Masha Pershay is an associate video producer for KQED Arts. Masha got her start in media production in 2009, when she joined college station KUSF as a radio host. She holds a B.A. in Broadcasting and Electronic Communication Arts from San Francisco State University and a certificate in sound recording from City College of San Francisco. In her spare time, she's an avid record collector and a DJ in San Francisco's Italo disco DJ collective Galaxy Radio.
By Masha Pershay
The Chilling History of Ice Cream
Your Birria Taco Is Ancient History—Here’s Why
Watch: ‘What’s Pimpin’?’ Tells Survivor Stories from Bay Area Pimp Culture
Watch: 'What's Pimpin'?' Dives Into Masculinity, Dating with Dregs One, Ian Kelly
Watch: ‘What’s Pimpin’?’ Takes on Misogynoir in Bay Area Hip-Hop
Meet Philadelphia’s House Dancers Preserving the Soul of the Scene
Miami’s Alma Dance Theater Shapes Feminist Messages into Sensual Moves
Facing Ferguson: News Literacy in a Digital Age with KQED
Seven Resources to Help Develop Your Photographic Style
Five Back-to-School Resources for Your Teacher Toolkit
Three Resources to Make You Scream for Ice Cream
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/i>\u003c/p>\n\u003cp>Growing up in Oakland and San Francisco respectively, hip-hop artists \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a> witnessed their peers enter the sex trade to make a living — a reality reflected in, and sometimes glamorized by, music and pop culture.\u003c/p>\n\u003cp>In a candid discussion with hosts \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, Dregs and Kelly share how growing up around pimping impacted their views of masculinity and relationships, and shaped the messages they now share in their music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">Catch up on episode one here\u003c/a> and stay tuned for the final episode of this three-part series dropping on July 12. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.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>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help at the RAINN hotline at 800-656-4673 or via chat at online.rainn.org. The National Human Trafficking Hotline is available at 1-888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: ‘What’s Pimpin’?’ Takes on Misogynoir in Bay Area Hip-Hop",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Picture this: You’re on the dance floor at a Bay Area function, and “\u003ca href=\"https://youtu.be/6vE6oUc0t4o\">Feelin’ Myself\u003c/a>” by Mac Dre pumps through the speakers. The whole room erupts with joy, and everyone chants the lyrics: “I’m sicker than SARS / higher than Mars.” Then the beat stops and the crowd screams: “And I treat my bitch like an ATM card!”\u003c/p>\n\u003cp>There’s power in this ritual, which has been a mainstay at local clubs and house parties since Mac Dre’s hyphy anthem came out in 2004. The music allows us to \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">partake in a collective experience\u003c/a>, and to feel a sense of Bay Area pride at a crucial time when so many have been pushed out of this unaffordable region.\u003c/p>\n\u003cp>But, scratching below the surface, “Feelin’ Myself” and many of our beloved, local ’90s and 2000s anthems — Dru Down’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">Pimp of the Year\u003c/a>,” D-Lo’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">No Hoe\u003c/a>” — contain casual references to violence against and the exploitation of women.\u003c/p>\n\u003cp>Pimp culture is in Bay Area hip-hop’s DNA as much as the liberation politics of the Black Panthers. Some of the region’s \u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">earliest rappers based their personas on blaxploitation films\u003c/a> like 1973’s \u003cem>The Mack\u003c/em>, which was shot in Oakland and featured real-life pimps and sex workers. Not to mention, \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">some of these original MCs \u003cem>were\u003c/em> actual pimps\u003c/a>. As hip-hop \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">became a commercial force in the late ’80s\u003c/a>, albums like Too Short’s \u003cem>Born to Mack\u003c/em> helped define the Bay Area’s style and identity for the rest of the nation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But considering that the Bay Area is an international hub for sex trafficking, this art reflects a dangerous reality.\u003c/p>\n\u003cp>In our new vodcast, \u003cem>What’s Pimpin’?\u003c/em>, women rappers and activists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a> (aka MADlines), \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a> and \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> take back the mic. Across three episodes, the three hosts facilitate candid discussions about the disproportionate rates of violence Black women face, and how systemic racism and wealth inequality breed desperate conditions where pimp culture thrives. They also get deep, drawing from their personal experiences of moving through an Oakland rap scene that at times espouses both misogynistic and revolutionary ideals. [aside postid='arts_13930867,arts_13931295,arts_13931108']\u003c/p>\n\u003cp>As Clifford writes in her essay, “\u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">It’s Time to Unpack Pimp Culture in Bay Area Hip-Hop\u003c/a>,” pimp culture has roots in the exploitative power dynamics that have been part of American culture since colonialism and slavery: “We can sugarcoat the truth, but at the root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.”