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"title": "A 50-Year-Old Ballet Company Picks Itself Up, Dusts Itself Off",
"headTitle": "A 50-Year-Old Ballet Company Picks Itself Up, Dusts Itself Off | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Oakland Ballet 50th Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">The East Bay dance company celebrates its past and looks to the future with a one-off performance.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Paramount Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a recent Friday, the rapping of pointe shoes emanated from the third floor of downtown Oakland’s \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>In the north studio, choreographer Amy Seiwert worked with five Oakland Ballet dancers to nail the timing of a phrase she’d just created to Vivaldi. Across the hall, in the south studio, former Oakland Ballet star Michael Lowe helped a couple find the right grip for a tricky spiraling lift in his world premiere.\u003c/p>\n\u003cp>Small and bright-eyed, Oakland Ballet artistic director Graham Lustig sat watching.\u003c/p>\n\u003cp>“It’s so exhilarating to be in the studio with these artists and dancers,” Lustig said, then crisply listed off the last names of some of the choreographers of local, national and international acclaim who feature in Oakland Ballet’s 50th anniversary celebration on May 23rd. “One moment we’re doing Fokine, then Massine, then Moses, then King, then Seiwert, then Lowe.”\u003c/p>\n\u003cp>The future of Oakland Ballet depends on the show’s success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under founding artistic director Ronn Guidi, Oakland Ballet built an international reputation for meticulous, energetic resurrections of nearly-lost classics by masters like Michel Fokine and Leonide Massine. The company also regularly commissioned leading Bay Area choreographers like Robert Moses and Alonzo King.\u003c/p>\n\u003cfigure id=\"attachment_10656762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10656762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg\" alt=\"\" width=\"400\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-843x1180.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-960x1344.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Current Oakland Ballet dancers Emily Kerr and Taurean Green in a world premiere ballet by former Oakland Ballet dancer Betsy Erickson. (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003cp>Those glory days ended in 2000, when Guidi retired and his successor, former Dance Theatre of Harlem star Karen Brown, began a bumpy ride that ended with the company closing in 2006.\u003c/p>\n\u003cp>Among other challenges, Brown was forced to liquidate the company’s resplendent costume stash to repay a loan to the city of Oakland.\u003c/p>\n\u003cp>Guidi brought the Oakland Ballet back, tentatively, from 2007-2009. But not until 2010 did the company embark once more on a steady path with the appointment of Lustig.\u003c/p>\n\u003cp>The former artistic director of American Repertory Ballet in New Jersey, Lustig launched the annual presentation of his own “Nutcracker,” brought back the Oakland Ballet’s school and summer training programs, and presented several modest spring programs.\u003c/p>\n\u003cp>Lustig has also faced setbacks: A 2012 program had to be postponed to 2013 due to low ticket sales. He’s counting on the 50th anniversary to “raise the artistic profile of the company.”\u003c/p>\n\u003cp>Saturday’s one-off “Five Decades of Oakland Ballet” performance will intermix excerpts of the historical works with a full-length performance of one watershed ballet, Vaslav Nijinsky’s erotic “Afternoon of a Faun,” from 1912 and six short commissioned ballets.\u003c/p>\n\u003cp>“It’s like a choreographic feast,” Lustig said. “You have classic dishes and nouveau dishes, and you can taste everything. I wanted to put my arms around the whole history of the company.”\u003c/p>\n\u003cfigure id=\"attachment_10656616\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg\" alt=\"Joy Gim and Ron Thiele in Oakland Ballet's 1990 performance of Michel Fokine's "Scheherazade." (Photo: John Markowski)\" width=\"400\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-877x1180.jpg 877w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-960x1291.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Gim and Ron Thiele in Oakland Ballet’s 1990 performance of Michel Fokine’s “Scheherazade.” (Photo: John Markowski)\u003c/figcaption>\u003c/figure>\n\u003cp>The following day at Laney College, company members will repeat the six world premieres alongside performances by nine other East Bay dance groups, from a belly dance troupe to street dancers the Turffeinz.