Asuncion (left) and Mike Arcega (right) with ‘TNT Traysikel’ at the Mini Mural Festival hosted by SOMA Pilipinas at SFMOMA on Aug. 29, 2021. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Balay Kreative grant went towards updating some of the team’s technology. “Since we’re working on a project that is centered in SoMa,” Arcega wrote, “we are able to represent ourselves, the district and our community in a better light.”\u003c/p>\n\u003cp>For Robin Aquilizan of Bayani Art, the impact may be generations in the making. She used her 2020 Balay Kreative grant to support the publication of a \u003ca href=\"https://www.bayaniart.com/shop/book-bundle-1-bayani-childrens-book-series/\" target=\"_blank\" rel=\"noopener noreferrer\">children’s book series\u003c/a> written by Aquilizan and Aaron Jurell Sarmiento and illustrated by Tata Ponsi Alfonso. The first three books tell the stories of Philippine revolutionaries Gabriela Silang, Lapu Lapu and Andrés Bonifacio. “We used to just create art and apparel, wanting to educate people,” Aquilizan says of her family’s decade-old business. “And because the Philippines has been colonized for more than 350 plus years, a lot of our history was erased. So we wanted to expand beyond that and start doing books.”\u003c/p>\n\u003cp>Aquilizan says the books keep selling out, in part because of Balay Kreative’s efforts to promote them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>A ‘Multiplication’ of Artists Supporting Artists\u003c/h2>\n\u003cp>Danganan says he and the Balay Kreative team have learned a lot from their first round of regranting. The 2022 grants will go out to just seven projects, expanding the scope of support. Recipients will receive three months of free studio space in the Mission Street studios or nearby 447 Minna St., and free access to three programming spaces for the presentation of their work. They will again get to be part of the Masterclass sessions. And perhaps most valuably, they will be paired with mentors in their field of practice.\u003c/p>\n\u003cfigure id=\"attachment_13913960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric “EJ” Pena poses for a portrait in his mentor’s space at Balay Kreative on May 20, 2022 in San Francisco. Pena is an aspiring designer and learns from Balay Kreative resident artist, ChiChai Mateo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that’s super unique because a lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts,” Danganan says. “There wasn’t that role model for them to see that art is an option for you as a career.” To watch someone of a similar background following their passion and succeeding, Danganan says, can be transformative.\u003c/p>\n\u003cp>With everyone coming out of the total shutdown of the pandemic at different speeds, it’s especially important to Balay Kreative to provide as much support—in as many different ways—as artists need right now, whether that’s mural-painting opportunities, an outdoor stage, or training to apply for the next grant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while Balay Kreative has made a big impact in a very short while, Danganan believes there’s room for new organizations and new approaches to building cultural hubs. “There was this sentiment before that there shouldn’t be another arts organizer in the community because there is this scarcity mentality,” he says. “But I think we’re all starting to learn that there’s room for everybody, especially if we all specialize in different types of arts and culture and find ways to collaborate and support one another.”\u003c/p>\n\u003cp>“We want our community to think of it like multiplication,” he concludes. “Having more arts isn’t subtraction. It’s multiplication.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple",
"headTitle": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple | KQED",
"content": "\u003cfigure id=\"attachment_13912048\" class=\"wp-caption alignnone\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg\" alt=\"A box of purple ube baked treats from Buko Bakes\" width=\"1258\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-800x717.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-1020x915.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-160x143.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-768x689.jpeg 768w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">A box of assorted ube treats from San Francisco’s Buko Bakes—one of 23 vendors who will be on hand at this year’s Yum Yams festival. \u003ccite>(Buko Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Gemma Ballesteros opened her Filipino bakery \u003ca href=\"https://www.marleystreats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley’s Treats\u003c/a> 11 years ago, she says, her ube-flavored cupcakes weren’t especially popular.\u003c/p>\n\u003cp>Sure, ube was a nostalgic taste for Filipino Americans. But influencers hadn’t yet given the purple sweet potatoes the title of world’s \u003ca href=\"https://www.refinery29.com/en-us/2016/09/123743/ube-instagram\">\u003cspan style=\"font-weight: 400\">most Instagrammable food\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And they certainly hadn’t yet become such a sensation here in Northern California that event planners would be inspired to organize not one, not two, but \u003ci>three\u003c/i> separate ube festivals on consecutive weekends. Literally.\u003c/span>\u003c/p>\n\u003cp>“It just became a craze,” says Ballesteros. It’s not for nothing that the \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">branding for her Hayward bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> leans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">hard\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> into ube’s distinctive bright purple hue, which itself has become a marker of cultural pride and identity for many Bay Area Filipinos.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s against this backdrop that Kapwa Gardens, the SoMa Filipino cultural district’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">\u003cspan style=\"font-weight: 400\">new outdoor event space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hosts the venue’s second annual “celebration of all things ube,” \u003c/span>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, on Saturday, April 23. This year, 23 different vendors will be decked out in their finest bright-purple regalia, spread between Kapwa’s main courtyard and an adjacent alleyway (dubbed “Ube Alley”). In addition to the usual array of halo-halos and ube cookies, doughnuts and ice creams, a number of savory options will be on hand: ube on a hot dog, or as part of the most Filipino American of fusion plates—\u003c/span>\u003ca href=\"https://www.instagram.com/p/COhGFwlD3PR/\">\u003cspan style=\"font-weight: 400\">chicken lumpia with ube waffles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. If you have someone in your life who’d kill for a pair of ube-themed earrings, this is your kind of food festival.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(We might as well go ahead and designate April as National Ube Month while we’re at it: Yum Yams comes on the heels of this past weekend’s equally stacked \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcYUr1OJ1Vk/\">\u003cspan style=\"font-weight: 400\">Ube Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Tracy. And, for the truly dedicated ube superfan, it’ll serve as warm-up for next weekend’s (unrelated) \u003c/span>\u003ca href=\"https://www.eventbrite.com/e/district-six-presents-ube-fest-2022-tickets-293528801547\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at San Francisco’s District Six.