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The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VqqqaV0Cn3M\u003c/p>\n\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VqqqaV0Cn3M'\n title='//www.youtube.com/embed/VqqqaV0Cn3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "we-are-under-attack-juanita-more-on-trumps-trans-military-ban",
"title": "'We Are Under Attack': Juanita MORE! on Trump's Trans Military Ban",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This is a guest opinion column by Juanita MORE!, a drag performer, chef, writer, activist and a leading voice of the Bay Area’s LGBTQ+ community for nearly 30 years. Learn about her work in KQED Arts’ ‘\u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Changing Face of Drag\u003c/a>‘ series and on her \u003ca href=\"http://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. [contextly_sidebar id=”HM0qBamxJdAeOeYbtcE0lFZtXRbzP0Sc”]\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With this morning’s news that the Supreme Court \u003ca href=\"https://www.npr.org/2019/01/22/687368145/supreme-court-revives-trumps-ban-on-transgender-military-personnel-for-now?utm_source=twitter.com&utm_medium=social&utm_campaign=politics&utm_term=nprnews&utm_content=20190122\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a> President Trump’s ban on transgender service members in the military, one thing is clear: we are still under attack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the trans community has always faced violence—for much longer than the current administration’s re-doubling of efforts to make that violence into law—the rate and magnitude of recent attacks on trans people’s civil rights are unprecedented. The Trump administration has taken quiet steps to dismantle LGBTQ health initiatives by defunding key fields of research, \u003c/span>\u003ca href=\"https://www.washingtonpost.com/national/health-science/cdc-gets-list-of-forbidden-words-fetus-transgender-diversity/2017/12/15/f503837a-e1cf-11e7-89e8-edec16379010_story.html?noredirect=on\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">prohibiting the use of the word “transgender”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in formal studies and \u003c/span>\u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">removing protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for LGBTQ workers and patients. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Trump administration moved to roll back other \u003c/span>\u003ca href=\"https://www.theatlantic.com/politics/archive/2017/06/the-man-behind-trumps-religious-freedom-agenda-for-health-care/528912/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">key Obama-era protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, including the first ever trans-inclusive prohibition on gender discrimination in healthcare. As a result, transgender individuals in many states are now being denied access to transition-related healthcare, excluded from sex-specific programs and left vulnerable to \u003c/span>\u003ca href=\"https://www.nbcnews.com/feature/nbc-out/trump-administration-exacerbating-lgbtq-health-care-discrimination-report-says-n894151\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">other forms of discrimination\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, such as being misgendered or harassed by healthcare providers. [contextly_sidebar id=”MYeg6RrsBZvUJyW7zTKUl5AYfZI3HjpJ”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More attacks on the trans community are underway in the U.S. Department of Health and Human Services Office for Civil Rights, where \u003ca href=\"https://www.glaad.org/tap/roger-severino\" target=\"_blank\" rel=\"noopener noreferrer\">noted anti-LGBTQ bigot\u003c/a> Roger Severino has taken steps to define trans people out of existence. Under Severino’s control, the Department of Health and Human Services circulated \u003c/span>\u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">a memo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> seeking to narrow the definition of gender to explicitly exclude transgender individuals from civil rights protections. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would be truly mind-blowing if these threats weren’t so startlingly methodical and real. But the “why” of it continues to elude. Why should someone’s gender identity disqualify them from basic, fundamental rights? Callous feels too light a label for this cruelty.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13849188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg\" alt=\"Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump's decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump’s decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">During my 30 years as a drag performer in San Francisco, trans people have been an essential part of my community. \u003c/span>\u003cspan style=\"font-weight: 400\">Last year, I chose \u003c/span>\u003ca href=\"https://ourtranstruth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">TRUTH\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (TRans yoUTH), a joint program from the Transgender Law Center and GSA Network, as the beneficiary of my annual Pride event. We raised $70,000 for a \u003c/span>\u003cspan style=\"font-weight: 400\">program that seeks to amplify the voices of trans and gender non-conforming young people by offering a safe place to share struggles, learn empathy and build public understanding.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trans youth have it hard enough, and the fact that they must confront a federal government actively seeking to erase them is devastating\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003cspan style=\"font-weight: 400\"> And the devastation is documented and real. According to the 2015 \u003c/span>\u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">U.S. Transgender Survey\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, 40 percent of trans people have attempted suicide. Seventy-seven percent of trans youth have experienced some form of harassment or discrimination in school—and for 17 percent of those students, the harassment was so severe that they had to transfer or drop out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">TRUTH is allowing trans youth to lead the way to end the isolation and stigma so that these data points can get to zero.\u003c/span>\u003cspan style=\"font-weight: 400\"> Most days, I take solace in their strength and in recognizing that they have the power to change both minds and policies by virtue of their mere existence. Their stories are human stories, and they will be my voice when I can no longer speak.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">“Loads of Love” is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Denouncing this latest attack on our community is imperative, but change won’t come easy, and solidarity is an act beyond using your voice on social media. We need to show up for each other right now, and where it counts: in person and at the ballot. We are being ruled by a system that placates the irrational fears of middle America and the Bible belt.\u003c/span> \u003cspan style=\"font-weight: 400\">If we don’t show up to protect each other, we will be silenced. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is a self-conscious administration, and last I checked, our system still resembles a democracy. In less than two years’ time at the 2020 election, we can send a message that we are watching and listening and won’t stand for it. I am confident that message will be heard, but the statistics leave me with a sickening fear that change can’t come soon enough. [contextly_sidebar id=”OiRgQB53iVJVjbghBGOprT4CCy2d6znF”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the words of \u003ca href=\"https://twitter.com/immissmajor/status/1046144174108508160\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Major\u003c/a>, a veteran of the Stonewall Rebellion, survivor of Attica State Prison, former sex worker, elder and community leader: “After 70 years, I am here to tell you the system has always tried to break us. All we trans girls know we got to depend on each other, and when enough of us bitches come together we can [burn] it down and use the ashes to build the motherf-cking mansions we deserve!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m with you, Miss Major. And I’m with my trans siblings, too. Let’s burn it down and rebuild what we deserve.\u003c/span>\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> This is a guest opinion column by Juanita MORE!, a drag performer, chef, writer, activist and a leading voice of the Bay Area’s LGBTQ+ community for nearly 30 years. Learn about her work in KQED Arts’ ‘\u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Changing Face of Drag\u003c/a>‘ series and on her \u003ca href=\"http://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With this morning’s news that the Supreme Court \u003ca href=\"https://www.npr.org/2019/01/22/687368145/supreme-court-revives-trumps-ban-on-transgender-military-personnel-for-now?utm_source=twitter.com&utm_medium=social&utm_campaign=politics&utm_term=nprnews&utm_content=20190122\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a> President Trump’s ban on transgender service members in the military, one thing is clear: we are still under attack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the trans community has always faced violence—for much longer than the current administration’s re-doubling of efforts to make that violence into law—the rate and magnitude of recent attacks on trans people’s civil rights are unprecedented. The Trump administration has taken quiet steps to dismantle LGBTQ health initiatives by defunding key fields of research, \u003c/span>\u003ca href=\"https://www.washingtonpost.com/national/health-science/cdc-gets-list-of-forbidden-words-fetus-transgender-diversity/2017/12/15/f503837a-e1cf-11e7-89e8-edec16379010_story.html?noredirect=on\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">prohibiting the use of the word “transgender”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in formal studies and \u003c/span>\u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">removing protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for LGBTQ workers and patients. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Trump administration moved to roll back other \u003c/span>\u003ca href=\"https://www.theatlantic.com/politics/archive/2017/06/the-man-behind-trumps-religious-freedom-agenda-for-health-care/528912/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">key Obama-era protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, including the first ever trans-inclusive prohibition on gender discrimination in healthcare. As a result, transgender individuals in many states are now being denied access to transition-related healthcare, excluded from sex-specific programs and left vulnerable to \u003c/span>\u003ca href=\"https://www.nbcnews.com/feature/nbc-out/trump-administration-exacerbating-lgbtq-health-care-discrimination-report-says-n894151\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">other forms of discrimination\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, such as being misgendered or harassed by healthcare providers. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More attacks on the trans community are underway in the U.S. Department of Health and Human Services Office for Civil Rights, where \u003ca href=\"https://www.glaad.org/tap/roger-severino\" target=\"_blank\" rel=\"noopener noreferrer\">noted anti-LGBTQ bigot\u003c/a> Roger Severino has taken steps to define trans people out of existence. Under Severino’s control, the Department of Health and Human Services circulated \u003c/span>\u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">a memo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> seeking to narrow the definition of gender to explicitly exclude transgender individuals from civil rights protections. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would be truly mind-blowing if these threats weren’t so startlingly methodical and real. But the “why” of it continues to elude. Why should someone’s gender identity disqualify them from basic, fundamental rights? Callous feels too light a label for this cruelty.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13849188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg\" alt=\"Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump's decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump’s decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">During my 30 years as a drag performer in San Francisco, trans people have been an essential part of my community. \u003c/span>\u003cspan style=\"font-weight: 400\">Last year, I chose \u003c/span>\u003ca href=\"https://ourtranstruth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">TRUTH\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (TRans yoUTH), a joint program from the Transgender Law Center and GSA Network, as the beneficiary of my annual Pride event. We raised $70,000 for a \u003c/span>\u003cspan style=\"font-weight: 400\">program that seeks to amplify the voices of trans and gender non-conforming young people by offering a safe place to share struggles, learn empathy and build public understanding.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trans youth have it hard enough, and the fact that they must confront a federal government actively seeking to erase them is devastating\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003cspan style=\"font-weight: 400\"> And the devastation is documented and real. According to the 2015 \u003c/span>\u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">U.S. Transgender Survey\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, 40 percent of trans people have attempted suicide. Seventy-seven percent of trans youth have experienced some form of harassment or discrimination in school—and for 17 percent of those students, the harassment was so severe that they had to transfer or drop out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">TRUTH is allowing trans youth to lead the way to end the isolation and stigma so that these data points can get to zero.\u003c/span>\u003cspan style=\"font-weight: 400\"> Most days, I take solace in their strength and in recognizing that they have the power to change both minds and policies by virtue of their mere existence. Their stories are human stories, and they will be my voice when I can no longer speak.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">“Loads of Love” is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Denouncing this latest attack on our community is imperative, but change won’t come easy, and solidarity is an act beyond using your voice on social media. We need to show up for each other right now, and where it counts: in person and at the ballot. We are being ruled by a system that placates the irrational fears of middle America and the Bible belt.\u003c/span> \u003cspan style=\"font-weight: 400\">If we don’t show up to protect each other, we will be silenced. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is a self-conscious administration, and last I checked, our system still resembles a democracy. In less than two years’ time at the 2020 election, we can send a message that we are watching and listening and won’t stand for it. I am confident that message will be heard, but the statistics leave me with a sickening fear that change can’t come soon enough. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the words of \u003ca href=\"https://twitter.com/immissmajor/status/1046144174108508160\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Major\u003c/a>, a veteran of the Stonewall Rebellion, survivor of Attica State Prison, former sex worker, elder and community leader: “After 70 years, I am here to tell you the system has always tried to break us. All we trans girls know we got to depend on each other, and when enough of us bitches come together we can [burn] it down and use the ashes to build the motherf-cking mansions we deserve!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m with you, Miss Major. And I’m with my trans siblings, too. Let’s burn it down and rebuild what we deserve.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "5-two-spirit-heroes-who-paved-the-way-for-todays-native-lgbtq-community",
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"content": "\u003cp>In the 1990s, Indian Country (as we called it) was a very different place for Native Americans. Our rural communities were isolated, with communication limited to landlines and the mail. Cigarette and beer companies frequently sponsored our powwows, recycling was unheard of, and the entire Native scene portrayed itself as very straight. Not straight-\u003cem>laced\u003c/em>, per se, but really hetero.\u003c/p>\n\u003cp>The term “Two Spirit” for LGBTQ+ Native Americans didn’t exist yet, at least not outside Ojibwe Territory. As for the concept—let’s just say that there were plenty of MCs making \u003cem>winkte\u003c/em> (gay) jokes at the powwows I attended in the early ’90s. Still, in spite of prejudice, it was common knowledge that in “the old days,” most of our Nations accepted and honored gender fluidity.\u003c/p>\n\u003cp>I recall one of my elders sharing about a man from home who was \u003cem>that way\u003c/em>. “I don’t like it,” I remember her telling me as she braided me up for one of our dances, “but we love N. and so—not my way, mind you.” I don’t recall the rest of the conversation, but I understood her comments to mean that \u003cem>winkte\u003c/em> was not OK.\u003c/p>\n\u003cp>Fast forward a couple of decades, and \u003cem>wow\u003c/em>.\u003c/p>\n\u003cp>Not only did the Native-American population skyrocket in North America, but we’ve gone through a major shift in how Two Spirits are recognized and treated. Today, dozens of Two Spirit organizations exist across the United States and Canada (North Valley Two Spirits, represent!). We have several of our own powwows, 501c3s and models that help sustain and preserve the Two Spirit way of life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To get a sense of where we are today, let’s take a look back at some of the original Two-Spirit heroes who helped light the way.\u003c/p>\n\u003cp>\u003cem>Please know that gender and pronouns can be fluid in Native America, so this article uses the gender-neutral pronoun “they,” plus male and female pronouns.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13845341\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits.jpg\" alt=\"Osh Tisch and their spouse. \" width=\"446\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits-375x531.jpg 375w\" sizes=\"auto, (max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Osh Tisch and their spouse. \u003ccite>(John H. Fouch Retrieve from Montana: The Magazine of Western History Vol. 44, No. 2 (Spring, 1994), pp. 2-17 (JSTOR))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Osh-Tisch (Apsáalooke or Crow)\u003c/h2>\n\u003cp>Osh-Tisch was a keeper of the Badé tradition—a male-bodied person in the Crow community who lived their daily life in a feminine role. Earning their name “Finds Them And Kills Them” in a fight against the Lakota, Osh-Tisch was a revered member of the tribe who had a lodge, a family and was considered a leader among the Badé. By the 1880s, missionaries began the process of attempting to “whitemanize” the Crow. Obsessed with “The Code of Religious Offenses,” a moral directive that forbade non-Christian spiritual practices, they began persecuting Natives over their dating and marriage traditions, which were often in opposition to the Christian European standard of lifelong heterosexual monogamy. Throughout the 1920s, tribal members who refused to abandon their traditions were penalized or imprisoned and their families’ treaty rations were cut or denied.\u003c/p>\n\u003cp>It wasn’t long before Osh-Tisch and other Two Spirits became a target of the code and were imprisoned. But the Crow chiefs and warriors spoke out in support of Two Spirit values. They pushed hard against U.S. federal agents, ultimately gaining the Badés\u003cem>’\u003c/em> release.\u003c/p>\n\u003cfigure id=\"attachment_13845343\" class=\"wp-caption alignright\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/WeWha_TwoSpirit.gif\" alt=\"We'wha. \" width=\"377\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">We’wha. \u003ccite>(: John K. Hillers, Image Courtesy of: Smithsonian Institute. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>We’wha (Zuni)\u003c/h2>\n\u003cp>A Lhamana (Zuni Two Spirit) from the area that is now New Mexico, We’wha was born a male-bodied person who wore a mix of women’s and men’s clothing. They performed tasks that were typically divided by gender roles, distinguished as both a weaver and potter as well as a hunter and spiritual leader.