\u003c/p>\n\u003cp>Lustig has needed to rent costumes from other companies for this weekend’s performances.\u003c/p>\n\u003cp>“I can’t afford for this company to be in an ivory tower,” Lustig said. “We have to be right on the ground. That’s how I see the future of this company whether we’re doing Diaghilev or the Turffeinz.”\u003c/p>\n\u003cp>By “Diaghilev,” Lustig means Sergei Diaghilev, the famous impresario who created the avant-garde Ballets Russes company, which between 1909 and 1929 scandalized all of Europe and revolutionized dance by pairing leading composers like Igor Stravinsky and designers such as Coco Chanel with the most daring choreographers of the era — Nijinsky and his sister, Bronislova Nijinska, to name but two.\u003c/p>\n\u003cp>In addition to the full-length ballet “Afternoon of a Faun,” Saturday’s program will also feature excerpts from four other Diaghilev-era works: Fokine’s “Petrouchka,” Massine’s “La Boutique Fantasque,” and Nijinska’s “Le Train Bleu” and “Les Biches.”\u003c/p>\n\u003cp>These are the works that merited Oakland Ballet a place in books like “No Fixed Points: Dance in the 20th Century,” a weighty tome that cites Oakland Ballet as “a true bootstraps operation” that “gained a national reputation” when Guidi invited Eugene Loring to stage his forgotten masterpiece Billy the Kid on the company in 1973. An excerpt from Billy also features on Saturday’s program.\u003c/p>\n\u003cp>Lustig’s personal connection to these works seems to have won over key players from Oakland Ballet’s past.\u003c/p>\n\u003cfigure id=\"attachment_10656615\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg\" alt=\"Oakland Ballet in Bronislava Nijinksa's "Le Train Bleu" in 1996. (Photo: Emilio Mercado)\" width=\"400\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-960x605.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Bronislava Nijinksa’s “Le Train Bleu” in 1996. (Photo: Emilio Mercado)\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe, an Oakland Ballet star from 1972-2000, learned the role of the dashing tennis player in Nijinska’s whimsical “Le Train Bleu” directly from Nijinksa’s daughter, and will coach this restaging. He and Lustig both learned Fokine’s “Petrouchka” from legendary dancer Nikolai Beriozov in the 1970s.\u003c/p>\n\u003cp>“There’s a trust that arises from the similarity in our backgrounds,” Lowe said.\u003c/p>\n\u003cp>Guidi has even given his personal blessing to Lustig’s 50th anniversary program-something he did not do during Karen Brown’s tenure. The Oakland Ballet’s board is growing – it now has 10 members — and major funders like the Fleishhacker Foundation and the Osher Foundation have reinstated their support. Most importantly, the dancers seem motivated and happy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Graham has a knack for picking dancers who have a strong work ethic,” dancer Emily Kerr said. “The rapport in the studio is wonderful. I just wish we had a 30-week season. I look at how we dance together at the end of four weeks and I think, imagine what we could do over 30. But I’m hopeful that can happen in the future.”\u003c/p>\n\n",
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"excerpt": "The Oakland Ballet has gone through rough times and now marks its golden anniversary with performances this weekend that look to its past – and its future.",
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"headline": "A 50-Year-Old Ballet Company Picks Itself Up, Dusts Itself Off",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Oakland Ballet 50th Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">The East Bay dance company celebrates its past and looks to the future with a one-off performance.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Paramount Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a recent Friday, the rapping of pointe shoes emanated from the third floor of downtown Oakland’s \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>In the north studio, choreographer Amy Seiwert worked with five Oakland Ballet dancers to nail the timing of a phrase she’d just created to Vivaldi. Across the hall, in the south studio, former Oakland Ballet star Michael Lowe helped a couple find the right grip for a tricky spiraling lift in his world premiere.\u003c/p>\n\u003cp>Small and bright-eyed, Oakland Ballet artistic director Graham Lustig sat watching.\u003c/p>\n\u003cp>“It’s so exhilarating to be in the studio with these artists and dancers,” Lustig said, then crisply listed off the last names of some of the choreographers of local, national and international acclaim who feature in Oakland Ballet’s 50th anniversary celebration on May 23rd. “One moment we’re doing Fokine, then Massine, then Moses, then King, then Seiwert, then Lowe.”