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"content": "\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ICCD404C_Philadelphia_Rennie_Harris_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Download English transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before \u003cem>Hamilton\u003c/em> and hip-hop theater became mainstream, there was dancer and choreographer Lorenzo “Rennie” Harris, who helped pioneer the artform.\u003c/p>\n\u003cp>In 1992, Harris founded the country’s first and longest running street dance theater company, \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a> (RHPM). As choreographer and artistic director, he’s created celebrated works like “Rome and Jewels,” a recasting of \u003cem>Romeo and Juliet\u003c/em> with rival gangs in his hometown of Philadelphia; “Facing Mekka,” an exploration of the global face of Islam; and “Funkedified,” a tribute to the funk music he came up dancing to in the 1970s.\u003c/p>\n\u003cfigure id=\"attachment_13901908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg\" alt=\"Black and white photo of Rennie Harris captured mid-jump.\" width=\"800\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1020x1306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-768x984.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1199x1536.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer, choreographer, artistic director Rennie Harris. \u003ccite>(Bob Emmott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, funk morphed into hip-hop, and Harris became a well-known popper and danced with the crew The Scanner Boys. He performed on the country’s first hip-hop tour, The Fresh Festival, with Run DMC, Fat Boys, Kurtis Blow, and Whodini. He also hosted the popular TV show \u003cem>One House Street\u003c/em>, which rivaled \u003cem>Club MTV\u003c/em> in ratings.\u003c/p>\n\u003cfigure id=\"attachment_13901906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg\" alt=\"A hip-hop dance and dj crew in the 1980s featuring young male dancers performing on stage while the djs in the back get ready to play a record.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Scanner Boys, featuring Rennie Harris on the top left. \u003ccite>(Courtesy Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of seven kids raised by a single mom in North Philadelphia, Harris bounced around between life at home and the houses of his aunties and family friends. In his early solo work, he references experiences of being molested and growing up under the constant threat of violence. His approach to dance, even when creating work for concert stages, has always been about his own healing—a way for him “to see and feel God,” says Harris. With a through line in his work of spiritual enlightenment, he’s been dubbed the “High Priest of Hip-Hop” by \u003cem>Dance Magazine\u003c/em>, who recognized Harris with a \u003ca href=\"https://www.dancemagazine.com/rennie-harris-2508392306.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Living Legends” award\u003c/a> in 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Audiences and critics weren’t always so accepting, says Harris. In the early days of his company, “You had people picketing, and they would send police to our shows. They’d show up, verbatim, ‘I hear there’s some hip-hop here,’” he says. Officers would arrive prepared to break up fights. Instead, Harris’ stage manager would offer them seats to watch the show. “Their faces were like, ‘What?’ They didn’t get it.”\u003c/p>\n\u003cfigure id=\"attachment_13901916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg\" alt=\"A still from a hip-hop theater production featuring several dancers on a stage of a theater with a big projection screen showing childhood photos of Rennie Harris.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg 1586w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “Funkedified,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy New Victory Theater, powered by New 42)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before long, Harris would become a highly sought-after choreographer and artistic director, and RHPM toured globally after Harris was appointed a cultural ambassador for President Obama’s Dance Motion USA program. “For the first 20 years of the company, people had never seen anything like it—they’ve seen hip-hop in theater, the acrobatic entertainment part of it, but they hadn’t seen street dance used in an expressive way, with a narrative, abstractly,” he says. “We shifted their concept of what hip-hop or street dance was.”\u003c/p>\n\u003cfigure id=\"attachment_13901913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg\" alt=\"A still from a hip-hop theater performance that shows dancers and singers on a stage in front of an actor playing a priest.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1536x877.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “LIFTED,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy Bates Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, San Francisco has proven to be a loyal audience for Harris and RHPM productions, with performances at Stern Grove Festival, the San Francisco International Hip-Hop Festival and YBCA. Bay Area audiences were first introduced to him in 1999 at Theater Artaud with “Rome and Jewels.” The story centers on rival street gangs battling for control of the city, and integrates the East and West Coast hip-hop wars that claimed the lives of Notorious B.I.G. and Tupac Shakur. “The title is a dig at the hip-hop community. ‘Rome’ is short for roaming. ‘Jewels’ is short for jewelry—roaming for jewelry,” says Harris of the show, which is being restaged for the 30th anniversary of RHMP.\u003c/p>\n\u003cp>Harris recites the opening lines, written and performed by dancer Ozzie Jones. “‘BIG and Pac roam for jewels, but don’t we all? / We ain’t nobody until we a mural on somebody’s wall.’ I love that. If you’re really listening to what is being said, it’s prophetic.”\u003c/p>\n\u003cp>In this If Cities Could Dance special release, Harris breaks down five major moments from his life.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>ICYMI, also check out our Philadelphia house dance episode, in which Harris makes a cameo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"headline": "How Hip-Hop Dance Legend Rennie Harris Came to Pioneer Street Dance Theater",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ICCD404C_Philadelphia_Rennie_Harris_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Download English transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before \u003cem>Hamilton\u003c/em> and hip-hop theater became mainstream, there was dancer and choreographer Lorenzo “Rennie” Harris, who helped pioneer the artform.