\u003c/p>\n\u003cp>We’wha spoke English and struck up friendships with white outsiders, including the anthropologist Matilda Coxe Stevenson. They even traveled to Washington, D.C. in 1886 and met President Grover Cleveland. Largely perceived as a cisgender woman, We’wha became the toast of the town on this trip and gained a degree of national celebrity.\u003c/p>\n\u003cp>Things didn’t go as well for the Zuni tribe, however. Similar to the experiences of the Crow, Christian missionaries arrived at Zuni (modern-day New Mexico and Arizona) in 1877, intent on converting the community. The Lhamana were imprisoned and the Zuni fought for their eventual release.\u003c/p>\n\u003cp>After getting out of prison, We’wha walked 40 miles back to the reservation and returned to their former life: leading ceremonies, making pottery, weaving with the women and hunting with the men.\u003c/p>\n\u003cfigure id=\"attachment_13845344\" class=\"wp-caption alignright\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Hastiin_TwoSpirits.jpg\" alt=\"Hastiin Klah.\" width=\"377\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Hastiin_TwoSpirits.jpg 377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Hastiin_TwoSpirits-160x196.jpg 160w\" sizes=\"auto, (max-width: 377px) 100vw, 377px\">\u003cfigcaption class=\"wp-caption-text\">Hastiin Klah. \u003ccite>(T. Harmon Parkhurst, Image Courtesy of Palace of the Governors Photo Archives, New Mexico History Museum, Santa Fe.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hastiin Klah (Diné)\u003c/h2>\n\u003cp>Hastiin Klah was a master sand painter, chanter, weaver and healer. There are four genders in Diné tradition and Klah was considered a Nádleehi (or “one who changes”)—an individual who exhibits the characteristics ascribed to the opposite sex. According to historical sources, Klah is believed to have been intersex.\u003c/p>\n\u003cp>Born in 1867, Klah represented the Bear Mountain area (now Fort Wingate, New Mexico) and was considered exceptional in a multitude of areas. As a youth, Klah had a gift for traditional chants, which often take days to correctly recite. He learned weaving from his mother and sister, and traveled across the U.S. to showcase these skills at the 1893 World’s Columbian Exposition in Chicago.\u003c/p>\n\u003cp>Klah single-handedly saved the Navajo weaving tradition in the face of religious persecution. In 1921, he met heiress Mary Cabot Wheelwright and the two became close friends. Together, they formed the Wheelwright Museum of the American Indian in Santa Fe. Klah was integral in the museum’s design, implementation and curation; he even blessed its grounds. He passed away before the museum opened in 1937.\u003c/p>\n\u003cfigure id=\"attachment_13845345\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits.jpg\" alt=\"Close-up of Lozen and Dahteste with Geronimo and fellow Apache Indian prisoners on their way to Florida by train (1886).\" width=\"288\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits.jpg 288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits-240x187.jpg 240w\" sizes=\"auto, (max-width: 288px) 100vw, 288px\">\u003cfigcaption class=\"wp-caption-text\">Close-up of Lozen and Dahteste with Geronimo and fellow Apache Indian prisoners on their way to Florida by train (1886). \u003ccite>(Image Courtesy of State Archives of Florida, Florida Memory. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lozen and Dahteste (Chiricahua Apache)\u003c/h2>\n\u003cp>For 30 years, the U.S. Army attempted to capture Goyaałé (more widely known as Geronimo), a prominent Apache leader and medicine man. Among his band of warriors, two stand out: Lozen and Dahteste.\u003c/p>\n\u003cp>Lozen was the sister of Geronimo’s right-hand man, Victorio. She was among the fiercest warriors, a medicine woman gifted with powerful visions. Her strength in military strategy became apparent from an early age.\u003c/p>\n\u003cp>After her brother was killed in battle, a distraught Lozen exacted her revenge on the U.S. Army in true warrior fashion: returning to the warpath quickly, purposefully and with deadly results. At least four other Apache women aided Lozen’s campaign against the U.S. Army, but none like Dahteste. Dahteste was a scout, messenger and mediator. She was married and fought alongside her husband, but her “battle buddy,” Lozen, was always nearby.\u003c/p>\n\u003cp>In the 1880s, the U.S. Army negotiated the surrender of Geronimo and his people. Many Apache were sent to Florida and lived out the rest of their days in confinement at Fort Marion. Dahteste spent eight years as a prisoner of war at Fort Marion and 19 years at Fort Sill, Oklahoma. Upon her release, she relocated to Whitetail on the Mescalero Apache Reservation in New Mexico. She owned many sheep (a sign of wealth to many Southwestern tribes) and had a hired man to help keep them. She was often seen riding around the reservation in a pickup, dressed in full regalia. She outplayed everyone in baseball and lived in peace on Mescalero Reservation until her death in 1955.\u003c/p>\n\u003cp>Sadly, her friend and fellow warrior, Lozen, lived out the rest of her life in a very different way. She died of tuberculosis while imprisoned in Alabama, never returning to her homeland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Samuel White Swan-Perkins is a freelance journalist who regularly contributes to The Huffington Post, Native News Online, Powwows.com and other media organizations. He’s a co-founder of the Indigenous Support Collaborative (ISCNC) and owner of White Swan-Perkins Cultural Consulting. Based in Butte County, California, Perkins continues indigenous traditions as a powwow singer and member of the Kiowa Gourd Dance Society.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1990s, Indian Country (as we called it) was a very different place for Native Americans. Our rural communities were isolated, with communication limited to landlines and the mail. Cigarette and beer companies frequently sponsored our powwows, recycling was unheard of, and the entire Native scene portrayed itself as very straight. Not straight-\u003cem>laced\u003c/em>, per se, but really hetero.\u003c/p>\n\u003cp>The term “Two Spirit” for LGBTQ+ Native Americans didn’t exist yet, at least not outside Ojibwe Territory. As for the concept—let’s just say that there were plenty of MCs making \u003cem>winkte\u003c/em> (gay) jokes at the powwows I attended in the early ’90s. Still, in spite of prejudice, it was common knowledge that in “the old days,” most of our Nations accepted and honored gender fluidity.\u003c/p>\n\u003cp>I recall one of my elders sharing about a man from home who was \u003cem>that way\u003c/em>. “I don’t like it,” I remember her telling me as she braided me up for one of our dances, “but we love N. and so—not my way, mind you.” I don’t recall the rest of the conversation, but I understood her comments to mean that \u003cem>winkte\u003c/em> was not OK.\u003c/p>\n\u003cp>Fast forward a couple of decades, and \u003cem>wow\u003c/em>.\u003c/p>\n\u003cp>Not only did the Native-American population skyrocket in North America, but we’ve gone through a major shift in how Two Spirits are recognized and treated. Today, dozens of Two Spirit organizations exist across the United States and Canada (North Valley Two Spirits, represent!). We have several of our own powwows, 501c3s and models that help sustain and preserve the Two Spirit way of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To get a sense of where we are today, let’s take a look back at some of the original Two-Spirit heroes who helped light the way.\u003c/p>\n\u003cp>\u003cem>Please know that gender and pronouns can be fluid in Native America, so this article uses the gender-neutral pronoun “they,” plus male and female pronouns.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13845341\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits.jpg\" alt=\"Osh Tisch and their spouse. \" width=\"446\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/OshTisch_TwoSpirits-375x531.jpg 375w\" sizes=\"auto, (max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Osh Tisch and their spouse. \u003ccite>(John H. Fouch Retrieve from Montana: The Magazine of Western History Vol. 44, No. 2 (Spring, 1994), pp. 2-17 (JSTOR))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Osh-Tisch (Apsáalooke or Crow)\u003c/h2>\n\u003cp>Osh-Tisch was a keeper of the Badé tradition—a male-bodied person in the Crow community who lived their daily life in a feminine role. Earning their name “Finds Them And Kills Them” in a fight against the Lakota, Osh-Tisch was a revered member of the tribe who had a lodge, a family and was considered a leader among the Badé. By the 1880s, missionaries began the process of attempting to “whitemanize” the Crow. Obsessed with “The Code of Religious Offenses,” a moral directive that forbade non-Christian spiritual practices, they began persecuting Natives over their dating and marriage traditions, which were often in opposition to the Christian European standard of lifelong heterosexual monogamy. Throughout the 1920s, tribal members who refused to abandon their traditions were penalized or imprisoned and their families’ treaty rations were cut or denied.\u003c/p>\n\u003cp>It wasn’t long before Osh-Tisch and other Two Spirits became a target of the code and were imprisoned. But the Crow chiefs and warriors spoke out in support of Two Spirit values. They pushed hard against U.S. federal agents, ultimately gaining the Badés\u003cem>’\u003c/em> release.\u003c/p>\n\u003cfigure id=\"attachment_13845343\" class=\"wp-caption alignright\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/WeWha_TwoSpirit.gif\" alt=\"We'wha. \" width=\"377\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">We’wha. \u003ccite>(: John K. Hillers, Image Courtesy of: Smithsonian Institute. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>We’wha (Zuni)\u003c/h2>\n\u003cp>A Lhamana (Zuni Two Spirit) from the area that is now New Mexico, We’wha was born a male-bodied person who wore a mix of women’s and men’s clothing. They performed tasks that were typically divided by gender roles, distinguished as both a weaver and potter as well as a hunter and spiritual leader.\u003c/p>\n\u003cp>We’wha spoke English and struck up friendships with white outsiders, including the anthropologist Matilda Coxe Stevenson. They even traveled to Washington, D.C. in 1886 and met President Grover Cleveland. Largely perceived as a cisgender woman, We’wha became the toast of the town on this trip and gained a degree of national celebrity.