\u003c/p>\n\u003cp>The future of Oakland Ballet depends on the show’s success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under founding artistic director Ronn Guidi, Oakland Ballet built an international reputation for meticulous, energetic resurrections of nearly-lost classics by masters like Michel Fokine and Leonide Massine. The company also regularly commissioned leading Bay Area choreographers like Robert Moses and Alonzo King.\u003c/p>\n\u003cfigure id=\"attachment_10656762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10656762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg\" alt=\"\" width=\"400\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-843x1180.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-960x1344.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Current Oakland Ballet dancers Emily Kerr and Taurean Green in a world premiere ballet by former Oakland Ballet dancer Betsy Erickson. (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003cp>Those glory days ended in 2000, when Guidi retired and his successor, former Dance Theatre of Harlem star Karen Brown, began a bumpy ride that ended with the company closing in 2006.\u003c/p>\n\u003cp>Among other challenges, Brown was forced to liquidate the company’s resplendent costume stash to repay a loan to the city of Oakland.\u003c/p>\n\u003cp>Guidi brought the Oakland Ballet back, tentatively, from 2007-2009. But not until 2010 did the company embark once more on a steady path with the appointment of Lustig.\u003c/p>\n\u003cp>The former artistic director of American Repertory Ballet in New Jersey, Lustig launched the annual presentation of his own “Nutcracker,” brought back the Oakland Ballet’s school and summer training programs, and presented several modest spring programs.\u003c/p>\n\u003cp>Lustig has also faced setbacks: A 2012 program had to be postponed to 2013 due to low ticket sales. He’s counting on the 50th anniversary to “raise the artistic profile of the company.”\u003c/p>\n\u003cp>Saturday’s one-off “Five Decades of Oakland Ballet” performance will intermix excerpts of the historical works with a full-length performance of one watershed ballet, Vaslav Nijinsky’s erotic “Afternoon of a Faun,” from 1912 and six short commissioned ballets.\u003c/p>\n\u003cp>“It’s like a choreographic feast,” Lustig said. “You have classic dishes and nouveau dishes, and you can taste everything. I wanted to put my arms around the whole history of the company.”\u003c/p>\n\u003cfigure id=\"attachment_10656616\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg\" alt=\"Joy Gim and Ron Thiele in Oakland Ballet's 1990 performance of Michel Fokine's "Scheherazade." (Photo: John Markowski)\" width=\"400\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-877x1180.jpg 877w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-960x1291.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Gim and Ron Thiele in Oakland Ballet’s 1990 performance of Michel Fokine’s “Scheherazade.” (Photo: John Markowski)\u003c/figcaption>\u003c/figure>\n\u003cp>The following day at Laney College, company members will repeat the six world premieres alongside performances by nine other East Bay dance groups, from a belly dance troupe to street dancers the Turffeinz.\u003c/p>\n\u003cp>Lustig has needed to rent costumes from other companies for this weekend’s performances.\u003c/p>\n\u003cp>“I can’t afford for this company to be in an ivory tower,” Lustig said. “We have to be right on the ground. That’s how I see the future of this company whether we’re doing Diaghilev or the Turffeinz.”\u003c/p>\n\u003cp>By “Diaghilev,” Lustig means Sergei Diaghilev, the famous impresario who created the avant-garde Ballets Russes company, which between 1909 and 1929 scandalized all of Europe and revolutionized dance by pairing leading composers like Igor Stravinsky and designers such as Coco Chanel with the most daring choreographers of the era — Nijinsky and his sister, Bronislova Nijinska, to name but two.\u003c/p>\n\u003cp>In addition to the full-length ballet “Afternoon of a Faun,” Saturday’s program will also feature excerpts from four other Diaghilev-era works: Fokine’s “Petrouchka,” Massine’s “La Boutique Fantasque,” and Nijinska’s “Le Train Bleu” and “Les Biches.”\u003c/p>\n\u003cp>These are the works that merited Oakland Ballet a place in books like “No Fixed Points: Dance in the 20th Century,” a weighty tome that cites Oakland Ballet as “a true bootstraps operation” that “gained a national reputation” when Guidi invited Eugene Loring to stage his forgotten masterpiece Billy the Kid on the company in 1973. An excerpt from Billy also features on Saturday’s program.