\u003c/p>\n\u003cp>In 1992, Harris founded the country’s first and longest running street dance theater company, \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a> (RHPM). As choreographer and artistic director, he’s created celebrated works like “Rome and Jewels,” a recasting of \u003cem>Romeo and Juliet\u003c/em> with rival gangs in his hometown of Philadelphia; “Facing Mekka,” an exploration of the global face of Islam; and “Funkedified,” a tribute to the funk music he came up dancing to in the 1970s.\u003c/p>\n\u003cfigure id=\"attachment_13901908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg\" alt=\"Black and white photo of Rennie Harris captured mid-jump.\" width=\"800\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1020x1306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-768x984.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1199x1536.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer, choreographer, artistic director Rennie Harris. \u003ccite>(Bob Emmott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, funk morphed into hip-hop, and Harris became a well-known popper and danced with the crew The Scanner Boys. He performed on the country’s first hip-hop tour, The Fresh Festival, with Run DMC, Fat Boys, Kurtis Blow, and Whodini. He also hosted the popular TV show \u003cem>One House Street\u003c/em>, which rivaled \u003cem>Club MTV\u003c/em> in ratings.\u003c/p>\n\u003cfigure id=\"attachment_13901906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg\" alt=\"A hip-hop dance and dj crew in the 1980s featuring young male dancers performing on stage while the djs in the back get ready to play a record.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Scanner Boys, featuring Rennie Harris on the top left. \u003ccite>(Courtesy Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of seven kids raised by a single mom in North Philadelphia, Harris bounced around between life at home and the houses of his aunties and family friends. In his early solo work, he references experiences of being molested and growing up under the constant threat of violence. His approach to dance, even when creating work for concert stages, has always been about his own healing—a way for him “to see and feel God,” says Harris. With a through line in his work of spiritual enlightenment, he’s been dubbed the “High Priest of Hip-Hop” by \u003cem>Dance Magazine\u003c/em>, who recognized Harris with a \u003ca href=\"https://www.dancemagazine.com/rennie-harris-2508392306.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Living Legends” award\u003c/a> in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audiences and critics weren’t always so accepting, says Harris. In the early days of his company, “You had people picketing, and they would send police to our shows. They’d show up, verbatim, ‘I hear there’s some hip-hop here,’” he says. Officers would arrive prepared to break up fights. Instead, Harris’ stage manager would offer them seats to watch the show. “Their faces were like, ‘What?’ They didn’t get it.”\u003c/p>\n\u003cfigure id=\"attachment_13901916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg\" alt=\"A still from a hip-hop theater production featuring several dancers on a stage of a theater with a big projection screen showing childhood photos of Rennie Harris.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg 1586w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “Funkedified,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy New Victory Theater, powered by New 42)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before long, Harris would become a highly sought-after choreographer and artistic director, and RHPM toured globally after Harris was appointed a cultural ambassador for President Obama’s Dance Motion USA program. “For the first 20 years of the company, people had never seen anything like it—they’ve seen hip-hop in theater, the acrobatic entertainment part of it, but they hadn’t seen street dance used in an expressive way, with a narrative, abstractly,” he says. “We shifted their concept of what hip-hop or street dance was.”\u003c/p>\n\u003cfigure id=\"attachment_13901913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg\" alt=\"A still from a hip-hop theater performance that shows dancers and singers on a stage in front of an actor playing a priest.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1536x877.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “LIFTED,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy Bates Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, San Francisco has proven to be a loyal audience for Harris and RHPM productions, with performances at Stern Grove Festival, the San Francisco International Hip-Hop Festival and YBCA. Bay Area audiences were first introduced to him in 1999 at Theater Artaud with “Rome and Jewels.” The story centers on rival street gangs battling for control of the city, and integrates the East and West Coast hip-hop wars that claimed the lives of Notorious B.I.G. and Tupac Shakur. “The title is a dig at the hip-hop community. ‘Rome’ is short for roaming. ‘Jewels’ is short for jewelry—roaming for jewelry,” says Harris of the show, which is being restaged for the 30th anniversary of RHMP.\u003c/p>\n\u003cp>Harris recites the opening lines, written and performed by dancer Ozzie Jones. “‘BIG and Pac roam for jewels, but don’t we all? / We ain’t nobody until we a mural on somebody’s wall.’ I love that. If you’re really listening to what is being said, it’s prophetic.”\u003c/p>\n\u003cp>In this If Cities Could Dance special release, Harris breaks down five major moments from his life.