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, “flandesals” and ube flan cheesecakes—all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kapwa Gardens general manager Marissa Macayan acknowledges that there’s a certain trendiness to the current ube craze—that the purple tuber is “really in its time right now.” At the same time, she stresses \u003c/span>\u003ca href=\"https://www.kapwagardens.com/blog/more-than-a-trend-the-history-of-ube?mc_cid=9f93382763&mc_eid=UNIQID\">\u003cspan style=\"font-weight: 400\">ube’s cultural significance for Filipinos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across generations. “If you grew up eating halo-halo, you’re going to feel some kind of way when you have your first bite of [an ube dessert],” Macayan says. For her, anything ube-flavored always conjures up memories of having shaved ice with her family during the summertime. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13911775,arts_13906834,arts_13901303']Likewise, Ballesteros of Marley’s Treats says one of her foundational food memories is of eating ube halaya—a sweet jam—spread on toast. “It’s what my grandma gave me for breakfast,” she says. Now, Ballesteros says, her ube-flavored treats are by far the most popular items at the Hayward bakery and its affiliated food truck, which combined sell everything from ube flan cheesecake to ube “flandesal” (an ube-filled version of the sweet roll known as pandesal) to spicy ube ice cream—all on offer at Saturday’s Yum Yams event.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even as popular as ube has gotten in recent years, Ballesteros says she still gets a kick out of the moment when a customer comes into her bakery and, drawn in by the eye-catching purple color, tries an ube-flavored treat for the very first time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a cool way to learn about other cultures—a way to tell a story,” say Kapwa Garden’s Macayan about the Bay Area’s ube renaissance. “For Filipinos, a lot of how we share our culture is through our cuisine.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, April 23, from noon–5 pm. Tickets are $5, which include a $4 voucher that can be used at any vendor. Buying tickets in advance is highly recommended as the event is expected to sell out.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Yum Yams, a celebration of all things ube, splashes down in San Francisco on April 23.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912048\" class=\"wp-caption alignnone\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg\" alt=\"A box of purple ube baked treats from Buko Bakes\" width=\"1258\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-800x717.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-1020x915.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-160x143.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-768x689.jpeg 768w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">A box of assorted ube treats from San Francisco’s Buko Bakes—one of 23 vendors who will be on hand at this year’s Yum Yams festival. \u003ccite>(Buko Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Gemma Ballesteros opened her Filipino bakery \u003ca href=\"https://www.marleystreats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley’s Treats\u003c/a> 11 years ago, she says, her ube-flavored cupcakes weren’t especially popular.\u003c/p>\n\u003cp>Sure, ube was a nostalgic taste for Filipino Americans. But influencers hadn’t yet given the purple sweet potatoes the title of world’s \u003ca href=\"https://www.refinery29.com/en-us/2016/09/123743/ube-instagram\">\u003cspan style=\"font-weight: 400\">most Instagrammable food\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And they certainly hadn’t yet become such a sensation here in Northern California that event planners would be inspired to organize not one, not two, but \u003ci>three\u003c/i> separate ube festivals on consecutive weekends. Literally.\u003c/span>\u003c/p>\n\u003cp>“It just became a craze,” says Ballesteros. It’s not for nothing that the \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">branding for her Hayward bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> leans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">hard\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> into ube’s distinctive bright purple hue, which itself has become a marker of cultural pride and identity for many Bay Area Filipinos.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s against this backdrop that Kapwa Gardens, the SoMa Filipino cultural district’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">\u003cspan style=\"font-weight: 400\">new outdoor event space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hosts the venue’s second annual “celebration of all things ube,” \u003c/span>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, on Saturday, April 23. This year, 23 different vendors will be decked out in their finest bright-purple regalia, spread between Kapwa’s main courtyard and an adjacent alleyway (dubbed “Ube Alley”). In addition to the usual array of halo-halos and ube cookies, doughnuts and ice creams, a number of savory options will be on hand: ube on a hot dog, or as part of the most Filipino American of fusion plates—\u003c/span>\u003ca href=\"https://www.instagram.com/p/COhGFwlD3PR/\">\u003cspan style=\"font-weight: 400\">chicken lumpia with ube waffles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. If you have someone in your life who’d kill for a pair of ube-themed earrings, this is your kind of food festival.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(We might as well go ahead and designate April as National Ube Month while we’re at it: Yum Yams comes on the heels of this past weekend’s equally stacked \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcYUr1OJ1Vk/\">\u003cspan style=\"font-weight: 400\">Ube Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Tracy. And, for the truly dedicated ube superfan, it’ll serve as warm-up for next weekend’s (unrelated) \u003c/span>\u003ca href=\"https://www.eventbrite.com/e/district-six-presents-ube-fest-2022-tickets-293528801547\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at San Francisco’s District Six.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, “flandesals” and ube flan cheesecakes—all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kapwa Gardens general manager Marissa Macayan acknowledges that there’s a certain trendiness to the current ube craze—that the purple tuber is “really in its time right now.” At the same time, she stresses \u003c/span>\u003ca href=\"https://www.kapwagardens.com/blog/more-than-a-trend-the-history-of-ube?mc_cid=9f93382763&mc_eid=UNIQID\">\u003cspan style=\"font-weight: 400\">ube’s cultural significance for Filipinos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across generations. “If you grew up eating halo-halo, you’re going to feel some kind of way when you have your first bite of [an ube dessert],” Macayan says. For her, anything ube-flavored always conjures up memories of having shaved ice with her family during the summertime. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Likewise, Ballesteros of Marley’s Treats says one of her foundational food memories is of eating ube halaya—a sweet jam—spread on toast. “It’s what my grandma gave me for breakfast,” she says. Now, Ballesteros says, her ube-flavored treats are by far the most popular items at the Hayward bakery and its affiliated food truck, which combined sell everything from ube flan cheesecake to ube “flandesal” (an ube-filled version of the sweet roll known as pandesal) to spicy ube ice cream—all on offer at Saturday’s Yum Yams event.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even as popular as ube has gotten in recent years, Ballesteros says she still gets a kick out of the moment when a customer comes into her bakery and, drawn in by the eye-catching purple color, tries an ube-flavored treat for the very first time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a cool way to learn about other cultures—a way to tell a story,” say Kapwa Garden’s Macayan about the Bay Area’s ube renaissance. “For Filipinos, a lot of how we share our culture is through our cuisine.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, April 23, from noon–5 pm. Tickets are $5, which include a $4 voucher that can be used at any vendor. Buying tickets in advance is highly recommended as the event is expected to sell out.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year, SF's Biggest Filipino Night Market Is Bringing the Lechon to the Streets",