\u003c/p>\n\u003cp>Things didn’t go as well for the Zuni tribe, however. Similar to the experiences of the Crow, Christian missionaries arrived at Zuni (modern-day New Mexico and Arizona) in 1877, intent on converting the community. The Lhamana were imprisoned and the Zuni fought for their eventual release.\u003c/p>\n\u003cp>After getting out of prison, We’wha walked 40 miles back to the reservation and returned to their former life: leading ceremonies, making pottery, weaving with the women and hunting with the men.\u003c/p>\n\u003cfigure id=\"attachment_13845344\" class=\"wp-caption alignright\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Hastiin_TwoSpirits.jpg\" alt=\"Hastiin Klah.\" width=\"377\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Hastiin_TwoSpirits.jpg 377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Hastiin_TwoSpirits-160x196.jpg 160w\" sizes=\"auto, (max-width: 377px) 100vw, 377px\">\u003cfigcaption class=\"wp-caption-text\">Hastiin Klah. \u003ccite>(T. Harmon Parkhurst, Image Courtesy of Palace of the Governors Photo Archives, New Mexico History Museum, Santa Fe.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hastiin Klah (Diné)\u003c/h2>\n\u003cp>Hastiin Klah was a master sand painter, chanter, weaver and healer. There are four genders in Diné tradition and Klah was considered a Nádleehi (or “one who changes”)—an individual who exhibits the characteristics ascribed to the opposite sex. According to historical sources, Klah is believed to have been intersex.\u003c/p>\n\u003cp>Born in 1867, Klah represented the Bear Mountain area (now Fort Wingate, New Mexico) and was considered exceptional in a multitude of areas. As a youth, Klah had a gift for traditional chants, which often take days to correctly recite. He learned weaving from his mother and sister, and traveled across the U.S. to showcase these skills at the 1893 World’s Columbian Exposition in Chicago.\u003c/p>\n\u003cp>Klah single-handedly saved the Navajo weaving tradition in the face of religious persecution. In 1921, he met heiress Mary Cabot Wheelwright and the two became close friends. Together, they formed the Wheelwright Museum of the American Indian in Santa Fe. Klah was integral in the museum’s design, implementation and curation; he even blessed its grounds. He passed away before the museum opened in 1937.\u003c/p>\n\u003cfigure id=\"attachment_13845345\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits.jpg\" alt=\"Close-up of Lozen and Dahteste with Geronimo and fellow Apache Indian prisoners on their way to Florida by train (1886).\" width=\"288\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits.jpg 288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Lozen_Dahteste_CloseUp_TwoSpirits-240x187.jpg 240w\" sizes=\"auto, (max-width: 288px) 100vw, 288px\">\u003cfigcaption class=\"wp-caption-text\">Close-up of Lozen and Dahteste with Geronimo and fellow Apache Indian prisoners on their way to Florida by train (1886). \u003ccite>(Image Courtesy of State Archives of Florida, Florida Memory. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lozen and Dahteste (Chiricahua Apache)\u003c/h2>\n\u003cp>For 30 years, the U.S. Army attempted to capture Goyaałé (more widely known as Geronimo), a prominent Apache leader and medicine man. Among his band of warriors, two stand out: Lozen and Dahteste.\u003c/p>\n\u003cp>Lozen was the sister of Geronimo’s right-hand man, Victorio. She was among the fiercest warriors, a medicine woman gifted with powerful visions. Her strength in military strategy became apparent from an early age.\u003c/p>\n\u003cp>After her brother was killed in battle, a distraught Lozen exacted her revenge on the U.S. Army in true warrior fashion: returning to the warpath quickly, purposefully and with deadly results. At least four other Apache women aided Lozen’s campaign against the U.S. Army, but none like Dahteste. Dahteste was a scout, messenger and mediator. She was married and fought alongside her husband, but her “battle buddy,” Lozen, was always nearby.\u003c/p>\n\u003cp>In the 1880s, the U.S. Army negotiated the surrender of Geronimo and his people. Many Apache were sent to Florida and lived out the rest of their days in confinement at Fort Marion. Dahteste spent eight years as a prisoner of war at Fort Marion and 19 years at Fort Sill, Oklahoma. Upon her release, she relocated to Whitetail on the Mescalero Apache Reservation in New Mexico. She owned many sheep (a sign of wealth to many Southwestern tribes) and had a hired man to help keep them. She was often seen riding around the reservation in a pickup, dressed in full regalia. She outplayed everyone in baseball and lived in peace on Mescalero Reservation until her death in 1955.\u003c/p>\n\u003cp>Sadly, her friend and fellow warrior, Lozen, lived out the rest of her life in a very different way. She died of tuberculosis while imprisoned in Alabama, never returning to her homeland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (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>Samuel White Swan-Perkins is a freelance journalist who regularly contributes to The Huffington Post, Native News Online, Powwows.com and other media organizations. He’s a co-founder of the Indigenous Support Collaborative (ISCNC) and owner of White Swan-Perkins Cultural Consulting. Based in Butte County, California, Perkins continues indigenous traditions as a powwow singer and member of the Kiowa Gourd Dance Society.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ah Mer Ah Su's 'Major!' Soundtrack Feeds the Spirit of Trans Resistance",
"headTitle": "Ah Mer Ah Su’s ‘Major!’ Soundtrack Feeds the Spirit of Trans Resistance | KQED",
"content": "\u003cp>Long before Pride became a mainstream celebration, complete with corporate parade floats and drunk straight people, it commemorated a riot where trans women of color put their bodies on the line to stand up against police brutality. Miss Major Griffin-Gracy, an activist who spent much of her life in the Bay Area, participated in the Stonewall uprising of 1969 in New York, when a confrontation between the Stonewall Inn’s LGBTQ patrons and police birthed the modern-day gay rights movement.\u003c/p>\n\u003cp>Unfortunately, the contributions of trans women like Miss Major are often erased from the mainstream LGBTQ narrative. And issues like trans people’s \u003ca href=\"https://www.nytimes.com/2018/10/26/us/transgender-lgbt-rights-trump.html\" target=\"_blank\" rel=\"noopener\">basic civil rights\u003c/a>—which are newly under attack under the current administration—don’t attract the same broad support as more conservative topics like marriage equality. [contextly_sidebar id=”HGDOm78KRfFMAYby7FdmkaED4VvYVipt”]\u003c/p>\n\u003cp>Bay Area filmmaker Annalise Ophelian seeks to set the record straight with her documentary, \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, which chronicles Miss Major’s half-century of activism as well as her important role as an elder in the trans community, where, too often, trans people are ostracized from their biological families—on top of discrimination in jobs, housing and the criminal justice system. At a time when the life expectancy for trans women of color is \u003ca href=\"https://theglowup.theroot.com/thriveover35-we-can-no-longer-accept-the-brief-life-e-1827050053\" target=\"_blank\" rel=\"noopener\">only 35 years old\u003c/a>, mostly due to hate crimes, it’s nothing short of a miracle that Miss Major is still organizing, fighting and providing crucial mentorship to LGBTQ activists at 78 years old.\u003c/p>\n\u003cp>https://vimeo.com/173784139\u003c/p>\n\u003cp>After two successful years on the festival film circuit,\u003cem> Major!\u003c/em> hit Amazon Prime Video earlier this year. A moving, personal look into Miss Major’s life and activism, one of its standout features is its newly released soundtrack by Oakland singer-songwriter Star Amerasu, a.k.a. \u003ca href=\"https://soundcloud.com/staramerasu\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, called \u003ca href=\"https://open.spotify.com/album/3GTBI1WN9YtC94LldfOqTl\" target=\"_blank\" rel=\"noopener\">\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The songs Ah Mer Ah Su created for \u003cem>Major!\u003c/em> cocoon listeners in airy, looped vocal melodies that nourish one’s fighting spirit rather than beating the drums of the revolution. Her tracks, some composed entirely of wordless hums and croons, contain a knowing calm, as if acknowledging the struggle while gathering the strength to keep pushing. [contextly_sidebar id=”3COpZkCrd7qVDYB1V5zNelNUHR1NCDgi”]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so important that this movie happened, because Miss Major is still alive and we’re uplifting her narrative while she’s here and can see her impact,” says Ah Mer Ah Su, who is trans herself. “I felt more in charge of my own destiny after seeing this movie.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12803807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12803807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg\" alt=\"Oakland singer-songwriter Star Amerasu composed the soundtrack for 'Major!'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer-songwriter Star Amerasu composed the soundtrack for ‘Major!’ \u003ccite>(Maria Fernanda Molins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"s1\">Throughout \u003cem>Major!\u003c/em>, music fuses with message in uplifting crescendos. And \u003c/span>though the documentary gets into the harsh realities of survival sex work and incarceration that Miss Major and many of her adopted daughters experienced, it captures so much of the tenderness and joy in their chosen family. “And there was anger / And there was glee / And there was sadness caught in between,” Ah Mer Ah Su sings on the track “7 / 15 / 13.”\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“There’s a trans trauma narrative that has infused documentary film,” says \u003cem>Major!\u003c/em> co-producer and editor StormMiguel Florez. “It was great to break from that to show complexity and joy and full range of human experience.