\u003c/p>\n\u003cp>Lustig’s personal connection to these works seems to have won over key players from Oakland Ballet’s past.\u003c/p>\n\u003cfigure id=\"attachment_10656615\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg\" alt=\"Oakland Ballet in Bronislava Nijinksa's "Le Train Bleu" in 1996. (Photo: Emilio Mercado)\" width=\"400\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-960x605.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Bronislava Nijinksa’s “Le Train Bleu” in 1996. (Photo: Emilio Mercado)\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe, an Oakland Ballet star from 1972-2000, learned the role of the dashing tennis player in Nijinska’s whimsical “Le Train Bleu” directly from Nijinksa’s daughter, and will coach this restaging. He and Lustig both learned Fokine’s “Petrouchka” from legendary dancer Nikolai Beriozov in the 1970s.\u003c/p>\n\u003cp>“There’s a trust that arises from the similarity in our backgrounds,” Lowe said.\u003c/p>\n\u003cp>Guidi has even given his personal blessing to Lustig’s 50th anniversary program-something he did not do during Karen Brown’s tenure. The Oakland Ballet’s board is growing – it now has 10 members — and major funders like the Fleishhacker Foundation and the Osher Foundation have reinstated their support. Most importantly, the dancers seem motivated and happy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Graham has a knack for picking dancers who have a strong work ethic,” dancer Emily Kerr said. “The rapport in the studio is wonderful. I just wish we had a 30-week season. I look at how we dance together at the end of four weeks and I think, imagine what we could do over 30. But I’m hopeful that can happen in the future.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "top-dance-picks-at-this-years-san-francisco-international-arts-festival",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/san-francisco-international-arts-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco International Arts Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Dance, music, theater, visual art and film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21-Jun. 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fort Mason Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/san-francisco-international-arts-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This year’s San Francisco International Arts Festival includes artists from Ireland, Taiwan, France, China, and Armenia. The event, which spans a wide variety of performing arts as well as documentary films and an art exhibition, includes 30 dance performances. We combed through the dance offerings to make five must-see picks. The full lineup can be found at \u003ca href=\"http://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener\">sfiaf.org\u003c/a>.\u003c/p>\n\u003ch3>Kiandanda Dance Theater\u003c/h3>\n\u003ch5>May 21-24\u003cbr>\nFleet Room\u003c/h5>\n\u003cfigure id=\"attachment_10635852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10635852 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Kiandanda-copy.jpg\" alt=\"Kiandanda. (Courtesy of SFIAF)\" width=\"640\" height=\"330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Kiandanda-copy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Kiandanda-copy-400x206.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kiandanda Dance Theater. (Courtesy of the SFIAF)\u003c/figcaption>\u003c/figure>\n\u003cp>Choreographer and performer Byb Chanel Bibene had a rich dance-making career in his native Republic of Congo before immigrating to the Bay Area. His \u003cem>Taboo and Heroes\u003c/em> combines artists from the Congo with powerhouse local performers, like Dimensions Dance Theater’s Latanya Tigner. This depiction of the Congolese wars of the 1990s is set to an original score performed live by Congolese drummers, and uses vivid video projections.\u003c/p>\n\u003cfigure id=\"attachment_10635853\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/tinypistol-beast.double.exposure.web_.jpg\" alt=\"tiny pistol, beast. (Courtesy of SFIAF)\" width=\"550\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tinypistol-beast.double.exposure.web_.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tinypistol-beast.double.exposure.web_-400x267.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">tiny pistol, \u003ci>beast\u003c/i>. (Courtesy of the SFIAF)\u003c/figcaption>\u003c/figure>\n\u003ch3>tiny pistol\u003c/h3>\n\u003ch5>May 22-24\u003cbr>\nCowell Theater\u003c/h5>\n\u003cp>A former star of LINES Ballet, tiny pistol founder Maurya Kerr has emerged as a promising proponent of liquid-jointed postmodern ballet that marries virtuosic movement with an unfussy toughness. Her 2014 work \u003cem>Beast\u003c/em> is inspired by Oscar Wilde’s claim that “The ugly can be beautiful. The pretty, never,” and features nine fiercely precise and present dancers. tiny pistol shares a bill with another of San Francisco’s leading exponents of balletic postmodernism, The Foundry.