"headTitle": "This Year, SF’s Biggest Filipino Night Market Is Bringing the Lechon to the Streets | KQED",
"content": "\u003cp>In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/p>\n\u003cp>Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/p>\n\u003cp>\u003cem>The in-person Undiscovered Culture Crawl will take place on Saturday, Oct. 16 from noon–6pm on \u003ci>Mission Street between 3rd and 7th, San Francisco. Details—including for the virtual events—\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\">here\u003c/a>.\u003c/i>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/p>\n\u003cp>Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/p>\n\u003cp>\u003cem>The in-person Undiscovered Culture Crawl will take place on Saturday, Oct. 16 from noon–6pm on \u003ci>Mission Street between 3rd and 7th, San Francisco. Details—including for the virtual events—\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\">here\u003c/a>.\u003c/i>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Uncle Tito Is a Remix of Filipino Comfort Food—with Hella Bay Area Flavor",
"headTitle": "Uncle Tito Is a Remix of Filipino Comfort Food—with Hella Bay Area Flavor | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]I[/dropcap]n 1993, San Francisco rapper JT the Bigga Figga famously said, “Game recognize game in the Bay, mayne.” And though JT wasn’t talking about Filipino food, the lyricist unknowingly helped to instill the hustle behind \u003c/span>\u003ca href=\"https://www.uncletito.bar/\">\u003cspan style=\"font-weight: 400\">Uncle Tito\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the newest Filipino-American restaurant to open in SoMa’s burgeoning Filipino cultural district.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For owners Joseph Alcasabas, Paolo Dayao and Vincent Dayao, listening to underground rappers like JT and his frequent collaborators, Mob Figaz, provided a necessary blueprint for taking entrepreneurial risks and representing their communities. The two brothers and their childhood friend were raised by immigrant parents in Concord and Pittsburg, and Alcasabas spent his adolescent years in the Philippines. The three grew up thinking of ways to “embrace heritage while pushing the needle forward,” as Alcasabas puts it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eventually, these lifetime homies recognized they had plenty of Pinoy game to share.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether it’s the restaurant’s homemade rendition of Mang Tomas all-purpose sauce (which is deliciously reminiscent of In-N-Out dressing), its bottles of tangy Mango Chili-Mansi juice, or its Pulutan Party baon box stuffed with laing wontons, lechon kawali, garlic adobo butter wings and salt and vinegar shrimp chips, Uncle Tito is going all out with their love for mixing traditional ingredients in untraditional ways to serve a diverse and modern palette of Bay \u003c/span>\u003cspan style=\"font-weight: 400\">Area folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We really just took the Filipino-American concept and ran with it,” Alcasabas says. “It was seamless and easy because we were being authentic.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With social distancing protocols on the verge of easing up, the restaurant will finally open its doors for its first full dine-in experience on June 15.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The trio—consisting of a graphic designer (Alcasabas), a bartender (Paolo), and a chef (Vincent)—created Uncle Tito to be a forward-thinking venue for food and culture that reflects their niche interests. Alcasabas’s art and in-house designs give the restaurant a sophisticated b-boy vibe, while the drinks and culinary concoctions are similar to what you might expect to find at a high-end restaurant, but grounded within the community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898457\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_trio.jpg\" alt=\"Paolo Dayao, Vincent Dayao and Joseph Alcasabas pose in front of a mural inside their restaurant.\" width=\"1242\" height=\"1870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-768x1156.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">From left: Uncle Tito owners Paolo Dayao, Vincent Dayao and Joseph Alcasabas. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though the restaurant is undoubtedly the group’s magnum opus, it isn’t their first attempt in the local food industry. In 2016, Alcasabas and Paolo Dayao started out as a mobile catering service known as STRAIGHT UP, after working as bartenders throughout the Peninsula. Their original idea centered on serving classic alcoholic drinks in rotating spaces, but, as the two friends explain, the business lacked an essential ingredient: a culinary spin on their heritage. It wasn’t until they joined forces with Paolo’s younger brother, Vince, who was the sous chef at Namu Gaji in San Francisco’s Mission District at the time, that the business pivoted towards a more intentional curation of Filipino flavors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eating at Uncle Tito reminds me of what it was like to hang out at your best friend’s house as a kid—after playing a few hours of Nintendo 64 and listening to E-40 on 106 KMEL—before you got to grub at a table full of cool relatives you wanted to hang around because they would pass down knowledge with each inviting bite.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898463\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg\" alt=\"Kalye street fries, topped with onions, pickled jalapeños, pork sisig and Cheese Whiz\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Kalye street fries are a cross between an island-style pork dish and something you might get at an American baseball game. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You might split an order of Kalye street fries—a massive heap of house-cut potatoes piled with Tito’s sauce, caramelized onions, pickled jalapenos, pork sisig and Cheez Whiz. Imagine eating an island-style pork dish, but tossed with the thickly cut wedges you might get at an American baseball game, then topped off with a generous dose of creamy and cheesy goodness stolen from your favorite uncle’s kitchen cabinet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or, you could smash on a baon box, which Alcasabas tells me is a nod to the traditional style of to-go food that Filipino families often give away after large gatherings. Uncle Tito has down-sized the familiar concept into a casual sampler platter that can be shared with a group of friends or on a date night.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For dessert, you can sweeten up with a dish of Milo banana creme and graham cracker-filled lumpia, or—my personal favorite—the cinnamon-sugar pandesal ube buns, which are ordered specially from Valerio’s Tropical Bakeshop, a Filipino chain that the three have frequented since they were kids. The treat is filled with white chocolate ube ganache whose deep, glazed lavender color comes from mashing a purple yam. It reminds me of a Cinnabon from the mall, but stickier and tastier—and handmade by a young, gamed-up Filipino chef with soul.