\u003c/p>\n\u003cp>Stay tuned for \u003cem>What’s Pimpin’? \u003c/em>episodes two and three dropping on July 5 and July 12. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya, lead producer\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help from the \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> hotline at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>. The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Picture this: You’re on the dance floor at a Bay Area function, and “\u003ca href=\"https://youtu.be/6vE6oUc0t4o\">Feelin’ Myself\u003c/a>” by Mac Dre pumps through the speakers. The whole room erupts with joy, and everyone chants the lyrics: “I’m sicker than SARS / higher than Mars.” Then the beat stops and the crowd screams: “And I treat my bitch like an ATM card!”\u003c/p>\n\u003cp>There’s power in this ritual, which has been a mainstay at local clubs and house parties since Mac Dre’s hyphy anthem came out in 2004. The music allows us to \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">partake in a collective experience\u003c/a>, and to feel a sense of Bay Area pride at a crucial time when so many have been pushed out of this unaffordable region.\u003c/p>\n\u003cp>But, scratching below the surface, “Feelin’ Myself” and many of our beloved, local ’90s and 2000s anthems — Dru Down’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">Pimp of the Year\u003c/a>,” D-Lo’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">No Hoe\u003c/a>” — contain casual references to violence against and the exploitation of women.\u003c/p>\n\u003cp>Pimp culture is in Bay Area hip-hop’s DNA as much as the liberation politics of the Black Panthers. Some of the region’s \u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">earliest rappers based their personas on blaxploitation films\u003c/a> like 1973’s \u003cem>The Mack\u003c/em>, which was shot in Oakland and featured real-life pimps and sex workers. Not to mention, \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">some of these original MCs \u003cem>were\u003c/em> actual pimps\u003c/a>. As hip-hop \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">became a commercial force in the late ’80s\u003c/a>, albums like Too Short’s \u003cem>Born to Mack\u003c/em> helped define the Bay Area’s style and identity for the rest of the nation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But considering that the Bay Area is an international hub for sex trafficking, this art reflects a dangerous reality.\u003c/p>\n\u003cp>In our new vodcast, \u003cem>What’s Pimpin’?\u003c/em>, women rappers and activists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a> (aka MADlines), \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a> and \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> take back the mic. Across three episodes, the three hosts facilitate candid discussions about the disproportionate rates of violence Black women face, and how systemic racism and wealth inequality breed desperate conditions where pimp culture thrives. They also get deep, drawing from their personal experiences of moving through an Oakland rap scene that at times espouses both misogynistic and revolutionary ideals. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Clifford writes in her essay, “\u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">It’s Time to Unpack Pimp Culture in Bay Area Hip-Hop\u003c/a>,” pimp culture has roots in the exploitative power dynamics that have been part of American culture since colonialism and slavery: “We can sugarcoat the truth, but at the root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.”\u003c/p>\n\u003cp>Stay tuned for \u003cem>What’s Pimpin’? \u003c/em>episodes two and three dropping on July 5 and July 12. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya, lead producer\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help from the \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> hotline at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>. The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Philadelphia’s House Dancers Preserving the Soul of the Scene",
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"content": "\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every week through May 15, 2019.\u003c/i>\u003c/p>\n\u003cp>Starting her own dance company was always part of the plan for Miami-born artist Marissa Alma Nick. Even as early as middle school, she knew she wanted to be a choreographer. “That’s how you have power,” she remembers thinking. “Like Martha Graham.”\u003c/p>\n\u003cp>With training in ballet, jazz, hip-hop and contemporary dance, Nick worked for five years as a professional dancer in Los Angeles, but she still wasn’t sure of her own voice—or where she would put down roots to achieve that childhood goal.\u003c/p>\n\u003cp>In 2011, while filming the rock and roll musical \u003cem>Rock of Ages\u003c/em> in her hometown, she couldn’t resist the pull to move back to Miami. The city had a funding infrastructure for dance, space to rehearse and perform, and Nick says, “people who were open, willing to support artists and let you in their doors and just explore.”