\u003c/p>\n\u003cfigure id=\"attachment_10635854\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Ink-Boat.jpg\" alt=\"Ink Boat. (Courtesy of SFIAF)\" width=\"640\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Ink-Boat.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Ink-Boat-400x264.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shinichi Iova-Koga with Anna Halprin. (Courtesy of the SFIAF)\u003c/figcaption>\u003c/figure>\n\u003ch3>inkBoat\u003c/h3>\n\u003ch5>May 31\u003cbr>\nFort Mason Farmers Market and Firehouse\u003c/h5>\n\u003cp>With roots in Japanese Butoh but with a theatrical curiosity that transcends all genres, Shinichi Iova-Koga is one of the treasures of the San Francisco dance scene, making surreal, absurdist movement theater that brings you inside moments of existential madness. For \u003cem>Ritual 8-27: market\u003c/em>, Kova brings the reality-blurring methods of his mentor Anna Halprin into Fort Mason’s Sunday farmers’ market, infiltrating the site with performers.\u003c/p>\n\u003cfigure id=\"attachment_10635855\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635855\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Horse2.jpg\" alt=\"Horse Dance Theater. (Courtesy of the SFAIF)\" width=\"640\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Horse2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Horse2-400x237.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">HORSE Dance Theatre. (Courtesy of the SFAIF)\u003c/figcaption>\u003c/figure>\n\u003ch3>HORSE Dance Theatre\u003c/h3>\n\u003ch5>Jun. 4-6\u003cbr>\nCowell Theater\u003c/h5>\n\u003cp>Explosive movement, Eastern philosophy, and Taiwanese folklore combine in HORSE Dance Theatre’s \u003cem>2 Men\u003c/em>. Taiwan-born artistic director Wu-Kang Chen danced with the New York ballet company of Eliot Feld, and has toured HORSE throughout China and Germany since founding the company with fellow former Feld dancer Wei-Chia Su in 2005. Pianist Shih-yang Lee accompanies the movement with a bold score. HORSE Dance Theatre shares the bill with Gretchen Garnett and Dancers, Christine Germain and Dancers, and Davalos Dance.\u003c/p>\n\u003cfigure id=\"attachment_10635856\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/project_agora.jpg\" alt=\"Project Agora. (Courtesy of SFAIF)\" width=\"640\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/project_agora.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/project_agora-400x243.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bliss Kohlmeyer and Kara Davis of Project Agora. (Courtesy of the SFAIF)\u003c/figcaption>\u003c/figure>\n\u003ch3>Project Agora\u003c/h3>\n\u003ch5>Jun. 5-7\u003cbr>\nFleet Room\u003c/h5>\n\u003cp>Kara Davis was one of the most fearless dancers ever to perform with San Francisco’s legendary Margaret Jenkins Dance Company; Bliss Kohlmeyer was a force to be reckoned with as a member of Robert Moses’ Kin. Together they are Project Agora, a creative collective known for sensually danced, intelligently constructed choreography. For the SFIAF, they’re presenting \u003cem>Threshold, Suspended…\u003c/em> an hour-long interweaving of improvisations and choreographed dances that explore “in between” states, set to original ballads scored by Katy Stephan and Karl Digerness. The show also includes video projections triggered in real-time, coded by scientist David Fries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/san-francisco-international-arts-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco International Arts Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Dance, music, theater, visual art and film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21-Jun. 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fort Mason Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/san-francisco-international-arts-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This year’s San Francisco International Arts Festival includes artists from Ireland, Taiwan, France, China, and Armenia. The event, which spans a wide variety of performing arts as well as documentary films and an art exhibition, includes 30 dance performances. We combed through the dance offerings to make five must-see picks. The full lineup can be found at \u003ca href=\"http://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener\">sfiaf.org\u003c/a>.