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito’s food is reminiscent of something that came straight from the bold, imaginative mind of a Filipino-American kid who got to pick and choose their favorite flavors to combine once their parents weren’t looking. But there is an unmistakable hint of tradition as well. “It’s comfort food. We’re playing with nostalgia,” Alcasabas says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their “old school meets new age” approach is apparent in everything they do: The laing wontons take the traditional dish of stewed taro leaves and repackage it in a crunchy, salty and buttery wrapper, turning it into a perfect snack after a night out drinking. The Ube Cha-Cha drink—a cereal-infused almond milk—literally tastes like Fruity Pebbles because, well, they put Fruity Pebbles in it. The goal, the partners say, is to not only feed stomachs, but to feed memories, too.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898464\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg\" alt=\"Crispy, triangular-shaped laing wontons on a plate with a side of dipping sauce. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The laing wontons are one of the restaurant’s new-school mash-ups. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13898462\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg\" alt=\"Joseph Alcasabas holds two of Uncle Tito's housemade beverages in his outstretched arm.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Alcasabas shows off two of Uncle Tito’s signature drinks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want our food to be a gateway into learning more about our culture,” Alcasabas says. “For our kids, we want them to eat the kind of foods our parents would make us and ask questions about where it comes from, but present it in a way that is more interesting and familiar to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alcasabas and the Dayao brothers also strive to be intentional about the businesses they choose to collaborate with. It’s about keeping their parents’ culture alive by giving back to those OG influences—like the aforementioned Valerio’s Tropical Bakeshop—while also being a part of a bigger movement for the future of Pinoy cuisine alongside places like \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.loskuyas.com/\">\u003cspan style=\"font-weight: 400\">Los Kuyas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.fobkitchen.com/\">\u003cspan style=\"font-weight: 400\">FOB Kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, whom they credit as being at the forefront of the Bay Area scene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID=arts_13896138,news_11815455,bayareabites_133626 label='More Filipino Eats']The restaurant is part of a \u003c/span>\u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">\u003cspan style=\"font-weight: 400\">growing wave of new Filipino food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that have emerged in the past five years in the Bay Area, where the cuisine has achieved a new level of \u003c/span>\u003ca href=\"https://www.kqed.org/bayareabites/133626/how-has-the-bays-filipino-food-scene-changed-just-ask-daly-citys-chel-gilla\">\u003cspan style=\"font-weight: 400\">mainstream popularity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Uncle Tito is just one of several new restaurants located in SoMa Pilipinas, the city’s five-year-old Filipino Heritage District—a self-described “\u003c/span>\u003ca href=\"https://www.somapilipinas.org/\">\u003cspan style=\"font-weight: 400\">celebration of the love, pride and people power of generations of Filipinos in San Francisco and beyond.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” A recent \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPXQFqgFVlX/\">\u003cspan style=\"font-weight: 400\">Mercedes-Benz commercial\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> even featured Klay Thompson of the Golden State Warriors racing through the streets of San Francisco to snag a Señor Sisig burrito. But the cuisine—and the Filipino-American community it reflects—isn’t a trend. It’s a true staple of our region. And each new purveyor has something dope to offer—from pop-ups to events like the \u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/\">\u003cspan style=\"font-weight: 400\">Undiscovered night market\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which highlights emerging Filipino businesses in the area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito seems to be building on this exposure. The team is also applying its streetwear aesthetic and rap influences—alongside its fresh take on the cuisine—in a way that has major crossover appeal. From their specialty dishes and business label designs to the merchandise they offer, like a ’90s-era snapback cap with a modified Wu Tang Clan logo written in Tagalog, the Uncle Tito crew really does it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Our goal is much bigger than food, because it pertains to preserving what was taught to us and pushing it forward to be taught to the next generation,” Alcasabas says. “There is a bigger mission in what we are doing. We want to leave a legacy and an imprint in our culture as first-generation Filipino Americans in the Bay Area.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It reminds me of how hip hop DJs, especially back in the day, would sample older sounds from soul and funk albums, then scratch them up, repackage them in newly updated formats and spin that noise for an emcee to lace his or her poetry over. \u003c/span>\u003cspan style=\"font-weight: 400\">What Uncle Tito is doing feels just as radically creative to me. \u003c/span>\u003cspan style=\"font-weight: 400\">But instead of taking the sounds of the past, they’ve taken the aromas and textures and flavors of what their moms and uncles cooked up, and they’ve cut and remixed them for us all to nod our heads in unison to.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Uncle Tito is located at 59 9th Street in San Francisco; it’s \u003ca href=\"https://www.uncletito.bar/order\">open for takeout\u003c/a> Thursday through Sunday, 4–8 p.m., with in-person dining set to debut on June 15.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1993, San Francisco rapper JT the Bigga Figga famously said, “Game recognize game in the Bay, mayne.” And though JT wasn’t talking about Filipino food, the lyricist unknowingly helped to instill the hustle behind \u003c/span>\u003ca href=\"https://www.uncletito.bar/\">\u003cspan style=\"font-weight: 400\">Uncle Tito\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the newest Filipino-American restaurant to open in SoMa’s burgeoning Filipino cultural district.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For owners Joseph Alcasabas, Paolo Dayao and Vincent Dayao, listening to underground rappers like JT and his frequent collaborators, Mob Figaz, provided a necessary blueprint for taking entrepreneurial risks and representing their communities. The two brothers and their childhood friend were raised by immigrant parents in Concord and Pittsburg, and Alcasabas spent his adolescent years in the Philippines. The three grew up thinking of ways to “embrace heritage while pushing the needle forward,” as Alcasabas puts it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eventually, these lifetime homies recognized they had plenty of Pinoy game to share.