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>ICYMI, also check out our Philadelphia house dance episode, in which Harris makes a cameo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Acknowledging women’s contributions to dance, Oakland’s Traci Bartlow says it best: “We got the funk. We got the bottom. We got the bass.” \u003ca href=\"https://www.youtube.com/user/tracibartlow1\" target=\"_blank\" rel=\"noopener noreferrer\">Bartlow\u003c/a>, a dance historian and OG practitioner of \u003ca href=\"https://www.youtube.com/watch?v=IUdS6kxw2aI\">funk boogaloo\u003c/a> and various Black dances, kicks off our \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> mixtape for Women’s History Month. This special release highlights women movement artists from across the country who are finding their power and asserting their voices through dance. From the girls and women helping revive \u003ca href=\"https://youtu.be/m14kt5Nj9XQ\" target=\"_blank\" rel=\"noopener noreferrer\">Washington, D.C.’s Beat Ya Feet culture\u003c/a> to San Francisco tap dancers creating space for a new Chicana aesthetic, watch how women are breaking barriers in dance and forging paths for future generations to follow. Together, their movement reminds us of what is possible when women, with our multitude of intersectional identities, collectively come together and demand to be seen, respected, and celebrated in our fullness.\u003c/p>\n\u003cp>Watch more remarkable women dancers in this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhC2-wWuqJ2iIjxKo1qW6N0\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Celebrates Women’s History Month playlist\u003c/a> with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003cp>Love what you see here? You’ll want to watch these next:\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\" target=\"_blank\" rel=\"noopener noreferrer\">This SF Dance Crew Channels Chicana Resistance\u003c/a>\u003c/h3>\n\u003cp>The women of La Mezcla call on the histories of tap and son jarocho to create their own rhythmically percussive dance style.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13857351/if-cities-could-dance-miami\" target=\"_blank\" rel=\"noopener noreferrer\">This Miami Dance Theater Company Shapes Feminist Messages into Sensual Moves\u003c/a>\u003c/h3>\n\u003cp>Watch members of the women-centered company dance on the city’s beaches through its art district and night clubs.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miami Dancers Find Empowerment Through Movement\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7a0Z9_TcFeA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/11074567/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene\" target=\"_blank\" rel=\"noopener noreferrer\">How Women Dancers Are Redefining Oakland’s Street Dancing Scene\u003c/a>\u003c/h3>\n\u003cp>Mixing hip-hop moves with breakdancing, house, samba, waacking, ballet, and jazz, the women of Mix’d Ingrdnts started their own dance.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Women Dancers Redefine Oakland's Street Dancing Scene | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/b_qXCcgwAn8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13829674/reclamation-in-detroit-with-dancer-erika-big-red-stowall\" target=\"_blank\" rel=\"noopener noreferrer\">A Detroit Dancer Creates a Gumbo of Movement to Reclaim Her Power and Safety\u003c/a>\u003c/h3>\n\u003cp>Dancer and choreographer Erika “Big Red” Stowall blends African and Caribbean traditions with contemporary and jazz dance to express her femininity, vulnerability, and power, and to reclaim her personal safety.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Detroit Dancer Reclaims Her Power and Safety | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NC77GKkeXhQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet sisters María and Mar Cruz who along with other Afro-Puerto Ricans are bringing back this dance of resistance to the streets of Puerto Rico.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Acknowledging women’s contributions to dance, Oakland’s Traci Bartlow says it best: “We got the funk. We got the bottom. We got the bass.” \u003ca href=\"https://www.youtube.com/user/tracibartlow1\" target=\"_blank\" rel=\"noopener noreferrer\">Bartlow\u003c/a>, a dance historian and OG practitioner of \u003ca href=\"https://www.youtube.com/watch?v=IUdS6kxw2aI\">funk boogaloo\u003c/a> and various Black dances, kicks off our \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> mixtape for Women’s History Month. This special release highlights women movement artists from across the country who are finding their power and asserting their voices through dance. From the girls and women helping revive \u003ca href=\"https://youtu.be/m14kt5Nj9XQ\" target=\"_blank\" rel=\"noopener noreferrer\">Washington, D.C.’s Beat Ya Feet culture\u003c/a> to San Francisco tap dancers creating space for a new Chicana aesthetic, watch how women are breaking barriers in dance and forging paths for future generations to follow. Together, their movement reminds us of what is possible when women, with our multitude of intersectional identities, collectively come together and demand to be seen, respected, and celebrated in our fullness.\u003c/p>\n\u003cp>Watch more remarkable women dancers in this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhC2-wWuqJ2iIjxKo1qW6N0\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Celebrates Women’s History Month playlist\u003c/a> with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003cp>Love what you see here? You’ll want to watch these next:\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\" target=\"_blank\" rel=\"noopener noreferrer\">This SF Dance Crew Channels Chicana Resistance\u003c/a>\u003c/h3>\n\u003cp>The women of La Mezcla call on the histories of tap and son jarocho to create their own rhythmically percussive dance style.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13857351/if-cities-could-dance-miami\" target=\"_blank\" rel=\"noopener noreferrer\">This Miami Dance Theater Company Shapes Feminist Messages into Sensual Moves\u003c/a>\u003c/h3>\n\u003cp>Watch members of the women-centered company dance on the city’s beaches through its art district and night clubs.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miami Dancers Find Empowerment Through Movement\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7a0Z9_TcFeA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/11074567/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene\" target=\"_blank\" rel=\"noopener noreferrer\">How Women Dancers Are Redefining Oakland’s Street Dancing Scene\u003c/a>\u003c/h3>\n\u003cp>Mixing hip-hop moves with breakdancing, house, samba, waacking, ballet, and jazz, the women of Mix’d Ingrdnts started their own dance.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Women Dancers Redefine Oakland's Street Dancing Scene | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/b_qXCcgwAn8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13829674/reclamation-in-detroit-with-dancer-erika-big-red-stowall\" target=\"_blank\" rel=\"noopener noreferrer\">A Detroit Dancer Creates a Gumbo of Movement to Reclaim Her Power and Safety\u003c/a>\u003c/h3>\n\u003cp>Dancer and choreographer Erika “Big Red” Stowall blends African and Caribbean traditions with contemporary and jazz dance to express her femininity, vulnerability, and power, and to reclaim her personal safety.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Detroit Dancer Reclaims Her Power and Safety | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NC77GKkeXhQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet sisters María and Mar Cruz who along with other Afro-Puerto Ricans are bringing back this dance of resistance to the streets of Puerto Rico.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dancing an Indigenous Future: Native American Hip-Hop and Freestyle in Albuquerque",