\u003c/p>\n\u003ch3>Kiandanda Dance Theater\u003c/h3>\n\u003ch5>May 21-24\u003cbr>\nFleet Room\u003c/h5>\n\u003cfigure id=\"attachment_10635852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10635852 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Kiandanda-copy.jpg\" alt=\"Kiandanda. (Courtesy of SFIAF)\" width=\"640\" height=\"330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Kiandanda-copy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Kiandanda-copy-400x206.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kiandanda Dance Theater. (Courtesy of the SFIAF)\u003c/figcaption>\u003c/figure>\n\u003cp>Choreographer and performer Byb Chanel Bibene had a rich dance-making career in his native Republic of Congo before immigrating to the Bay Area. His \u003cem>Taboo and Heroes\u003c/em> combines artists from the Congo with powerhouse local performers, like Dimensions Dance Theater’s Latanya Tigner. This depiction of the Congolese wars of the 1990s is set to an original score performed live by Congolese drummers, and uses vivid video projections.\u003c/p>\n\u003cfigure id=\"attachment_10635853\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/tinypistol-beast.double.exposure.web_.jpg\" alt=\"tiny pistol, beast. (Courtesy of SFIAF)\" width=\"550\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tinypistol-beast.double.exposure.web_.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tinypistol-beast.double.exposure.web_-400x267.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">tiny pistol, \u003ci>beast\u003c/i>. (Courtesy of the SFIAF)\u003c/figcaption>\u003c/figure>\n\u003ch3>tiny pistol\u003c/h3>\n\u003ch5>May 22-24\u003cbr>\nCowell Theater\u003c/h5>\n\u003cp>A former star of LINES Ballet, tiny pistol founder Maurya Kerr has emerged as a promising proponent of liquid-jointed postmodern ballet that marries virtuosic movement with an unfussy toughness. Her 2014 work \u003cem>Beast\u003c/em> is inspired by Oscar Wilde’s claim that “The ugly can be beautiful. The pretty, never,” and features nine fiercely precise and present dancers. tiny pistol shares a bill with another of San Francisco’s leading exponents of balletic postmodernism, The Foundry.\u003c/p>\n\u003cfigure id=\"attachment_10635854\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Ink-Boat.jpg\" alt=\"Ink Boat. (Courtesy of SFIAF)\" width=\"640\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Ink-Boat.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Ink-Boat-400x264.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shinichi Iova-Koga with Anna Halprin. (Courtesy of the SFIAF)\u003c/figcaption>\u003c/figure>\n\u003ch3>inkBoat\u003c/h3>\n\u003ch5>May 31\u003cbr>\nFort Mason Farmers Market and Firehouse\u003c/h5>\n\u003cp>With roots in Japanese Butoh but with a theatrical curiosity that transcends all genres, Shinichi Iova-Koga is one of the treasures of the San Francisco dance scene, making surreal, absurdist movement theater that brings you inside moments of existential madness. For \u003cem>Ritual 8-27: market\u003c/em>, Kova brings the reality-blurring methods of his mentor Anna Halprin into Fort Mason’s Sunday farmers’ market, infiltrating the site with performers.\u003c/p>\n\u003cfigure id=\"attachment_10635855\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635855\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Horse2.jpg\" alt=\"Horse Dance Theater. (Courtesy of the SFAIF)\" width=\"640\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Horse2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Horse2-400x237.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">HORSE Dance Theatre. (Courtesy of the SFAIF)\u003c/figcaption>\u003c/figure>\n\u003ch3>HORSE Dance Theatre\u003c/h3>\n\u003ch5>Jun. 4-6\u003cbr>\nCowell Theater\u003c/h5>\n\u003cp>Explosive movement, Eastern philosophy, and Taiwanese folklore combine in HORSE Dance Theatre’s \u003cem>2 Men\u003c/em>. Taiwan-born artistic director Wu-Kang Chen danced with the New York ballet company of Eliot Feld, and has toured HORSE throughout China and Germany since founding the company with fellow former Feld dancer Wei-Chia Su in 2005. Pianist Shih-yang Lee accompanies the movement with a bold score. HORSE Dance Theatre shares the bill with Gretchen Garnett and Dancers, Christine Germain and Dancers, and Davalos Dance.\u003c/p>\n\u003cfigure id=\"attachment_10635856\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10635856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/project_agora.jpg\" alt=\"Project Agora. (Courtesy of SFAIF)\" width=\"640\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/project_agora.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/project_agora-400x243.