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether it’s the restaurant’s homemade rendition of Mang Tomas all-purpose sauce (which is deliciously reminiscent of In-N-Out dressing), its bottles of tangy Mango Chili-Mansi juice, or its Pulutan Party baon box stuffed with laing wontons, lechon kawali, garlic adobo butter wings and salt and vinegar shrimp chips, Uncle Tito is going all out with their love for mixing traditional ingredients in untraditional ways to serve a diverse and modern palette of Bay \u003c/span>\u003cspan style=\"font-weight: 400\">Area folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We really just took the Filipino-American concept and ran with it,” Alcasabas says. “It was seamless and easy because we were being authentic.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With social distancing protocols on the verge of easing up, the restaurant will finally open its doors for its first full dine-in experience on June 15.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The trio—consisting of a graphic designer (Alcasabas), a bartender (Paolo), and a chef (Vincent)—created Uncle Tito to be a forward-thinking venue for food and culture that reflects their niche interests. Alcasabas’s art and in-house designs give the restaurant a sophisticated b-boy vibe, while the drinks and culinary concoctions are similar to what you might expect to find at a high-end restaurant, but grounded within the community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898457\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_trio.jpg\" alt=\"Paolo Dayao, Vincent Dayao and Joseph Alcasabas pose in front of a mural inside their restaurant.\" width=\"1242\" height=\"1870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-768x1156.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">From left: Uncle Tito owners Paolo Dayao, Vincent Dayao and Joseph Alcasabas. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though the restaurant is undoubtedly the group’s magnum opus, it isn’t their first attempt in the local food industry. In 2016, Alcasabas and Paolo Dayao started out as a mobile catering service known as STRAIGHT UP, after working as bartenders throughout the Peninsula. Their original idea centered on serving classic alcoholic drinks in rotating spaces, but, as the two friends explain, the business lacked an essential ingredient: a culinary spin on their heritage. It wasn’t until they joined forces with Paolo’s younger brother, Vince, who was the sous chef at Namu Gaji in San Francisco’s Mission District at the time, that the business pivoted towards a more intentional curation of Filipino flavors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eating at Uncle Tito reminds me of what it was like to hang out at your best friend’s house as a kid—after playing a few hours of Nintendo 64 and listening to E-40 on 106 KMEL—before you got to grub at a table full of cool relatives you wanted to hang around because they would pass down knowledge with each inviting bite.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898463\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg\" alt=\"Kalye street fries, topped with onions, pickled jalapeños, pork sisig and Cheese Whiz\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Kalye street fries are a cross between an island-style pork dish and something you might get at an American baseball game. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You might split an order of Kalye street fries—a massive heap of house-cut potatoes piled with Tito’s sauce, caramelized onions, pickled jalapenos, pork sisig and Cheez Whiz. Imagine eating an island-style pork dish, but tossed with the thickly cut wedges you might get at an American baseball game, then topped off with a generous dose of creamy and cheesy goodness stolen from your favorite uncle’s kitchen cabinet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or, you could smash on a baon box, which Alcasabas tells me is a nod to the traditional style of to-go food that Filipino families often give away after large gatherings. Uncle Tito has down-sized the familiar concept into a casual sampler platter that can be shared with a group of friends or on a date night.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For dessert, you can sweeten up with a dish of Milo banana creme and graham cracker-filled lumpia, or—my personal favorite—the cinnamon-sugar pandesal ube buns, which are ordered specially from Valerio’s Tropical Bakeshop, a Filipino chain that the three have frequented since they were kids. The treat is filled with white chocolate ube ganache whose deep, glazed lavender color comes from mashing a purple yam. It reminds me of a Cinnabon from the mall, but stickier and tastier—and handmade by a young, gamed-up Filipino chef with soul.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito’s food is reminiscent of something that came straight from the bold, imaginative mind of a Filipino-American kid who got to pick and choose their favorite flavors to combine once their parents weren’t looking. But there is an unmistakable hint of tradition as well. “It’s comfort food. We’re playing with nostalgia,” Alcasabas says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their “old school meets new age” approach is apparent in everything they do: The laing wontons take the traditional dish of stewed taro leaves and repackage it in a crunchy, salty and buttery wrapper, turning it into a perfect snack after a night out drinking. The Ube Cha-Cha drink—a cereal-infused almond milk—literally tastes like Fruity Pebbles because, well, they put Fruity Pebbles in it. The goal, the partners say, is to not only feed stomachs, but to feed memories, too.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898464\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg\" alt=\"Crispy, triangular-shaped laing wontons on a plate with a side of dipping sauce. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The laing wontons are one of the restaurant’s new-school mash-ups. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13898462\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg\" alt=\"Joseph Alcasabas holds two of Uncle Tito's housemade beverages in his outstretched arm.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Alcasabas shows off two of Uncle Tito’s signature drinks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want our food to be a gateway into learning more about our culture,” Alcasabas says. “For our kids, we want them to eat the kind of foods our parents would make us and ask questions about where it comes from, but present it in a way that is more interesting and familiar to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alcasabas and the Dayao brothers also strive to be intentional about the businesses they choose to collaborate with. It’s about keeping their parents’ culture alive by giving back to those OG influences—like the aforementioned Valerio’s Tropical Bakeshop—while also being a part of a bigger movement for the future of Pinoy cuisine alongside places like \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.loskuyas.com/\">\u003cspan style=\"font-weight: 400\">Los Kuyas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.fobkitchen.com/\">\u003cspan style=\"font-weight: 400\">FOB Kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, whom they credit as being at the forefront of the Bay Area scene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The restaurant is part of a \u003c/span>\u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">\u003cspan style=\"font-weight: 400\">growing wave of new Filipino food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that have emerged in the past five years in the Bay Area, where the cuisine has achieved a new level of \u003c/span>\u003ca href=\"https://www.kqed.org/bayareabites/133626/how-has-the-bays-filipino-food-scene-changed-just-ask-daly-citys-chel-gilla\">\u003cspan style=\"font-weight: 400\">mainstream popularity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Uncle Tito is just one of several new restaurants located in SoMa Pilipinas, the city’s five-year-old Filipino Heritage District—a self-described “\u003c/span>\u003ca href=\"https://www.somapilipinas.org/\">\u003cspan style=\"font-weight: 400\">celebration of the love, pride and people power of generations of Filipinos in San Francisco and beyond.