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"content": "\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD-Albuquerque-304-Content-Description.pdf\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>“Never trust a spiritual leader who cannot dance,” says Randy L. Barton, a.k.a. \u003ca href=\"https://www.instagram.com/randy_boogie/\" target=\"_blank\" rel=\"noopener noreferrer\">Randy Boogie\u003c/a> (Diné), a multidisciplinary artist, dancer, DJ and early figure in the Southwestern hip-hop scene. It’s simultaneously a joke and a serious statement: dance is a time-honored expression of community. And over time, hip-hop has become another reason to gather, the music and dance forms intimately entwined—for performers like \u003ca href=\"https://www.instagram.com/aunsica/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Pesata\u003c/a> and \u003ca href=\"https://www.instagram.com/raven_paven_11/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Raven Bright\u003c/a>—with their Indigenous identity.\u003c/p>\n\u003cp>“There’s all these different styles within this community [of people] who are all expressing their love for hip-hop within the same environment as is in powwow,” says Pesata (Jicarilla Apache), who describes the scene as inter-tribal.\u003c/p>\n\u003cp>The city of Albuquerque, on occupied Tewa lands, figures prominently in creating this inter-tribal dynamic. It’s a place where Indigenous people of different backgrounds—the state is home to 19 Pueblos, three Apache tribes and the Navajo Nation—gather to share their cultures and experiences.\u003c/p>\n\u003cfigure id=\"attachment_13882354\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers Raven Bright and Anne Pesata. Photo by Shaandiin Tome.\u003c/figcaption>\u003c/figure>\n\u003cp>Albuquerque is also where Pesata met Raven Bright (Diné) at \u003ca href=\"https://elreylive.com/event/353463/18th-Annual-Breakin-Hearts-All-Ages-Hip-Hop-Event\">Breakin’ Hearts\u003c/a>, an annual dance battle, their dance partnership later becoming a relationship. Both dancers are shy by nature, but the warmth of Albuquerque’s dance community brought them out of their shells. “I didn’t want to be judged,” says Pesata of her tendency to keep her dancing private. “Learning that other people did the same thing, but in front of others, was shocking to me. To see so many people sharing it and being creative with one another so openly—it was really inspiring.”\u003c/p>\n\u003cp>Their stories start in different places. Pesata, who grew up on the Jicarilla Apache reservation in Dulce, participated in traditional dance ceremonies and powwows from a young age. Hip-hop always spoke to her, she says, in a way pop music never did. “Hip-hop is made by the people, for the people,” she says. “Hip-hop is definitely its own culture and it definitely comes from specific places, inner city experiences. But there’s something about the things that they talk about, the struggles that they go through…being from the rez, I experienced similar things.”\u003c/p>\n\u003cp>Meanwhile, Bright grew up 200 miles away, in the border town of Gallup, and didn’t connect to his Indigenous heritage (his father is Diné, or Navajo, and his mother is white) until later, when he began to spend more time on the Navajo reservation. “There were two separate worlds,” Bright says of Gallup and the reservation, “and being able to be a part of hip-hop culture helped me connect those worlds together.”\u003c/p>\n\u003cfigure id=\"attachment_13882371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dj Randy L. Barton aka Randy Boogie at the Breakin’ Hearts event in Albuquerque. Photo by Austin Madrid. \u003ccite>(Austin Madrid)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randy Boogie is part of Bright’s story—the two met in Gallup when Randy was doing hip-hop workshops with his Indigenous dance crew Foundations of Freedom, which he started in 2002. Bright is part of the crew’s second generation. At gatherings like The Sacred Cypher, an event where ceremony, hip-hop and powwow cultures unite. For Randy, the connections between Indigenous traditions and hip-hop are obvious: “The DJ is the drumming. The emcee is the chanting. The graffiti art is the petroglyphs.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2MuCoT4Zj1UNnbCvUZk20j\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13882355\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome-160x120.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director/DP Shaandiin Tome with dancers Anne Pesata and Raven Bright. Photo by Forrest Goodluck. \u003ccite>(Forrest Goodluck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This expansion on what Indigenous dance is and can be is at the heart of Pesata and Bright’s freestyle movements, which are informed by hip-hop as much as they are by contemporary Indigenous dance. Both are members of \u003ca href=\"https://dancingearth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing Earth\u003c/a>, a dance company founded by Rulan Tangen that brings performers together from many Indigenous communities. \u003ca href=\"https://dancingearth.org/btw-us-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Recent productions\u003c/a> have explored renewable energy and Indigenous ecological knowledge with movements decolonized from Western forms.\u003c/p>\n\u003cp>To Pesata and Bright, the dance style they’ve developed isn’t just about honoring the past, but creating a base for the future, one that doesn’t rely on narrow definitions and stereotypes—for art forms or people. “When I dance I am experiencing the relationship with the music,” Pesata says. “So putting a label and a name on something that’s that personal and that spiritual is kind of a disservice.”