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">One of these joyful moments comes when Miss Major and Janet Mock (the author, \u003cem>Pose\u003c/em> producer and trans activist) grand marshal at the 2014 San Francisco Pride Parade. The scene represents a full-circle moment: Mock, a gorgeous trans celebrity, joins forces with a selfless activist who paved the way for her success. Before Mock takes the stage, Miss Major implores her to remember that the fight is not over, sending her off with a warm embrace. As Mock addresses the crowd with a renewed sense of purpose, Ah Mer Ah Su’s hums propel her speech forward with a gentle pulse. [contextly_sidebar id=”p1IRpBnHkcqW4nHVVzx8PiHWSfmJzl7Z”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“For decades, Miss Major—with little resources, no pay or accolades—has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock says to the Pride crowd. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ah Mer Ah Su says she’s inspired by the ways Miss Major took care of people in her community on a person-to-person level, buying her sisters meals or helping with rent, even during times when she was struggling herself. She spent over a decade with the \u003ca href=\"http://www.tgijp.org/mission-and-staff.html\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for trans and gender non-conforming people in prison. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-800x1038.jpg\" alt=\"A flyer for a trans support group Miss Major hosted in San Francisco in the '90s.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So often, we feel powerless. And to take back your power from those who are trying to take it from you is so inspirational,” Ah Mer Ah Su says. “So much of our community is indebted to these folks who started a movement for liberation. It was trans women opening the door for all of the LGBT community to boldly walk forward.”\u003c/span>\u003c/p>\n\u003cp>\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em> is music you can light candles on your altar or write in your journal to, or just lay in bed and cry for a while. And in the documentary, that’s the vibe Miss Major conveys, too: not only is she an adopted mother to her community of trans and gender non-conforming people, to many, she is the definition of home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She relates, and she understands, and she just accepts,” says Lala Yantes, one of Miss Major’s adopted daughters and a former legal coordinator at TGIJP, in the documentary. “It’s what every family should be. It’s the definition of unconditional love.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Pride became a mainstream celebration, complete with corporate parade floats and drunk straight people, it commemorated a riot where trans women of color put their bodies on the line to stand up against police brutality. Miss Major Griffin-Gracy, an activist who spent much of her life in the Bay Area, participated in the Stonewall uprising of 1969 in New York, when a confrontation between the Stonewall Inn’s LGBTQ patrons and police birthed the modern-day gay rights movement.\u003c/p>\n\u003cp>Unfortunately, the contributions of trans women like Miss Major are often erased from the mainstream LGBTQ narrative. And issues like trans people’s \u003ca href=\"https://www.nytimes.com/2018/10/26/us/transgender-lgbt-rights-trump.html\" target=\"_blank\" rel=\"noopener\">basic civil rights\u003c/a>—which are newly under attack under the current administration—don’t attract the same broad support as more conservative topics like marriage equality. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bay Area filmmaker Annalise Ophelian seeks to set the record straight with her documentary, \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, which chronicles Miss Major’s half-century of activism as well as her important role as an elder in the trans community, where, too often, trans people are ostracized from their biological families—on top of discrimination in jobs, housing and the criminal justice system. At a time when the life expectancy for trans women of color is \u003ca href=\"https://theglowup.theroot.com/thriveover35-we-can-no-longer-accept-the-brief-life-e-1827050053\" target=\"_blank\" rel=\"noopener\">only 35 years old\u003c/a>, mostly due to hate crimes, it’s nothing short of a miracle that Miss Major is still organizing, fighting and providing crucial mentorship to LGBTQ activists at 78 years old.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After two successful years on the festival film circuit,\u003cem> Major!\u003c/em> hit Amazon Prime Video earlier this year. A moving, personal look into Miss Major’s life and activism, one of its standout features is its newly released soundtrack by Oakland singer-songwriter Star Amerasu, a.k.a. \u003ca href=\"https://soundcloud.com/staramerasu\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, called \u003ca href=\"https://open.spotify.com/album/3GTBI1WN9YtC94LldfOqTl\" target=\"_blank\" rel=\"noopener\">\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The songs Ah Mer Ah Su created for \u003cem>Major!\u003c/em> cocoon listeners in airy, looped vocal melodies that nourish one’s fighting spirit rather than beating the drums of the revolution. Her tracks, some composed entirely of wordless hums and croons, contain a knowing calm, as if acknowledging the struggle while gathering the strength to keep pushing. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so important that this movie happened, because Miss Major is still alive and we’re uplifting her narrative while she’s here and can see her impact,” says Ah Mer Ah Su, who is trans herself. “I felt more in charge of my own destiny after seeing this movie.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12803807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12803807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg\" alt=\"Oakland singer-songwriter Star Amerasu composed the soundtrack for 'Major!'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer-songwriter Star Amerasu composed the soundtrack for ‘Major!’ \u003ccite>(Maria Fernanda Molins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"s1\">Throughout \u003cem>Major!\u003c/em>, music fuses with message in uplifting crescendos. And \u003c/span>though the documentary gets into the harsh realities of survival sex work and incarceration that Miss Major and many of her adopted daughters experienced, it captures so much of the tenderness and joy in their chosen family. “And there was anger / And there was glee / And there was sadness caught in between,” Ah Mer Ah Su sings on the track “7 / 15 / 13.”\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“There’s a trans trauma narrative that has infused documentary film,” says \u003cem>Major!\u003c/em> co-producer and editor StormMiguel Florez. “It was great to break from that to show complexity and joy and full range of human experience.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">One of these joyful moments comes when Miss Major and Janet Mock (the author, \u003cem>Pose\u003c/em> producer and trans activist) grand marshal at the 2014 San Francisco Pride Parade. The scene represents a full-circle moment: Mock, a gorgeous trans celebrity, joins forces with a selfless activist who paved the way for her success. Before Mock takes the stage, Miss Major implores her to remember that the fight is not over, sending her off with a warm embrace. As Mock addresses the crowd with a renewed sense of purpose, Ah Mer Ah Su’s hums propel her speech forward with a gentle pulse. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“For decades, Miss Major—with little resources, no pay or accolades—has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock says to the Pride crowd. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ah Mer Ah Su says she’s inspired by the ways Miss Major took care of people in her community on a person-to-person level, buying her sisters meals or helping with rent, even during times when she was struggling herself. She spent over a decade with the \u003ca href=\"http://www.tgijp.org/mission-and-staff.html\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for trans and gender non-conforming people in prison. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-800x1038.jpg\" alt=\"A flyer for a trans support group Miss Major hosted in San Francisco in the '90s.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So often, we feel powerless. And to take back your power from those who are trying to take it from you is so inspirational,” Ah Mer Ah Su says. “So much of our community is indebted to these folks who started a movement for liberation. It was trans women opening the door for all of the LGBT community to boldly walk forward.”\u003c/span>\u003c/p>\n\u003cp>\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em> is music you can light candles on your altar or write in your journal to, or just lay in bed and cry for a while. And in the documentary, that’s the vibe Miss Major conveys, too: not only is she an adopted mother to her community of trans and gender non-conforming people, to many, she is the definition of home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She relates, and she understands, and she just accepts,” says Lala Yantes, one of Miss Major’s adopted daughters and a former legal coordinator at TGIJP, in the documentary. “It’s what every family should be. It’s the definition of unconditional love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sean Dorsey on the Reinvention of Masculinity in 'BOYS IN TROUBLE'",
"headTitle": "Sean Dorsey on the Reinvention of Masculinity in ‘BOYS IN TROUBLE’ | KQED",