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” A recent \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPXQFqgFVlX/\">\u003cspan style=\"font-weight: 400\">Mercedes-Benz commercial\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> even featured Klay Thompson of the Golden State Warriors racing through the streets of San Francisco to snag a Señor Sisig burrito. But the cuisine—and the Filipino-American community it reflects—isn’t a trend. It’s a true staple of our region. And each new purveyor has something dope to offer—from pop-ups to events like the \u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/\">\u003cspan style=\"font-weight: 400\">Undiscovered night market\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which highlights emerging Filipino businesses in the area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito seems to be building on this exposure. The team is also applying its streetwear aesthetic and rap influences—alongside its fresh take on the cuisine—in a way that has major crossover appeal. From their specialty dishes and business label designs to the merchandise they offer, like a ’90s-era snapback cap with a modified Wu Tang Clan logo written in Tagalog, the Uncle Tito crew really does it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Our goal is much bigger than food, because it pertains to preserving what was taught to us and pushing it forward to be taught to the next generation,” Alcasabas says. “There is a bigger mission in what we are doing. We want to leave a legacy and an imprint in our culture as first-generation Filipino Americans in the Bay Area.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It reminds me of how hip hop DJs, especially back in the day, would sample older sounds from soul and funk albums, then scratch them up, repackage them in newly updated formats and spin that noise for an emcee to lace his or her poetry over. \u003c/span>\u003cspan style=\"font-weight: 400\">What Uncle Tito is doing feels just as radically creative to me. \u003c/span>\u003cspan style=\"font-weight: 400\">But instead of taking the sounds of the past, they’ve taken the aromas and textures and flavors of what their moms and uncles cooked up, and they’ve cut and remixed them for us all to nod our heads in unison to.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Uncle Tito is located at 59 9th Street in San Francisco; it’s \u003ca href=\"https://www.uncletito.bar/order\">open for takeout\u003c/a> Thursday through Sunday, 4–8 p.m., with in-person dining set to debut on June 15.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SoMa’s Kapwa Gardens Provides a Lush Space for Community Growth",
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"content": "\u003cp>Hella calamansi trees, a revamped school bus painted with a giant bird’s head and flowing curls of colorful feathers, and turquoise-purple everything—that’s what you’ll find at 967 Mission Street in San Francisco, an old parking lot turned art and wellness pop-up.\u003c/p>\n\u003cp>Since last year, the community has come together every weekend to lay the foundation brick by brick—or in this case, with seeds and paint—to create \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kapwa Gardens\u003c/a>, an 8,777-square-foot lot reimagined by Kultivate Labs, a San Francisco economic development and arts organization, in response to the chaos of pandemic. \u003c/p>\n\u003cp>In hopes of recovering from the mental, physical and economic devastations of COVID-19, \u003ca href=\"https://kultivatelabs.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kultivate Labs\u003c/a> Executive Director Desi Danganan and his team pivoted from their original blueprint, which Danganan describes as a smaller version of the night market \u003ca href=\"https://www.undiscoveredsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Undiscovered SF\u003c/a>, to work with our new normal—one where we’re six feet apart. “Our underlying premise was how can we heal our community from this pandemic,” he says, “and then build space designed that facilitates that as well as programming on top of it.”\u003c/p>\n\u003cfigure id=\"attachment_13895680\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg\" alt=\"\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13895680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-768x509.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kapwa Gardens will host “Test and Stretch” events on the first and third Wednesdays of each month. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With financial recovery in mind, the lot can fit up to three food trucks or vendors, host fitness classes and live performances, exhibit artists’ work and even act as a COVID-19 testing or vaccination site. This allows for a vast multitude of income streams for business owners or artists, all while providing locals with a mini getaway in the heart of SoMa.\u003c/p>\n\u003cp>\u003cem>Kapwa\u003c/em> in Tagalog literally translates to neighbor and is rooted in togetherness. It only makes sense to include this in the project’s name, since it was fully built by volunteers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you were a raver, I would say \u003cem>kapwa\u003c/em> is PLUR—peace, love, unity and respect,” Danganan explains. “It means a lot of things to different people, but in essence, it’s deep empathy. And once you have empathy, you have that inner-connectedness and understand the notion of \u003cem>bayanihan\u003c/em> and collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13895681\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13895681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan at the opening reception for Kapwa Gardens the weekend of April 10, 2021. \u003ccite>(Miguel Carrion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fostering a sense of connectedness within the Filipino diaspora is something Danganan’s been interested in for decades. After high school he had an internship at the Los Angeles nonprofit SIPA (Search To Involve Pilipino Americans), where he was a mentee of the late Dr. Dawn Mabalon. “One of the segments she taught was ‘Why is there no Manilatown [in San Francisco]?’ and it stuck with me,” Danganan says. “Growing up Asian American, there’s Chinatown and Japantown, and like where are we? Why are we so invisible?”\u003c/p>\n\u003cp>From the 1920s to the 1970s, there \u003ci>was\u003c/i> a Manilatown where many Filipinos found solace, a three-block neighborhood by Kearny and Jackson Streets. It was most recognized by its landmark, the \u003ca href=\"https://en.wikipedia.org/wiki/International_Hotel_(San_Francisco)\" rel=\"noopener noreferrer\" target=\"_blank\">International Hotel\u003c/a>. Following evictions in 1977, I-Hotel tenants, who were largely Filipino, became displaced, and the community moved to various neighborhoods—including Excelsior, Daly City and SoMa.\u003c/p>\n\u003cp>It wasn’t until 2016 that San Francisco recognized \u003ca href=\"https://www.somapilipinas.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SOMA Pilipinas\u003c/a> as the city’s Filipino Cultural Heritage District. The designated area includes the \u003ca href=\"https://www.bayanihancc.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bayanihan Community Center\u003c/a>, \u003ca href=\"https://www.bindlestiffstudio.