\u003c/p>\n\u003cp>In the end, Bright agrees, it’s about finding oneself through movement and music: “When you go out into a circle and move your body, that’s the truest form of yourself that you’re giving off.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of If Cities Could Dance. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD-Albuquerque-304-Content-Description.pdf\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>“Never trust a spiritual leader who cannot dance,” says Randy L. Barton, a.k.a. \u003ca href=\"https://www.instagram.com/randy_boogie/\" target=\"_blank\" rel=\"noopener noreferrer\">Randy Boogie\u003c/a> (Diné), a multidisciplinary artist, dancer, DJ and early figure in the Southwestern hip-hop scene. It’s simultaneously a joke and a serious statement: dance is a time-honored expression of community. And over time, hip-hop has become another reason to gather, the music and dance forms intimately entwined—for performers like \u003ca href=\"https://www.instagram.com/aunsica/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Pesata\u003c/a> and \u003ca href=\"https://www.instagram.com/raven_paven_11/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Raven Bright\u003c/a>—with their Indigenous identity.\u003c/p>\n\u003cp>“There’s all these different styles within this community [of people] who are all expressing their love for hip-hop within the same environment as is in powwow,” says Pesata (Jicarilla Apache), who describes the scene as inter-tribal.\u003c/p>\n\u003cp>The city of Albuquerque, on occupied Tewa lands, figures prominently in creating this inter-tribal dynamic. It’s a place where Indigenous people of different backgrounds—the state is home to 19 Pueblos, three Apache tribes and the Navajo Nation—gather to share their cultures and experiences.\u003c/p>\n\u003cfigure id=\"attachment_13882354\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers Raven Bright and Anne Pesata. Photo by Shaandiin Tome.\u003c/figcaption>\u003c/figure>\n\u003cp>Albuquerque is also where Pesata met Raven Bright (Diné) at \u003ca href=\"https://elreylive.com/event/353463/18th-Annual-Breakin-Hearts-All-Ages-Hip-Hop-Event\">Breakin’ Hearts\u003c/a>, an annual dance battle, their dance partnership later becoming a relationship. Both dancers are shy by nature, but the warmth of Albuquerque’s dance community brought them out of their shells. “I didn’t want to be judged,” says Pesata of her tendency to keep her dancing private. “Learning that other people did the same thing, but in front of others, was shocking to me. To see so many people sharing it and being creative with one another so openly—it was really inspiring.”\u003c/p>\n\u003cp>Their stories start in different places. Pesata, who grew up on the Jicarilla Apache reservation in Dulce, participated in traditional dance ceremonies and powwows from a young age. Hip-hop always spoke to her, she says, in a way pop music never did. “Hip-hop is made by the people, for the people,” she says. “Hip-hop is definitely its own culture and it definitely comes from specific places, inner city experiences. But there’s something about the things that they talk about, the struggles that they go through…being from the rez, I experienced similar things.”\u003c/p>\n\u003cp>Meanwhile, Bright grew up 200 miles away, in the border town of Gallup, and didn’t connect to his Indigenous heritage (his father is Diné, or Navajo, and his mother is white) until later, when he began to spend more time on the Navajo reservation. “There were two separate worlds,” Bright says of Gallup and the reservation, “and being able to be a part of hip-hop culture helped me connect those worlds together.”\u003c/p>\n\u003cfigure id=\"attachment_13882371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dj Randy L. Barton aka Randy Boogie at the Breakin’ Hearts event in Albuquerque. Photo by Austin Madrid. \u003ccite>(Austin Madrid)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randy Boogie is part of Bright’s story—the two met in Gallup when Randy was doing hip-hop workshops with his Indigenous dance crew Foundations of Freedom, which he started in 2002. Bright is part of the crew’s second generation. At gatherings like The Sacred Cypher, an event where ceremony, hip-hop and powwow cultures unite. For Randy, the connections between Indigenous traditions and hip-hop are obvious: “The DJ is the drumming. The emcee is the chanting. The graffiti art is the petroglyphs.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2MuCoT4Zj1UNnbCvUZk20j\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13882355\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome-160x120.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director/DP Shaandiin Tome with dancers Anne Pesata and Raven Bright. Photo by Forrest Goodluck. \u003ccite>(Forrest Goodluck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This expansion on what Indigenous dance is and can be is at the heart of Pesata and Bright’s freestyle movements, which are informed by hip-hop as much as they are by contemporary Indigenous dance. Both are members of \u003ca href=\"https://dancingearth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing Earth\u003c/a>, a dance company founded by Rulan Tangen that brings performers together from many Indigenous communities. \u003ca href=\"https://dancingearth.org/btw-us-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Recent productions\u003c/a> have explored renewable energy and Indigenous ecological knowledge with movements decolonized from Western forms.\u003c/p>\n\u003cp>To Pesata and Bright, the dance style they’ve developed isn’t just about honoring the past, but creating a base for the future, one that doesn’t rely on narrow definitions and stereotypes—for art forms or people. “When I dance I am experiencing the relationship with the music,” Pesata says. “So putting a label and a name on something that’s that personal and that spiritual is kind of a disservice.”\u003c/p>\n\u003cp>In the end, Bright agrees, it’s about finding oneself through movement and music: “When you go out into a circle and move your body, that’s the truest form of yourself that you’re giving off.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of If Cities Could Dance. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "dont-mute-dc-how-go-go-music-inspires-the-beat-ya-feet-dance-movement",