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bliss Kohlmeyer and Kara Davis of Project Agora. (Courtesy of the SFAIF)\u003c/figcaption>\u003c/figure>\n\u003ch3>Project Agora\u003c/h3>\n\u003ch5>Jun. 5-7\u003cbr>\nFleet Room\u003c/h5>\n\u003cp>Kara Davis was one of the most fearless dancers ever to perform with San Francisco’s legendary Margaret Jenkins Dance Company; Bliss Kohlmeyer was a force to be reckoned with as a member of Robert Moses’ Kin. Together they are Project Agora, a creative collective known for sensually danced, intelligently constructed choreography. For the SFIAF, they’re presenting \u003cem>Threshold, Suspended…\u003c/em> an hour-long interweaving of improvisations and choreographed dances that explore “in between” states, set to original ballads scored by Katy Stephan and Karl Digerness. The show also includes video projections triggered in real-time, coded by scientist David Fries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Jose South Indian Dancer and Teacher Honored for Lifetime Service",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/abhinaya-dance-company/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Bharatanatyam – Temple Legacy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Abhinaya Dance Company 35th anniversary performance with special guests.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>April 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cubberly Theater, Palo Alto\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/abhinaya-dance-company/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1978, Mythili Kumar moved from Central India to California because a Rotary Club gave her a full scholarship to UC Davis as a “cultural ambassador.” Surely the Club had little idea just how dazzling an ambassador Kumar would turn out to be.\u003c/p>\n\u003cp>Kumar had trained in a variety of classical Indian dance forms and was especially skilled as a performer of Bharatanatyam, a South Indian style passed down by temple dancers who used its elaborate gesture language — called \u003cem>abhinaya — \u003c/em>to reenact Hindu epics. After graduating (with a degree in nutrition), Kumar married and settled in San Jose, where Indian families soon began begging her to teach their daughters to dance. Her husband — then a Stanford professor — was all for it, and in 1980 the Abhinaya Dance School of San Jose was born.\u003c/p>\n\u003cp>Today the Abhinaya school has trained more than 100 Bharatanatyam dancers to the point of giving their \u003cem>arangetram\u003c/em>, a rigorous solo debut that marks a dancer’s arrival as a professional dancer. The 14-member Abhinaya Dance Company, founded in 1986, has performed nationally and internationally. And Kumar herself has been honored with a long list of prestigious \u003ca href=\"http://abhinaya.org/about-2/artistic-directorfounder/\">awards and fellowships\u003c/a>. On April 22\u003csup>nd\u003c/sup>, she will collect one more when Silicon Valley Creates recognizes Kumar’s 35 years of artistic accomplishment by presenting her with its \u003ca href=\"http://www.svcreates.org/page/Legacy_Laureate\">Legacy Laureate Award\u003c/a>. This Sunday, the Abhinaya Dance Company will present a special concert featuring guests flown in from India.\u003c/p>\n\u003cfigure id=\"attachment_10545799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10545799 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized.jpg\" alt=\"Kumar's daughters are also accomplished dancers. Shown here, right to left: Rasika Kumar and Malavika Kumar, with Yatrika Ajaya and Sindhu Natarajan. (photo Mukund Gunti) \" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized-320x160.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kumar’s daughters are also accomplished dancers. Shown here, right to left: Rasika Kumar and Malavika Kumar, with Yatrika Ajaya and Sindhu Natarajan. (photo Mukund Gunti)\u003c/figcaption>\u003c/figure>\n\u003cp>Everything Kumar does seems driven by a sense of service rather than from personal ambition. On a recent Friday, after returning from the airport where she picked up special concert guest Indra Rajan, Kumar asked if we could delay our interview 20 minutes so that she could serve her now 85-year-old former teacher a homemade lunch.\u003c/p>\n\u003cp>Kumar returns often to India to visit Rajan, her living connection to a sophisticated cultural past that immigrant families hope to keep alive in their children. For many Indians who immigrated, Kumar says, “When they were growing up in India the focus was on studying and getting a job, not learning music at home.” Now these immigrants are excited to give their children a cultural experience they never had.