"content": "\u003cp>Watching excerpts from Sean Dorsey’s latest evening-length work, titled \u003ca href=\"http://freshmeatproductions.org/boys-in-trouble-world-premiere/\" target=\"_blank\" rel=\"noopener\">\u003cem>BOYS IN TROUBLE\u003c/em>\u003c/a>, I was reminded of the Japanese art of \u003ca href=\"http://theconversation.com/kintsugi-and-the-art-of-ceramic-maintenance-64223\" target=\"_blank\" rel=\"noopener\">\u003cem>kintsugi\u003c/em>\u003c/a> in which fragments of broken ceramics are welded together, with seams of gold accentuating the historic cracks.\u003c/p>\n\u003cp>In \u003cem>BOYS\u003c/em>, activist dance-maker Dorsey explodes tropes of masculinity to refashion them with embedded shards from the wide spectrum of gender expression, welded with rivulets of modern dance. He and his tight-knit company of four men deploy spoken word, physical comedy, and a lush, expansive dance vocabulary to tell deeply personal stories likely to strike a chord regardless of one’s own gender leanings. From the poignant tale of a young boy’s shame to a riotous allegory involving those super-absorbent polymer capsules that, when dropped into water, expand into toy dinosaurs, Dorsey’s wicked wit and generous spirit expose the sometimes absurd contortions we put ourselves through when we construct identity.\u003c/p>\n\u003cp>I attended the performance of an extract of the work at \u003ca href=\"http://ballettothepeople.com/2018/04/04/a-heady-evening-with-rawdance-and-friends-at-concept-series-22/\" target=\"_blank\" rel=\"noopener\">RAWdance’s CONCEPT:22 program\u003c/a> on March 30, then slipped into a rehearsal a few days later. I caught up with Dorsey at Café La Boheme in the Mission, curious to learn about his own journey through the dance world, and about the way he shaped this ambitious piece — which, after it premieres in San Francisco on April 19–21, goes on the road to 20 cities around the United States.\u003c/p>\n\u003cfigure id=\"attachment_13829024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-800x600.jpg\" alt=\"Sean Dorsey Dance in BOYS IN TROUBLE. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13829024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance in BOYS IN TROUBLE. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What you’re doing seems so topical right now. The toxic political environment has permeated the dance world – as evidenced by, for example, the controversy around the \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">Ballets Trockadero\u003c/a>, and the \u003ca href=\"http://atlantablackstar.com/2018/03/29/misty-copeland-gives-hater-classy-response-didnt-deserve/\" target=\"_blank\" rel=\"noopener\">vilification of Misty Copeland \u003c/a>by ballet right-wingers.\u003c/strong>\u003c/p>\n\u003cp>Toxic masculinity, racism and transphobia are nothing new, but there are certainly more widespread cultural conversations around these things right now. Our show is part of that urgent conversation. There is a continued firestorm of racism and transphobia in this country… And yet there are so many of us who are fighting against harmful constructs like masculinity, femininity, whiteness, “race,” and the gender binary itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What inspired the script for BOYS IN TROUBLE?\u003c/strong>\u003c/p>\n\u003cp>I wrote the script after a two-year research process. The script and dialogue are based on my community research, and on the conversations we had in the studio – along with writing exercises about masculinity, gender, white supremacy and racism [two of Dorsey’s dancers are black].\u003c/p>\n\u003cp>At the beginning of the project I didn’t have a predetermined idea of exactly what themes I wanted to unpack or what the show’s sections would look like. In the end, they were driven by all these conversations and self-expression workshops I led with all kinds of folks on the masculine spectrum. That really revealed what people were feeling, what themes were very charged for them, either because it was a source of pain or trauma, liberation, or joy. That then drove me to investigate certain themes with my dancers in the studio and drove my own creative writing.\u003c/p>\n\u003cp>And then working with the composers and musicians, I didn’t just say to them, “I’ll talk to you in six months” and then, “give me what you’ve got.” We were in frequent conversation about the emotional direction of each section.\u003c/p>\n\u003cfigure id=\"attachment_13829034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-800x600.jpg\" alt=\"Sean Dorsey Dance in BOYS IN TROUBLE.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13829034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance in BOYS IN TROUBLE. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You performed the ‘Butch’ section as a work in progress last year. With a group of dancers across the queer spectrum, how does the concept of ‘butch’ relate to each of you?\u003c/strong>\u003c/p>\n\u003cp>It’s about gendered expectations. That applies to non-trans and cisgender straight guys who always have to be “capable,” can’t hesitate, can’t not know something. It’s also true that, within gay and queer cisgender men’s communities, more effeminate and femme expressions are judged as lower on the hierarchy than butch. The same thing applies to trans guys – all of us are measured according to how well we align with the patriarchy.\u003c/p>\n\u003cp>Above all, as a trans person, I’m supposed to be consistent in my gender expression… like, from birth to today. There’s this band of appropriate gender expression for trans guys and it has to be consistent with what you articulate as your early life story. So in the ‘Butch’ section, that’s where I talk about how I totally loved my Barbies, how I loved playing with make-up as a kid. I don’t buy into the “I played with G.I. Joe and that’s how I knew I was trans” thing.\u003c/p>\n\u003cfigure id=\"attachment_13829025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-800x844.jpg\" alt=\"Will Woodward and ArVejon James in BOYS IN TROUBLE.\" width=\"800\" height=\"844\" class=\"size-medium wp-image-13829025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-800x844.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-160x169.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-768x810.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-1020x1076.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-1180x1245.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-960x1013.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-240x253.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-375x396.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-520x549.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller.jpg 1419w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Woodward and ArVejon James in BOYS IN TROUBLE. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dancer ArVejon Jones has a striking recorded monologue in the ‘Sweet Time’ duet. In it, he says “I love how our mothers and our grandmothers and our aunties are present in us … Even if it’s not our own aunts and grandmothers and mothers specifically, it is black women that is present in queer black men.” What was the genesis of that?\u003c/strong>\u003c/p>\n\u003cp>After the election, we were talking a lot about racism and white supremacy, and AJ had said one day in rehearsal that whenever he walks into a room – regardless of his sexual orientation, what he’s wearing, what he does for a living – he’s always seen as black first. I asked him to talk more about that, and I also asked, “what is the difference for you when you are with another black queer man in terms of how you inhabit your body, how it is for you to be in the world?” And he just spoke this spontaneous love letter to black queer men. The sound recorder was rolling, and that’s the soundscore behind that duet!\u003c/p>\n\u003cp>\u003cstrong>In your research travels, did anything unexpected come up?\u003c/strong>\u003c/p>\n\u003cp>I was so focused on emotionally showing up for the participants I was working with – being prepared, really holding space and being supportive of them – but had not planned for the fact that I was personally going to have such beautiful and intense personal experiences myself, of having a lot of things said in the room or expressed that I could really identify with personally, or felt mirrored in. This was huge for me, especially because my last three full-evening projects have been so focused on holding \u003cem>other\u003c/em> people, holding \u003cem>history\u003c/em>, holding \u003cem>community\u003c/em>. \u003ca href=\"http://freshmeatproductions.org/missing-generation-2/\" target=\"_blank\" rel=\"noopener\">The last show\u003c/a> arose after I recorded oral history interviews with trans and queer longtime survivors of the AIDS epidemic, so I was focused on being there for people, lifting them up.\u003c/p>\n\u003cp>This time around, I had forgotten to factor into the equation how would it be for me, as a trans person, to be part of these conversations with peers. Because up to now in the dance field, I’ve never had peers; I’ve never had a single person older than me who is a choreographic or modern dance mentor and who’s trans. Only in the last two to three years have I met a professional modern dancer who’s on the trans spectrum. Before that, I was teaching trans students who were emerging, or who were having their first ever supportive dance class. But I couldn’t have held an audition for trans dancers before today. I’ve been really alone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7acVWUsJzbg\u003c/p>\n\u003cp>\u003cstrong>What is your background as a dancer?\u003c/strong>\u003c/p>\n\u003cp>Unlike most dancers, I did not grow up at the ballet barre nor went to a conservatory in my youth. I did a lot of straight-up theater, music, and writing as a child, and I danced around my living room. I did one ballet class when I was five, one jazz workshop when I was a senior in high school. Carol Burnett and Michael Jackson were my heroes, so it was basically comedy and dancing. Now, looking back, it was very unconscious but I never saw anyone like me in the entire dance world. I couldn’t picture myself there. My whole identity was really as an activist. Social justice was my calling – I cared about the world, and thought I couldn’t be an artist and do my activism. Because I had no model for that, really.\u003c/p>\n\u003cp>It wasn’t ’til I was an undergraduate doing my double major in political science and women’s studies at University of British Columbia in Vancouver that I started taking community-level modern dance classes, and went to my first real ballet class.\u003c/p>\n\u003cp>Long story short: that ballet teacher took me aside after class one day and said, “you should be a professional dancer.” First of all, I’m 24, and second of all, I’m me (trans). But I decided to take a year off from school – I was in graduate school at that point – did some auditions, went into full-time dance school for two years. Never did go back to grad school. I danced for some small companies in Vancouver, and started making work as a student. Remember, I grew up in Canada, didn’t know about dance-makers like Bill T. Jones or Joe Goode, so I hadn’t seen story and text in dance, but I was really interested in doing that.