"title": "Don’t Mute DC: How Go-Go Music Inspires the Beat Ya Feet Dance Movement",
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"headTitle": "Don’t Mute DC: How Go-Go Music Inspires the Beat Ya Feet Dance Movement | KQED",
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"content": "\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks.\u003c/em>\u003c/p>\n\u003cp>What’s long been known to Washington, D.C.’s black population is finally official: Go-go is the music of the nation’s capital.\u003c/p>\n\u003cp>The history of go-go—a mixture of relaxed funk, gospel, jazz, call and response, and Afro-Caribbean beats—stretches back into the 1970s and starts with a musician named Chuck Brown, a fixture of the D.C. music scene. Together with his band, the Soul Searchers, he \u003ca href=\"https://open.spotify.com/playlist/7HqQF5qQbxQom1fJez2nbk?si=1is65glyR--6IcRiltXhyQ\" target=\"_blank\" rel=\"noopener noreferrer\">created a type of music\u003c/a> that demands bodily movement.\u003c/p>\n\u003cfigure id=\"attachment_13879728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13879728 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Chuck-Brown-800x534.jpg\" alt=\"A poster of Chuck Brown, the godfather of go-go. (Courtesy of Thomas Sayers Ellis)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of Chuck Brown, the godfather of go-go. (Courtesy of Thomas Sayers Ellis)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, as the go-go the beat got faster and bouncier, a dance evolved alongside it. Today, the style known as Beat Ya Feet is inextricable from the music that drives it. Defined by rapid footwork, the dance was born in southeast Washington, D.C., where Marvin “Slush” Taylor created Beat Ya Feet in the late 1990s.\u003c/p>\n\u003cp>\u003ca href=\"https://crazylegzcardio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John “Crazy Legz” Pearson\u003c/a> first started dancing around the same time. In his Anacostia neighborhood, Beat Ya Feet spilled out of clubs and house parties into the street, set to the music of \u003ca href=\"https://www.youtube.com/channel/UCW3P3CfVcSAqInje4SF1m_A?view_as=subscriber\" target=\"_blank\" rel=\"noopener noreferrer\">TOB\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EkWXjeKBRYM\" target=\"_blank\" rel=\"noopener noreferrer\">Junkyard Band\u003c/a> and \u003ca href=\"https://www.tcbbouncebeatkingz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TCB\u003c/a>. “It was like we represented our neighborhood,” he remembers. “And it motivated me to practice, practice, practice, because I didn’t want to let my people down.”\u003c/p>\n\u003cp>Nothing about Beat Ya Feet is slow or tentative.\u003c/p>\n\u003cp>“Go-go has a lot of different rhythms within the sound,” says dancer Kevin “Noodlez” Davis, one of Legz’s protégés. “You could dance to the rhythm of the rapper or you could dance to the rhythm of the keyboard.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7HqQF5qQbxQom1fJez2nbk\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Acknowledgment of go-go as the city’s official music is also an acknowledgment of D.C.’s rich cultural history as a majority-black city (which, due to demographic changes, is now no longer the case). Much of that culture is rooted in the Shaw district and \u003ca href=\"https://www.dcpolicycenter.org/publications/barry-farm-anacostia-history/\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Farm\u003c/a>, an area of southeast D.C. settled by freed men and women and built from the ground up, with little to no assistance from the city itself. In 1941, the government seized sections of the community’s land to build a public housing development, which in turn became a hub of activism in the decades that followed. In the ’80s, the emerging go-go scene flourished there, and it’s where Slush invented Beat Ya Feet.\u003c/p>\n\u003cfigure id=\"attachment_13879729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-800x659.png\" alt=\"Children at Barry Farms Housing Development in April 1944. Gottscho-Schleisner, Inc., photographer. Photo courtesy of the Library of Congress.\" width=\"800\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-800x659.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-160x132.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-768x633.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-1020x841.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children at Barry Farms Housing Development in April 1944. Gottscho-Schleisner, Inc., photographer. Photo courtesy of the Library of Congress. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Today, only 32 Barry Farm buildings still stand, their future uncertain. The rest were demolished to make way for new development.)\u003c/p>\n\u003cp>With rising unaffordability and gentrification, the city’s black population has increasingly been pushed out of central D.C. and into the suburbs of Maryland and Virginia. Years of cultural displacement and erasure came to a head in April 2019, when the community rallied around an unassuming corner store in D.C.’s Shaw neighborhood. At Central Communications, go-go music played over outdoor speakers every day, as it had since 1995. But the resident of a new luxury condominium in the neighborhood complained about the noise to T-Mobile national headquarters, forcing the store owner to turn his music off. Thousands of D.C. residents filled the streets in protest; #DontMuteDC was the rallying cry.\u003c/p>\n\u003cp>The next generation of Beat Ya Feet dancers is well aware of the legacy they’re upholding and the history of the city they represent. Tierra “Poca” Parham runs \u003ca href=\"https://www.rawelementdance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Raw Element Dance Studio\u003c/a> in Maryland, but she’s deeply tied to D.C.—and Beat Ya Feet moves are the embodiment of that connection. Legz started the Who Got Moves Battle League at the \u003ca href=\"https://www.bgcgw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Boys and Girls Club of Greater Washington\u003c/a>, training the next generation of fast-moving go-go fans.\u003c/p>\n\u003cp>Watch Legz, Noodlez, Poca, Delow, Soul and Litty dance across iconic D.C. locations, including the Lincoln Memorial, Anacostia’s go-go mural (\u003ca href=\"http://muralsdcproject.com/mural/many-voices-many-beats-once-city-updated/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Many Voices, Many Beats, One City\u003c/i>\u003c/a>, painted by Cory L. Stowers), at the corner of Florida Avenue and 7th Street, and in front of the Howard Theatre, at the heart of the city’s Shaw neighborhood. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>From Anacostia’s iconic go-go murals to the historic Howard Theatre, learn about the locations featured in this episode of \u003cem>If Cities Could Dance\u003c/em>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-washington-dc/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks.\u003c/em>\u003c/p>\n\u003cp>What’s long been known to Washington, D.C.’s black population is finally official: Go-go is the music of the nation’s capital.\u003c/p>\n\u003cp>The history of go-go—a mixture of relaxed funk, gospel, jazz, call and response, and Afro-Caribbean beats—stretches back into the 1970s and starts with a musician named Chuck Brown, a fixture of the D.C. music scene. Together with his band, the Soul Searchers, he \u003ca href=\"https://open.spotify.com/playlist/7HqQF5qQbxQom1fJez2nbk?si=1is65glyR--6IcRiltXhyQ\" target=\"_blank\" rel=\"noopener noreferrer\">created a type of music\u003c/a> that demands bodily movement.\u003c/p>\n\u003cfigure id=\"attachment_13879728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13879728 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Chuck-Brown-800x534.jpg\" alt=\"A poster of Chuck Brown, the godfather of go-go. (Courtesy of Thomas Sayers Ellis)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Chuck-Brown.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of Chuck Brown, the godfather of go-go. (Courtesy of Thomas Sayers Ellis)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, as the go-go the beat got faster and bouncier, a dance evolved alongside it. Today, the style known as Beat Ya Feet is inextricable from the music that drives it. Defined by rapid footwork, the dance was born in southeast Washington, D.C., where Marvin “Slush” Taylor created Beat Ya Feet in the late 1990s.\u003c/p>\n\u003cp>\u003ca href=\"https://crazylegzcardio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John “Crazy Legz” Pearson\u003c/a> first started dancing around the same time. In his Anacostia neighborhood, Beat Ya Feet spilled out of clubs and house parties into the street, set to the music of \u003ca href=\"https://www.youtube.com/channel/UCW3P3CfVcSAqInje4SF1m_A?view_as=subscriber\" target=\"_blank\" rel=\"noopener noreferrer\">TOB\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EkWXjeKBRYM\" target=\"_blank\" rel=\"noopener noreferrer\">Junkyard Band\u003c/a> and \u003ca href=\"https://www.tcbbouncebeatkingz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TCB\u003c/a>. “It was like we represented our neighborhood,” he remembers. “And it motivated me to practice, practice, practice, because I didn’t want to let my people down.”\u003c/p>\n\u003cp>Nothing about Beat Ya Feet is slow or tentative.\u003c/p>\n\u003cp>“Go-go has a lot of different rhythms within the sound,” says dancer Kevin “Noodlez” Davis, one of Legz’s protégés. “You could dance to the rhythm of the rapper or you could dance to the rhythm of the keyboard.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7HqQF5qQbxQom1fJez2nbk\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Acknowledgment of go-go as the city’s official music is also an acknowledgment of D.C.’s rich cultural history as a majority-black city (which, due to demographic changes, is now no longer the case). Much of that culture is rooted in the Shaw district and \u003ca href=\"https://www.dcpolicycenter.org/publications/barry-farm-anacostia-history/\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Farm\u003c/a>, an area of southeast D.C. settled by freed men and women and built from the ground up, with little to no assistance from the city itself. In 1941, the government seized sections of the community’s land to build a public housing development, which in turn became a hub of activism in the decades that followed. In the ’80s, the emerging go-go scene flourished there, and it’s where Slush invented Beat Ya Feet.\u003c/p>\n\u003cfigure id=\"attachment_13879729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-800x659.png\" alt=\"Children at Barry Farms Housing Development in April 1944. Gottscho-Schleisner, Inc., photographer. Photo courtesy of the Library of Congress.\" width=\"800\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-800x659.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-160x132.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-768x633.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844-1020x841.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BarryFarm5a19187u-1024x844.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children at Barry Farms Housing Development in April 1944. Gottscho-Schleisner, Inc., photographer. Photo courtesy of the Library of Congress. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Today, only 32 Barry Farm buildings still stand, their future uncertain. The rest were demolished to make way for new development.)\u003c/p>\n\u003cp>With rising unaffordability and gentrification, the city’s black population has increasingly been pushed out of central D.C. and into the suburbs of Maryland and Virginia. Years of cultural displacement and erasure came to a head in April 2019, when the community rallied around an unassuming corner store in D.C.’s Shaw neighborhood. At Central Communications, go-go music played over outdoor speakers every day, as it had since 1995. But the resident of a new luxury condominium in the neighborhood complained about the noise to T-Mobile national headquarters, forcing the store owner to turn his music off. Thousands of D.C. residents filled the streets in protest; #DontMuteDC was the rallying cry.\u003c/p>\n\u003cp>The next generation of Beat Ya Feet dancers is well aware of the legacy they’re upholding and the history of the city they represent. Tierra “Poca” Parham runs \u003ca href=\"https://www.rawelementdance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Raw Element Dance Studio\u003c/a> in Maryland, but she’s deeply tied to D.C.—and Beat Ya Feet moves are the embodiment of that connection. Legz started the Who Got Moves Battle League at the \u003ca href=\"https://www.bgcgw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Boys and Girls Club of Greater Washington\u003c/a>, training the next generation of fast-moving go-go fans.