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bindlestiff Studio\u003c/a>—the only black-box theater dedicated to Filipino American artists—and \u003ca href=\"https://www.arkipelagobooks.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Arkipelago Books\u003c/a>. Since then, the development of SOMA Pilipinas has continued to blossom through Undiscovered SF; go-to restaurants like Senor Sisig and OX & Tiger; and despite the pandemic’s efforts to slow the roll, Kapwa Gardens.\u003c/p>\n\u003cfigure id=\"attachment_13895678\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/batista_bus_1200.jpg\" alt=\"\" width=\"1200\" height=\"793\" class=\"size-full wp-image-13895678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted bus divides the space at Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a reflection of our resilience,” Danganan says of the now-lush lot. “Back in the Motherland, we had the Pacific Ring of Fire. Disasters and calamities can happen almost every year, yet our peoples back there, they rebuild, and they move forward. So, during the pandemic while the world contracted, our community remained resilient and kept growing.”\u003c/p>\n\u003cp>Kapwa Gardens doesn’t rock the traditional Philippine flag colors—red, blue and yellow—but symbols of Filipino culture are sprinkled throughout the space. There are calamansi trees donated by a variety of supporters. Once the sweet but sour citrus fruit is ready, they’re free for all guests to collect and enjoy. And there’s a \u003cem>sarimanok\u003c/em>, a legendary bird of Philippine mythology, painted on a school bus by artists \u003ca href=\"https://www.samisee.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sami See\u003c/a> and \u003ca href=\"https://www.kabuay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kristian Kabuay\u003c/a>.\u003c/p>\n\u003cp>The space will open to the public on April 14 and is already set for a variety of outdoor activities and events, including “Test and Stretch,” a coronavirus test and yoga class combo; a plant-based foodie festival called OMG (short for Oh My \u003cem>Gulay\u003c/em>, or vegetables); and Danganan says to expect a daytime collaboration with the SoMa bar Monarch in the future.\u003c/p>\n\u003cfigure id=\"attachment_13895679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg\" alt=\"\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13895679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-768x510.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Discordia Gameshow performs at the opening reception for Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kultivate Labs’ next endeavor, \u003ca href=\"https://www.indiegogo.com/projects/republika-sf-filipino-retail-business-incubator#/\" rel=\"noopener noreferrer\" target=\"_blank\">Republika SF\u003c/a>, is already in the works. Republika SF will be a community cultural center located on the ground floor of the Mission Street Garage. Currently, the space is utilized as artists’ studios and a livestreaming hub where \u003ca href=\"https://balaykreative.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Balay Kreative\u003c/a> streams virtual DJ sets and cooking demos. \u003c/p>\n\u003cp>Between rushing to buy toilet paper and baking more bread, the pandemic brought together locals from all walks of life to build Kapwa Gardens. “It’s a beacon of hope for other communities as well that we can survive this and come out better,” Danganan says. “In the long term, what I’m hoping is that the garden not only grows in the sense of more foliage, but really sets the seeds of developing a new Filipino cultural district.” \u003c/p>\n\u003cp>While SOMA Pilipinas continues to blossom, San Francisco’s \u003cem>bayanihan\u003c/em>—or community spirit—is in full bloom. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kapwa Gardens is open Wednesday—Sunday, 10am–6pm at 967 Mission Street, San Francisco. \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Volunteers helped turn a lot in the SOMA Pilipinas Filipino Heritage District into a space for economic and physical recovery.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hella calamansi trees, a revamped school bus painted with a giant bird’s head and flowing curls of colorful feathers, and turquoise-purple everything—that’s what you’ll find at 967 Mission Street in San Francisco, an old parking lot turned art and wellness pop-up.\u003c/p>\n\u003cp>Since last year, the community has come together every weekend to lay the foundation brick by brick—or in this case, with seeds and paint—to create \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kapwa Gardens\u003c/a>, an 8,777-square-foot lot reimagined by Kultivate Labs, a San Francisco economic development and arts organization, in response to the chaos of pandemic. \u003c/p>\n\u003cp>In hopes of recovering from the mental, physical and economic devastations of COVID-19, \u003ca href=\"https://kultivatelabs.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kultivate Labs\u003c/a> Executive Director Desi Danganan and his team pivoted from their original blueprint, which Danganan describes as a smaller version of the night market \u003ca href=\"https://www.undiscoveredsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Undiscovered SF\u003c/a>, to work with our new normal—one where we’re six feet apart. “Our underlying premise was how can we heal our community from this pandemic,” he says, “and then build space designed that facilitates that as well as programming on top of it.”\u003c/p>\n\u003cfigure id=\"attachment_13895680\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg\" alt=\"\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13895680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-768x509.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kapwa Gardens will host “Test and Stretch” events on the first and third Wednesdays of each month. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With financial recovery in mind, the lot can fit up to three food trucks or vendors, host fitness classes and live performances, exhibit artists’ work and even act as a COVID-19 testing or vaccination site. This allows for a vast multitude of income streams for business owners or artists, all while providing locals with a mini getaway in the heart of SoMa.\u003c/p>\n\u003cp>\u003cem>Kapwa\u003c/em> in Tagalog literally translates to neighbor and is rooted in togetherness. It only makes sense to include this in the project’s name, since it was fully built by volunteers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you were a raver, I would say \u003cem>kapwa\u003c/em> is PLUR—peace, love, unity and respect,” Danganan explains. “It means a lot of things to different people, but in essence, it’s deep empathy. And once you have empathy, you have that inner-connectedness and understand the notion of \u003cem>bayanihan\u003c/em> and collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13895681\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13895681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan at the opening reception for Kapwa Gardens the weekend of April 10, 2021. \u003ccite>(Miguel Carrion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fostering a sense of connectedness within the Filipino diaspora is something Danganan’s been interested in for decades. After high school he had an internship at the Los Angeles nonprofit SIPA (Search To Involve Pilipino Americans), where he was a mentee of the late Dr. Dawn Mabalon. “One of the segments she taught was ‘Why is there no Manilatown [in San Francisco]?’ and it stuck with me,” Danganan says. “Growing up Asian American, there’s Chinatown and Japantown, and like where are we? Why are we so invisible?”