\u003c/p>\n\u003cp>My first piece of student work was queer and had text – it was just a little student piece, but the whole dance community came out to the recital, people were very positive and said things like “we’re so excited by your emerging artistic voice.” The next day, the director of the school called me into her office and said, “Your piece made me very uncomfortable.” Queer content was not okay by her. She withheld my graduation diploma at the end of my program.\u003c/p>\n\u003cfigure id=\"attachment_13829028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-800x1124.jpg\" alt=\"Sean Dorsey.\" width=\"800\" height=\"1124\" class=\"size-medium wp-image-13829028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-800x1124.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-768x1079.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-1020x1433.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-1180x1658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-960x1348.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-240x337.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-375x527.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-520x730.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller.jpg 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Had you transitioned by that time?\u003c/strong>\u003c/p>\n\u003cp>I was out and queer and trans but I didn’t take hormones until I was living here in San Francisco and already dancing professionally. I was out as trans for 10 years before I chose to take hormones or have top surgery.\u003c/p>\n\u003cp>I came to visit San Francisco in 2000 for two weeks, fell in love with the city, was taking class every day, took class with Lizz Roman, and I was, like, “What is this upside-down dance magic y’all are doing?” I told her “I loved your class, I’d love to come and study with you one day.” She said, “You’re a gorgeous dancer, why don’t you join my company?” That’s when I moved to San Francisco. I danced with Lizz Roman and Dancers doing daredevil hanging off of buildings for about six years. It was so great; Lizz is amazing and is like family. And I just kept making work here. In 2002, we put on what we thought would be this one-time Fresh Meat Festival of trans and queer performance. But the response was so astronomical that today, 17 years later, \u003ca href=\"http://freshmeatproductions.org\" target=\"_blank\" rel=\"noopener\">Fresh Meat Productions\u003c/a> is a thriving midsize non-profit.\u003c/p>\n\u003cfigure id=\"attachment_13829029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-800x532.jpg\" alt=\"Sean Dorsey.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13829029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you look for in your dancers?\u003c/strong>\u003c/p>\n\u003cp>I don’t hold auditions – I’m looking very specifically for someone who, besides being a gorgeous dancer, is very present in their body, their spine, and in their eyes; someone who can be totally theatrically present in their dancing, and then deliver dialogue as well as over-the-top humor.\u003c/p>\n\u003cp>All of my dancers have worked with me for years. Brian Fisher, who was a principal dancer at ODC, has been dancing with me since 2007. Nol Simonse since 2008. Juan De La Rosa danced with me for seven years then moved to New York. ArVejon Jones joined the family for \u003cem>The Missing Generation\u003c/em>, so this is his fourth season. And this is Will Woodward’s second season.\u003c/p>\n\u003cp>There is definitely a very deep family bond in the company, a deep level of trust. I’m not, like, smoking a cigarette in the corner dictating to my dancers what to do. We all generate emotional information from our bodies and our lives; we work together in communities, in workshops, and we go to a lot of vulnerable places, whether it’s purely dance-wise, or performance-wise or emotionally. Everyone generates movement, gesture, partnering. I give everyone movement tasks and build from that. I work with exceptional humans who are deeply good-hearted and generous people, who have no ego getting in the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘BOYS IN TROUBLE’ premieres April 19–21 at Z Space in San Francisco. \u003ca href=\"http://seandorseydance.com/boys-in-trouble-world-premiere/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The trans dancemaker talks about his latest work before it heads out on a 20-city U.S. tour.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watching excerpts from Sean Dorsey’s latest evening-length work, titled \u003ca href=\"http://freshmeatproductions.org/boys-in-trouble-world-premiere/\" target=\"_blank\" rel=\"noopener\">\u003cem>BOYS IN TROUBLE\u003c/em>\u003c/a>, I was reminded of the Japanese art of \u003ca href=\"http://theconversation.com/kintsugi-and-the-art-of-ceramic-maintenance-64223\" target=\"_blank\" rel=\"noopener\">\u003cem>kintsugi\u003c/em>\u003c/a> in which fragments of broken ceramics are welded together, with seams of gold accentuating the historic cracks.\u003c/p>\n\u003cp>In \u003cem>BOYS\u003c/em>, activist dance-maker Dorsey explodes tropes of masculinity to refashion them with embedded shards from the wide spectrum of gender expression, welded with rivulets of modern dance. He and his tight-knit company of four men deploy spoken word, physical comedy, and a lush, expansive dance vocabulary to tell deeply personal stories likely to strike a chord regardless of one’s own gender leanings. From the poignant tale of a young boy’s shame to a riotous allegory involving those super-absorbent polymer capsules that, when dropped into water, expand into toy dinosaurs, Dorsey’s wicked wit and generous spirit expose the sometimes absurd contortions we put ourselves through when we construct identity.\u003c/p>\n\u003cp>I attended the performance of an extract of the work at \u003ca href=\"http://ballettothepeople.com/2018/04/04/a-heady-evening-with-rawdance-and-friends-at-concept-series-22/\" target=\"_blank\" rel=\"noopener\">RAWdance’s CONCEPT:22 program\u003c/a> on March 30, then slipped into a rehearsal a few days later. I caught up with Dorsey at Café La Boheme in the Mission, curious to learn about his own journey through the dance world, and about the way he shaped this ambitious piece — which, after it premieres in San Francisco on April 19–21, goes on the road to 20 cities around the United States.\u003c/p>\n\u003cfigure id=\"attachment_13829024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-800x600.jpg\" alt=\"Sean Dorsey Dance in BOYS IN TROUBLE. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13829024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_5_photobyLydiaDaniller.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance in BOYS IN TROUBLE. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What you’re doing seems so topical right now. The toxic political environment has permeated the dance world – as evidenced by, for example, the controversy around the \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">Ballets Trockadero\u003c/a>, and the \u003ca href=\"http://atlantablackstar.com/2018/03/29/misty-copeland-gives-hater-classy-response-didnt-deserve/\" target=\"_blank\" rel=\"noopener\">vilification of Misty Copeland \u003c/a>by ballet right-wingers.\u003c/strong>\u003c/p>\n\u003cp>Toxic masculinity, racism and transphobia are nothing new, but there are certainly more widespread cultural conversations around these things right now. Our show is part of that urgent conversation. There is a continued firestorm of racism and transphobia in this country… And yet there are so many of us who are fighting against harmful constructs like masculinity, femininity, whiteness, “race,” and the gender binary itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What inspired the script for BOYS IN TROUBLE?\u003c/strong>\u003c/p>\n\u003cp>I wrote the script after a two-year research process. The script and dialogue are based on my community research, and on the conversations we had in the studio – along with writing exercises about masculinity, gender, white supremacy and racism [two of Dorsey’s dancers are black].\u003c/p>\n\u003cp>At the beginning of the project I didn’t have a predetermined idea of exactly what themes I wanted to unpack or what the show’s sections would look like. In the end, they were driven by all these conversations and self-expression workshops I led with all kinds of folks on the masculine spectrum. That really revealed what people were feeling, what themes were very charged for them, either because it was a source of pain or trauma, liberation, or joy. That then drove me to investigate certain themes with my dancers in the studio and drove my own creative writing.\u003c/p>\n\u003cp>And then working with the composers and musicians, I didn’t just say to them, “I’ll talk to you in six months” and then, “give me what you’ve got.” We were in frequent conversation about the emotional direction of each section.\u003c/p>\n\u003cfigure id=\"attachment_13829034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-800x600.jpg\" alt=\"Sean Dorsey Dance in BOYS IN TROUBLE.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13829034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_3_photobyLydiaDaniller.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance in BOYS IN TROUBLE. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You performed the ‘Butch’ section as a work in progress last year. With a group of dancers across the queer spectrum, how does the concept of ‘butch’ relate to each of you?\u003c/strong>\u003c/p>\n\u003cp>It’s about gendered expectations. That applies to non-trans and cisgender straight guys who always have to be “capable,” can’t hesitate, can’t not know something. It’s also true that, within gay and queer cisgender men’s communities, more effeminate and femme expressions are judged as lower on the hierarchy than butch. The same thing applies to trans guys – all of us are measured according to how well we align with the patriarchy.\u003c/p>\n\u003cp>Above all, as a trans person, I’m supposed to be consistent in my gender expression… like, from birth to today. There’s this band of appropriate gender expression for trans guys and it has to be consistent with what you articulate as your early life story. So in the ‘Butch’ section, that’s where I talk about how I totally loved my Barbies, how I loved playing with make-up as a kid. I don’t buy into the “I played with G.I. Joe and that’s how I knew I was trans” thing.\u003c/p>\n\u003cfigure id=\"attachment_13829025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-800x844.jpg\" alt=\"Will Woodward and ArVejon James in BOYS IN TROUBLE.