\u003c/p>\n\u003cp>Watch Legz, Noodlez, Poca, Delow, Soul and Litty dance across iconic D.C. locations, including the Lincoln Memorial, Anacostia’s go-go mural (\u003ca href=\"http://muralsdcproject.com/mural/many-voices-many-beats-once-city-updated/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Many Voices, Many Beats, One City\u003c/i>\u003c/a>, painted by Cory L. Stowers), at the corner of Florida Avenue and 7th Street, and in front of the Howard Theatre, at the heart of the city’s Shaw neighborhood. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>From Anacostia’s iconic go-go murals to the historic Howard Theatre, learn about the locations featured in this episode of \u003cem>If Cities Could Dance\u003c/em>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-washington-dc/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>When Angel Alviar-Langley was growing up, she didn’t see many women of color at Seattle dance battles. But on the occasions she witnessed female poppers holding their own, she was in awe. Now, the dancer, who also goes by \u003ca href=\"https://www.moonyeka.com/home\" target=\"_blank\" rel=\"noopener noreferrer\">Moonyeka\u003c/a>, is dedicated to fostering inclusive spaces with projects like \u003ca href=\"https://www.moonyeka.com/lilbrowngirlsclub\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Brown Girls Club\u003c/a>, a movement-based mentorship program she founded for black and brown girls.\u003c/p>\n\u003cp>“I don’t see enough spaces that are intergenerational,” she says. “[I’m] passing on whatever tools I know to other girls of color, other queer people of color.”\u003c/p>\n\u003cp>Moonyeka, who reps South King County, first fell in love with dance at her Filipinx family’s parties, where people of all ages got together to move, eat and sing karaoke. Later she gravitated towards street dance, and eventually found a home in popping—whose organic, expressive feel stood out from the eurocentric styles she studied as a dance major at the University of Washington.\u003c/p>\n\u003cp>Amid the male-dominated battle scene, Moonyeka found community with other like-minded women and LGBTQ+ people. Creating spaces for them to express themselves has become a core part of her practice. In addition to Lil Brown Girls Club, she organizes the \u003ca href=\"https://www.patreon.com/whatspoppinladiez\" target=\"_blank\" rel=\"noopener noreferrer\">‘What’s Poppin Ladiez?!’\u003c/a> street dance convention, as well as Werkshop, a dance, drag and performance open mic for femmes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Moonyeka, dance is a form of community-building and healing. “It’s about finding your own power, and reflecting with each other, and holding each other, and knowing how to witness each other and how to stand in your own power alone or together,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Moonyeka and other Seattle dancers pop, strut and waack at the Seattle Center, across the Jose Rizal Bridge and in the alleyways of the International district. —\u003cem>text by Nastia Voynovskaya\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>When Angel Alviar-Langley was growing up, she didn’t see many women of color at Seattle dance battles. But on the occasions she witnessed female poppers holding their own, she was in awe. Now, the dancer, who also goes by \u003ca href=\"https://www.moonyeka.com/home\" target=\"_blank\" rel=\"noopener noreferrer\">Moonyeka\u003c/a>, is dedicated to fostering inclusive spaces with projects like \u003ca href=\"https://www.moonyeka.com/lilbrowngirlsclub\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Brown Girls Club\u003c/a>, a movement-based mentorship program she founded for black and brown girls.\u003c/p>\n\u003cp>“I don’t see enough spaces that are intergenerational,” she says. “[I’m] passing on whatever tools I know to other girls of color, other queer people of color.”\u003c/p>\n\u003cp>Moonyeka, who reps South King County, first fell in love with dance at her Filipinx family’s parties, where people of all ages got together to move, eat and sing karaoke. Later she gravitated towards street dance, and eventually found a home in popping—whose organic, expressive feel stood out from the eurocentric styles she studied as a dance major at the University of Washington.\u003c/p>\n\u003cp>Amid the male-dominated battle scene, Moonyeka found community with other like-minded women and LGBTQ+ people. Creating spaces for them to express themselves has become a core part of her practice. In addition to Lil Brown Girls Club, she organizes the \u003ca href=\"https://www.patreon.com/whatspoppinladiez\" target=\"_blank\" rel=\"noopener noreferrer\">‘What’s Poppin Ladiez?!’\u003c/a> street dance convention, as well as Werkshop, a dance, drag and performance open mic for femmes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Many often label the rich history of Richmond’s WWII-era days as the city’s long-ago “renaissance.” The population swelled with tens of thousands of shipyard workers—many of them African American—recruited from throughout the United States. Legendary blues clubs proliferated in North Richmond, and the downtown grew.\u003c/p>\n\u003cp>But for the members of the emerging hip-hop dance troupe R.O.O.T.S. (Rising Out of the System) The Movement, Richmond’s heyday isn’t resigned to the history books.\u003c/p>\n\u003cp>There’s beauty within present-day Richmond, R.O.O.T.S. The Movement dancer Deontae Watkins says—a beauty that inspires his movements. “People who came from the South in the 1940s, they came with so much spunk to make these ships for the war,” says fellow dancer Kabreshiona Tiyteea La’Shae Smith. “That just fuels my fire to continue to go hard for our city.”\u003c/p>\n\u003cp>R.O.O.T.S. The Movement members, all born and raised in Richmond, came up through the RYSE Youth Center and the East Bay Center for the Performing Arts, known as “The Center.” For the dance troupe, who perform a mixture of styles influenced by krumping, hip-hop moves, African dance and modern ballet, their approach to collaborative choreography is crucial to their mission. “We like to see everyone shine and grow at the same time,” says Aziza Thomas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "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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"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.",
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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.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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