\u003c/p>\n\u003cp>She founded \u003ca href=\"https://www.almadancetheater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alma Dance Theater\u003c/a> in 2014 as an all-female company, providing a platform for her dancers to be unapologetically powerful and sensual. “For women, to express ourselves and have control and say over our body—especially in dance, it’s so cathartic,” Nick says. “The relationship between me and the dancers, it’s such an intimate and beautiful journey.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miami critics and audiences seem to agree. Nick is a recipient of the \u003ca href=\"https://www.miamidade.gov/govaction/legistarfiles/Matters/Y2018/182028.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2018/2019 Dance Miami Choreographer (DMC) Award\u003c/a>. \u003cem>Miami New Times\u003c/em> named Alma Dance Theater \u003ca href=\"https://www.miaminewtimes.com/best-of/2018/arts-and-entertainment/best-dance-company-10392689\" target=\"_blank\" rel=\"noopener noreferrer\">the “Best Dance Company” of the year\u003c/a>. And the \u003cem>Miami Herald\u003c/em> calls her\u003ca href=\"https://www.miamiherald.com/entertainment/performing-arts/article223213985.html\" target=\"_blank\" rel=\"noopener noreferrer\"> “one of Miami’s most vibrant dancemakers.” \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Recent Alma Dance Theater projects include an adaptation of Edgar Allan Poe’s “The Cask of Amontillado,” and \u003ca href=\"https://www.almadancetheater.com/rebelinvenus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rebel in Venus\u003c/em>\u003c/a>, a millennial response to the #MeToo and #TimesUp movements.\u003cbr>\nAs Nick says, “It’s sex-positive feminism. We’re here on stage because we’re choosing to be.”\u003cbr>\nWatch Nick and fellow Alma Dance Theater dancers Cyles Barnes, Reshma Anwar, Marisa Turner, Briana Mendez, Katrina Rose Tandy, and Jahzel Dotel perform on Virginia Key beach, in North Miami Beach, and in the Wynwood arts district to the music of \u003ca href=\"http://hopelittwin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hope Littwin\u003c/a> and \u003ca href=\"https://www.afrobeta.com/welcome\">Afrobeta\u003c/a>. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every week through May 15, 2019.\u003c/i>\u003c/p>\n\u003cp>Starting her own dance company was always part of the plan for Miami-born artist Marissa Alma Nick. Even as early as middle school, she knew she wanted to be a choreographer. “That’s how you have power,” she remembers thinking. “Like Martha Graham.”\u003c/p>\n\u003cp>With training in ballet, jazz, hip-hop and contemporary dance, Nick worked for five years as a professional dancer in Los Angeles, but she still wasn’t sure of her own voice—or where she would put down roots to achieve that childhood goal.\u003c/p>\n\u003cp>In 2011, while filming the rock and roll musical \u003cem>Rock of Ages\u003c/em> in her hometown, she couldn’t resist the pull to move back to Miami. The city had a funding infrastructure for dance, space to rehearse and perform, and Nick says, “people who were open, willing to support artists and let you in their doors and just explore.”\u003c/p>\n\u003cp>She founded \u003ca href=\"https://www.almadancetheater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alma Dance Theater\u003c/a> in 2014 as an all-female company, providing a platform for her dancers to be unapologetically powerful and sensual. “For women, to express ourselves and have control and say over our body—especially in dance, it’s so cathartic,” Nick says. “The relationship between me and the dancers, it’s such an intimate and beautiful journey.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miami critics and audiences seem to agree. Nick is a recipient of the \u003ca href=\"https://www.miamidade.gov/govaction/legistarfiles/Matters/Y2018/182028.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2018/2019 Dance Miami Choreographer (DMC) Award\u003c/a>. \u003cem>Miami New Times\u003c/em> named Alma Dance Theater \u003ca href=\"https://www.miaminewtimes.com/best-of/2018/arts-and-entertainment/best-dance-company-10392689\" target=\"_blank\" rel=\"noopener noreferrer\">the “Best Dance Company” of the year\u003c/a>. And the \u003cem>Miami Herald\u003c/em> calls her\u003ca href=\"https://www.miamiherald.com/entertainment/performing-arts/article223213985.html\" target=\"_blank\" rel=\"noopener noreferrer\"> “one of Miami’s most vibrant dancemakers.” \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Recent Alma Dance Theater projects include an adaptation of Edgar Allan Poe’s “The Cask of Amontillado,” and \u003ca href=\"https://www.almadancetheater.com/rebelinvenus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rebel in Venus\u003c/em>\u003c/a>, a millennial response to the #MeToo and #TimesUp movements.\u003cbr>\nAs Nick says, “It’s sex-positive feminism. We’re here on stage because we’re choosing to be.”