\u003c/p>\n\u003cp>From the 1920s to the 1970s, there \u003ci>was\u003c/i> a Manilatown where many Filipinos found solace, a three-block neighborhood by Kearny and Jackson Streets. It was most recognized by its landmark, the \u003ca href=\"https://en.wikipedia.org/wiki/International_Hotel_(San_Francisco)\" rel=\"noopener noreferrer\" target=\"_blank\">International Hotel\u003c/a>. Following evictions in 1977, I-Hotel tenants, who were largely Filipino, became displaced, and the community moved to various neighborhoods—including Excelsior, Daly City and SoMa.\u003c/p>\n\u003cp>It wasn’t until 2016 that San Francisco recognized \u003ca href=\"https://www.somapilipinas.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SOMA Pilipinas\u003c/a> as the city’s Filipino Cultural Heritage District. The designated area includes the \u003ca href=\"https://www.bayanihancc.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bayanihan Community Center\u003c/a>, \u003ca href=\"https://www.bindlestiffstudio.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bindlestiff Studio\u003c/a>—the only black-box theater dedicated to Filipino American artists—and \u003ca href=\"https://www.arkipelagobooks.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Arkipelago Books\u003c/a>. Since then, the development of SOMA Pilipinas has continued to blossom through Undiscovered SF; go-to restaurants like Senor Sisig and OX & Tiger; and despite the pandemic’s efforts to slow the roll, Kapwa Gardens.\u003c/p>\n\u003cfigure id=\"attachment_13895678\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/batista_bus_1200.jpg\" alt=\"\" width=\"1200\" height=\"793\" class=\"size-full wp-image-13895678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted bus divides the space at Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a reflection of our resilience,” Danganan says of the now-lush lot. “Back in the Motherland, we had the Pacific Ring of Fire. Disasters and calamities can happen almost every year, yet our peoples back there, they rebuild, and they move forward. So, during the pandemic while the world contracted, our community remained resilient and kept growing.”\u003c/p>\n\u003cp>Kapwa Gardens doesn’t rock the traditional Philippine flag colors—red, blue and yellow—but symbols of Filipino culture are sprinkled throughout the space. There are calamansi trees donated by a variety of supporters. Once the sweet but sour citrus fruit is ready, they’re free for all guests to collect and enjoy. And there’s a \u003cem>sarimanok\u003c/em>, a legendary bird of Philippine mythology, painted on a school bus by artists \u003ca href=\"https://www.samisee.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sami See\u003c/a> and \u003ca href=\"https://www.kabuay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kristian Kabuay\u003c/a>.\u003c/p>\n\u003cp>The space will open to the public on April 14 and is already set for a variety of outdoor activities and events, including “Test and Stretch,” a coronavirus test and yoga class combo; a plant-based foodie festival called OMG (short for Oh My \u003cem>Gulay\u003c/em>, or vegetables); and Danganan says to expect a daytime collaboration with the SoMa bar Monarch in the future.\u003c/p>\n\u003cfigure id=\"attachment_13895679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg\" alt=\"\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13895679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-768x510.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Discordia Gameshow performs at the opening reception for Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kultivate Labs’ next endeavor, \u003ca href=\"https://www.indiegogo.com/projects/republika-sf-filipino-retail-business-incubator#/\" rel=\"noopener noreferrer\" target=\"_blank\">Republika SF\u003c/a>, is already in the works. Republika SF will be a community cultural center located on the ground floor of the Mission Street Garage. Currently, the space is utilized as artists’ studios and a livestreaming hub where \u003ca href=\"https://balaykreative.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Balay Kreative\u003c/a> streams virtual DJ sets and cooking demos. \u003c/p>\n\u003cp>Between rushing to buy toilet paper and baking more bread, the pandemic brought together locals from all walks of life to build Kapwa Gardens. “It’s a beacon of hope for other communities as well that we can survive this and come out better,” Danganan says. “In the long term, what I’m hoping is that the garden not only grows in the sense of more foliage, but really sets the seeds of developing a new Filipino cultural district.” \u003c/p>\n\u003cp>While SOMA Pilipinas continues to blossom, San Francisco’s \u003cem>bayanihan\u003c/em>—or community spirit—is in full bloom. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kapwa Gardens is open Wednesday—Sunday, 10am–6pm at 967 Mission Street, San Francisco. \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long before SOMA was home to tech companies like Airbnb and Zynga, the neighborhood was a thriving Filipino community, where artists flourished, public-service institutions served and war vets lived.\u003c/p>\n\u003cp>Which makes UNDSCVRD more than just a block party—it’s a historically significant one. The Filipino-focused night market in SOMA returns on Saturday Oct. 19, as friends, family and folks from all around San Francisco (and beyond) celebrate Filipino-American History Month.\u003c/p>\n\u003cp>The UNDSCVRD series of night markets, which has run each month (aside from those in the winter season) since 2017, is a “non-profit venture designed to jump-start economic activity and public awareness of \u003ca href=\"http://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SOMA Pilipinas\u003c/strong>\u003c/a>,” with an overall goal to revitalize the Filipino footprint in SOMA. \u003c/p>\n\u003cp>This month’s market, the last one of 2019, features artists from \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener noreferrer\">A FRISCOPINX CYPHER\u003c/a>, as well as \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> and political hip-hop artist \u003ca href=\"https://beatrockmusic.com/collections/bambu\" target=\"_blank\" rel=\"noopener noreferrer\">Bambu\u003c/a>. Food and vendors are on hand; and if you like hoops, there’s \u003ca href=\"https://www.undscvrdcourt.com/\">a basketball court too.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before SOMA was home to tech companies like Airbnb and Zynga, the neighborhood was a thriving Filipino community, where artists flourished, public-service institutions served and war vets lived.\u003c/p>\n\u003cp>Which makes UNDSCVRD more than just a block party—it’s a historically significant one. The Filipino-focused night market in SOMA returns on Saturday Oct. 19, as friends, family and folks from all around San Francisco (and beyond) celebrate Filipino-American History Month.\u003c/p>\n\u003cp>The UNDSCVRD series of night markets, which has run each month (aside from those in the winter season) since 2017, is a “non-profit venture designed to jump-start economic activity and public awareness of \u003ca href=\"http://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SOMA Pilipinas\u003c/strong>\u003c/a>,” with an overall goal to revitalize the Filipino footprint in SOMA. \u003c/p>\n\u003cp>This month’s market, the last one of 2019, features artists from \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener noreferrer\">A FRISCOPINX CYPHER\u003c/a>, as well as \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> and political hip-hop artist \u003ca href=\"https://beatrockmusic.com/collections/bambu\" target=\"_blank\" rel=\"noopener noreferrer\">Bambu\u003c/a>. Food and vendors are on hand; and if you like hoops, there’s \u003ca href=\"https://www.undscvrdcourt.com/\">a basketball court too.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
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