\" width=\"800\" height=\"844\" class=\"size-medium wp-image-13829025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-800x844.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-160x169.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-768x810.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-1020x1076.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-1180x1245.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-960x1013.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-240x253.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-375x396.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller-520x549.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyDance_BOYS_IN_TROUBLE_4_photobyLydiaDaniller.jpg 1419w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Woodward and ArVejon James in BOYS IN TROUBLE. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dancer ArVejon Jones has a striking recorded monologue in the ‘Sweet Time’ duet. In it, he says “I love how our mothers and our grandmothers and our aunties are present in us … Even if it’s not our own aunts and grandmothers and mothers specifically, it is black women that is present in queer black men.” What was the genesis of that?\u003c/strong>\u003c/p>\n\u003cp>After the election, we were talking a lot about racism and white supremacy, and AJ had said one day in rehearsal that whenever he walks into a room – regardless of his sexual orientation, what he’s wearing, what he does for a living – he’s always seen as black first. I asked him to talk more about that, and I also asked, “what is the difference for you when you are with another black queer man in terms of how you inhabit your body, how it is for you to be in the world?” And he just spoke this spontaneous love letter to black queer men. The sound recorder was rolling, and that’s the soundscore behind that duet!\u003c/p>\n\u003cp>\u003cstrong>In your research travels, did anything unexpected come up?\u003c/strong>\u003c/p>\n\u003cp>I was so focused on emotionally showing up for the participants I was working with – being prepared, really holding space and being supportive of them – but had not planned for the fact that I was personally going to have such beautiful and intense personal experiences myself, of having a lot of things said in the room or expressed that I could really identify with personally, or felt mirrored in. This was huge for me, especially because my last three full-evening projects have been so focused on holding \u003cem>other\u003c/em> people, holding \u003cem>history\u003c/em>, holding \u003cem>community\u003c/em>. \u003ca href=\"http://freshmeatproductions.org/missing-generation-2/\" target=\"_blank\" rel=\"noopener\">The last show\u003c/a> arose after I recorded oral history interviews with trans and queer longtime survivors of the AIDS epidemic, so I was focused on being there for people, lifting them up.\u003c/p>\n\u003cp>This time around, I had forgotten to factor into the equation how would it be for me, as a trans person, to be part of these conversations with peers. Because up to now in the dance field, I’ve never had peers; I’ve never had a single person older than me who is a choreographic or modern dance mentor and who’s trans. Only in the last two to three years have I met a professional modern dancer who’s on the trans spectrum. Before that, I was teaching trans students who were emerging, or who were having their first ever supportive dance class. But I couldn’t have held an audition for trans dancers before today. I’ve been really alone.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7acVWUsJzbg'\n title='//www.youtube.com/embed/7acVWUsJzbg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What is your background as a dancer?\u003c/strong>\u003c/p>\n\u003cp>Unlike most dancers, I did not grow up at the ballet barre nor went to a conservatory in my youth. I did a lot of straight-up theater, music, and writing as a child, and I danced around my living room. I did one ballet class when I was five, one jazz workshop when I was a senior in high school. Carol Burnett and Michael Jackson were my heroes, so it was basically comedy and dancing. Now, looking back, it was very unconscious but I never saw anyone like me in the entire dance world. I couldn’t picture myself there. My whole identity was really as an activist. Social justice was my calling – I cared about the world, and thought I couldn’t be an artist and do my activism. Because I had no model for that, really.\u003c/p>\n\u003cp>It wasn’t ’til I was an undergraduate doing my double major in political science and women’s studies at University of British Columbia in Vancouver that I started taking community-level modern dance classes, and went to my first real ballet class.\u003c/p>\n\u003cp>Long story short: that ballet teacher took me aside after class one day and said, “you should be a professional dancer.” First of all, I’m 24, and second of all, I’m me (trans). But I decided to take a year off from school – I was in graduate school at that point – did some auditions, went into full-time dance school for two years. Never did go back to grad school. I danced for some small companies in Vancouver, and started making work as a student. Remember, I grew up in Canada, didn’t know about dance-makers like Bill T. Jones or Joe Goode, so I hadn’t seen story and text in dance, but I was really interested in doing that.\u003c/p>\n\u003cp>My first piece of student work was queer and had text – it was just a little student piece, but the whole dance community came out to the recital, people were very positive and said things like “we’re so excited by your emerging artistic voice.” The next day, the director of the school called me into her office and said, “Your piece made me very uncomfortable.” Queer content was not okay by her. She withheld my graduation diploma at the end of my program.\u003c/p>\n\u003cfigure id=\"attachment_13829028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-800x1124.jpg\" alt=\"Sean Dorsey.\" width=\"800\" height=\"1124\" class=\"size-medium wp-image-13829028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-800x1124.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-768x1079.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-1020x1433.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-1180x1658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-960x1348.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-240x337.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-375x527.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller-520x730.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/FreshMeatFestSeanDorseyJumpingByLydiaDaniller.jpg 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Had you transitioned by that time?\u003c/strong>\u003c/p>\n\u003cp>I was out and queer and trans but I didn’t take hormones until I was living here in San Francisco and already dancing professionally. I was out as trans for 10 years before I chose to take hormones or have top surgery.\u003c/p>\n\u003cp>I came to visit San Francisco in 2000 for two weeks, fell in love with the city, was taking class every day, took class with Lizz Roman, and I was, like, “What is this upside-down dance magic y’all are doing?” I told her “I loved your class, I’d love to come and study with you one day.” She said, “You’re a gorgeous dancer, why don’t you join my company?” That’s when I moved to San Francisco. I danced with Lizz Roman and Dancers doing daredevil hanging off of buildings for about six years. It was so great; Lizz is amazing and is like family. And I just kept making work here. In 2002, we put on what we thought would be this one-time Fresh Meat Festival of trans and queer performance. But the response was so astronomical that today, 17 years later, \u003ca href=\"http://freshmeatproductions.org\" target=\"_blank\" rel=\"noopener\">Fresh Meat Productions\u003c/a> is a thriving midsize non-profit.\u003c/p>\n\u003cfigure id=\"attachment_13829029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-800x532.jpg\" alt=\"Sean Dorsey.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13829029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SeanDorseyBWbyLydiaDaniller.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you look for in your dancers?\u003c/strong>\u003c/p>\n\u003cp>I don’t hold auditions – I’m looking very specifically for someone who, besides being a gorgeous dancer, is very present in their body, their spine, and in their eyes; someone who can be totally theatrically present in their dancing, and then deliver dialogue as well as over-the-top humor.\u003c/p>\n\u003cp>All of my dancers have worked with me for years. Brian Fisher, who was a principal dancer at ODC, has been dancing with me since 2007. Nol Simonse since 2008. Juan De La Rosa danced with me for seven years then moved to New York. ArVejon Jones joined the family for \u003cem>The Missing Generation\u003c/em>, so this is his fourth season. And this is Will Woodward’s second season.\u003c/p>\n\u003cp>There is definitely a very deep family bond in the company, a deep level of trust. I’m not, like, smoking a cigarette in the corner dictating to my dancers what to do. We all generate emotional information from our bodies and our lives; we work together in communities, in workshops, and we go to a lot of vulnerable places, whether it’s purely dance-wise, or performance-wise or emotionally. Everyone generates movement, gesture, partnering. I give everyone movement tasks and build from that. I work with exceptional humans who are deeply good-hearted and generous people, who have no ego getting in the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘BOYS IN TROUBLE’ premieres April 19–21 at Z Space in San Francisco. \u003ca href=\"http://seandorseydance.com/boys-in-trouble-world-premiere/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "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": "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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"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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"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": {
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"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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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"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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