\u003cbr>\nWatch Nick and fellow Alma Dance Theater dancers Cyles Barnes, Reshma Anwar, Marisa Turner, Briana Mendez, Katrina Rose Tandy, and Jahzel Dotel perform on Virginia Key beach, in North Miami Beach, and in the Wynwood arts district to the music of \u003ca href=\"http://hopelittwin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hope Littwin\u003c/a> and \u003ca href=\"https://www.afrobeta.com/welcome\">Afrobeta\u003c/a>. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Take a closer look at the role of modern journalism with \u003ca href=\"https://www.facinghistory.org/calendar/wq2017sf3-facing-ferguson-news-literacy-digital-age-partnership-kqed\">Facing Ferguson: News Literacy in a Digital Age\u003c/a>. KQED is proud to co-present this comprehensive workshop which is brought to you by the partnership between \u003ca href=\"https://www.facinghistory.org/about-us\">Facing History and Ourselves\u003c/a> and \u003ca href=\"http://www.thenewsliteracyproject.org/\">the News Literacy Project\u003c/a>, two educational organizations who share a passion for promoting news literacy in the classroom. As they explore the Facing Ferguson curriculum, participants will practice integrating a multimedia project into one of the lessons using online tools any teacher can access as part of the \u003ca href=\"https://teach.kqed.org/\">KQED Teach\u003c/a> platform.\u003c/p>\n\u003cp>KQED Teach is KQED’s online professional learning platform dedicated to engaging educators in a hands-on approach to learning digital media literacy skills. Find more information about KQED Teach \u003ca href=\"https://teach.kqed.org/pages/about-kqed-teach\">here\u003c/a> and check out our \u003ca href=\"https://youtu.be/Hij6bZ7q-QI\">introduction video\u003c/a>.\u003c/p>\n\u003cp>Facing Ferguson: News Literacy in a Digital Age workshop will provide educators with an opportunity to engage with media-making tools and access resources for powerful learning. This event is taking place on February 4, 2017 at KQED’s San Francisco office.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facinghistory.org/calendar/wq2017sf3-facing-ferguson-news-literacy-digital-age-partnership-kqed\">\u003cstrong>Facing Ferguson: News Literacy in a Digital Age with KQED\u003c/strong>\u003c/a>\u003cbr>\nSaturday, February 4th, 2017\u003cbr>\n9:00am – 3:00pm\u003cbr>\n2601 Mariposa St., San Francisco, CA 94110\u003c/p>\n\u003cp>\u003cstrong>\u003cspan class=\"m_5706449710800559321autogrow-textarea\">Transit: \u003c/span>\u003c/strong>\u003cbr>\n\u003cspan class=\"m_5706449710800559321autogrow-textarea\">Parking in and around KQED is limited. Information on public transit options for KQED can be found here-\u003ca href=\"https://ww2.kqed.org/about/contact/map/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">https://ww2.kqed.org/about/contact/map/\u003c/a>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Resources Featured:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://teach.kqed.org/\">KQED Teach\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/lowdown/\">KQED Lowdown\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Take a closer look at the role of modern journalism with \u003ca href=\"https://www.facinghistory.org/calendar/wq2017sf3-facing-ferguson-news-literacy-digital-age-partnership-kqed\">Facing Ferguson: News Literacy in a Digital Age\u003c/a>. KQED is proud to co-present this comprehensive workshop which is brought to you by the partnership between \u003ca href=\"https://www.facinghistory.org/about-us\">Facing History and Ourselves\u003c/a> and \u003ca href=\"http://www.thenewsliteracyproject.org/\">the News Literacy Project\u003c/a>, two educational organizations who share a passion for promoting news literacy in the classroom. As they explore the Facing Ferguson curriculum, participants will practice integrating a multimedia project into one of the lessons using online tools any teacher can access as part of the \u003ca href=\"https://teach.kqed.org/\">KQED Teach\u003c/a> platform.\u003c/p>\n\u003cp>KQED Teach is KQED’s online professional learning platform dedicated to engaging educators in a hands-on approach to learning digital media literacy skills. Find more information about KQED Teach \u003ca href=\"https://teach.kqed.org/pages/about-kqed-teach\">here\u003c/a> and check out our \u003ca href=\"https://youtu.be/Hij6bZ7q-QI\">introduction video\u003c/a>.\u003c/p>\n\u003cp>Facing Ferguson: News Literacy in a Digital Age workshop will provide educators with an opportunity to engage with media-making tools and access resources for powerful learning. This event is taking place on February 4, 2017 at KQED’s San Francisco office.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facinghistory.org/calendar/wq2017sf3-facing-ferguson-news-literacy-digital-age-partnership-kqed\">\u003cstrong>Facing Ferguson: News Literacy in a Digital Age with KQED\u003c/strong>\u003c/a>\u003cbr>\nSaturday, February 4th, 2017\u003cbr>\n9:00am – 3:00pm\u003cbr>\n2601 Mariposa St., San Francisco, CA 94110\u003c/p>\n\u003cp>\u003cstrong>\u003cspan class=\"m_5706449710800559321autogrow-textarea\">Transit: \u003c/span>\u003c/strong>\u003cbr>\n\u003cspan class=\"m_5706449710800559321autogrow-textarea\">Parking in and around KQED is limited. Information on public transit options for KQED can be found here-\u003ca href=\"https://ww2.kqed.org/about/contact/map/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">https://ww2.kqed.org/about/contact/map/\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A photograph can convey information about a particular object, place, or social issue. With so many different approaches to photography, the following resources offer an overview of different styles, as well as brief history of photography. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For a deeper engagement, take our course, \u003cem>Communicating with Photography,\u003c/em> from \u003c/span>\u003cstrong>\u003ca href=\"https://teach.kqed.org/\">KQED Teach\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">, an online professional learning platform for educators to level up their digital media skills.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ww2.kqed.org/artschool/2016/01/22/collecting-lifes-remnants-with-nigel-poor/\">Collecting Life’s Remnants with Nigel Poor\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nBay Area-based Nigel Poor is an artist who encourages the use of photography as a way to closely examine our daily activities and interactions with commonplace objects, in order to gain a deeper understanding of who we are. In this video, Nigel offers three fun photography projects that explore this idea of documenting our personal lives.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ww2.kqed.org/artschool/2015/04/22/the-camera-as-connector-photographer-paccarik-orue/\">Documentary Photography with Paccarik Orue\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nLearn about the work of Paccarik Orue, a Peruvian documentary photographer currently residing in San Francisco. Paccarik is interested in using his camera to connect with ordinary people, usually residents of low-income neighborhoods. In this video, \u003cstrong>\u003ca href=\"https://youtu.be/6uoKw5CljEU\">Digitizing Film Negatives with Paccarik Orue\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">, he guides you through the process of making digital prints from film negatives.\u003c/span>\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/34c542bd-b457-4321-a40e-ca0ae524580c/sixth-street-photography-visual-arts/\">Sixth Street Photography: Visual Arts\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nTom Ferentz is the artistic director and founder of the Sixth Street Photography Workshop, which he started in 1991 to make photography accessible to low-income and homeless people in San Francisco. With the help of volunteers, participants can take classes of various skill-level on a weekly basis. In this video, testimonials from students illustrate how photography has changed their lives for the better, thanks to the efforts of the workshop. For more information on the workshop, use this comprehensive \u003cstrong>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/spark/224.pdf\">educator guide\u003c/a>.\u003c/strong>\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/lang14.soc.ushist.docphot/documenting-the-great-depression-creating-narrative-through-photography/\">The Great Depression: Creating Narrative through Photography\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nExplore the work of a distinguished American photographer Dorothea Lange who started her career with portraiture photography and later turned to document the events and people during the Great Depression. Discover the creative processes that guided Dorothea’s work.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/3c5d8c2b-16b5-4d8e-87df-84e4fddfc43d/the-art-of-portrait-photography-off-book/\">The Art of Portrait Photography | Off Book\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nAt what point does a mere snapshot of someone become a work of art? Four modern photographers discuss examples of their work that illustrate accessibility of portrait photography and its ability to communicate certain ideas or feelings. These artists share their personal stories, as well as creative experiences.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/123d7d1a-8ee4-4160-beba-25d40072c182/graciela-iturbide-exploring-the-landscape-art-in-the-21st-century-investigation/\">Graciela Iturbide: Exploring the Landscape | Art in the 21st Century: “Investigation”\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nAccording to Mexican photographer Graciela Iturbide, being an “investigator” of the world and of the people is essential for creative growth. Graciela spent a good chunk of her career photographing people in her native Mexico. Guided by her intuition, she often chooses to feature complex subjects in her work. Besides using her camera for portraits, Graciela has taken photographs of landscapes in the Southern United States. Learn more about her fascinating work in this video.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/d2c8b872-0267-4f9d-9b32-7b32a2840e0f/photographer-on-a-mission-ed-drew/\">Photographer on a Mission: Ed Drew\u003c/a>\u003c/strong>\u003cspan style=\"font-weight: 400\">\u003cbr>\nBesides working for the California Air National Guard, Ed Drew also has a passion for tintype portraiture photography. Whether on a mission in Afghanistan or in the fields of a local garden project, Ed uses his camera to connect with people he encounters. Learn more about Ed’s work, as well as the history of tintype photography.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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