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when Bollywood threatens to overshadow classical Indian history, Bharatanatyam quickly connects children to a full heritage. “If you consider ballet class,” Kumar says, “at four or five years old, all they do is run across the stage.” By contrast, in training for Bharatanatyam, there’s an emphasis from the beginning on the culture that inspired the dance: “It’s not movement alone, it’s knowledge of the mythologies behind it. Dedication, perfecting the technique—that comes later.”\u003c/p>\n\u003cp>Surprisingly, connections to other cultures have also come, thanks to the initiative of the San Francisco Ethnic Dance Festival. “Without the Ethnic Dance Festival,” Kumar insists, “we would have remained in our own separate world.” Backstage festival conversations with San Jose Taiko led, for example, to a 1993 world premiere collaboration with the Japanese drumming troupe. “Talking with the taiko drummers, you see we have the same rhythms,” Kumar says. “Still, putting two cultural forms together is not easy. The process involves a lot of difficult compromise.”\u003c/p>\n\u003cp>Less difficult was the project of expanding Abhinaya’s productions beyond Hindu epics and into contemporary tales of social justice. The rarified gestural language of classical Indian dancing is unexpectedly easy to follow and adaptable, because it has long been the practice in India and the US to verbally narrate the action for the audience either before the dancing or during. Kumar has been especially innovative on this front, even having another character within her evening-length production of \u003cem>Gandhi\u003c/em> tell the flashback action about to be danced by Gandhi from the side of the stage, as though the character were recalling a memory.\u003c/p>\n\u003cp>“Any kind of story is possible with our gestures, not just stories of gods and goddesses,” Kumar believes. “And you can take combinations of steps that are ancient and bring something contemporary to [them].”\u003c/p>\n\u003cp>Now Kumar’s daughters are doing just that. Both Malavika and Rasika Kumar dance with Abhinaya. Malavika, an attorney, is renowned for her \u003cem>nattuvangram\u003c/em>, or vocal leadership of the live orchestra, while Rasika, a software engineer at Google, has launched her own choreography career. A 2013 solo concert of hers called \u003cem>Courage\u003c/em> included a dance about Rosa Parks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rasika, Malavika and other Abhinaya members will surely be listening closely this Sunday when their mother’s guru, Rajan, and fellow special guest Nandini Ramani lecture and demonstrate. Kumar will dance, too, and plans to restage her full-evening production of \u003cem>Gandhi\u003c/em> this fall. She says her daughters will not yet let her retire, but even when they do, “I always will teach. And when we teach, in this art form, we create.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/abhinaya-dance-company/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Bharatanatyam – Temple Legacy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Abhinaya Dance Company 35th anniversary performance with special guests.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>April 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cubberly Theater, Palo Alto\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/abhinaya-dance-company/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1978, Mythili Kumar moved from Central India to California because a Rotary Club gave her a full scholarship to UC Davis as a “cultural ambassador.” Surely the Club had little idea just how dazzling an ambassador Kumar would turn out to be.\u003c/p>\n\u003cp>Kumar had trained in a variety of classical Indian dance forms and was especially skilled as a performer of Bharatanatyam, a South Indian style passed down by temple dancers who used its elaborate gesture language — called \u003cem>abhinaya — \u003c/em>to reenact Hindu epics. After graduating (with a degree in nutrition), Kumar married and settled in San Jose, where Indian families soon began begging her to teach their daughters to dance. Her husband — then a Stanford professor — was all for it, and in 1980 the Abhinaya Dance School of San Jose was born.\u003c/p>\n\u003cp>Today the Abhinaya school has trained more than 100 Bharatanatyam dancers to the point of giving their \u003cem>arangetram\u003c/em>, a rigorous solo debut that marks a dancer’s arrival as a professional dancer. The 14-member Abhinaya Dance Company, founded in 1986, has performed nationally and internationally. And Kumar herself has been honored with a long list of prestigious \u003ca href=\"http://abhinaya.org/about-2/artistic-directorfounder/\">awards and fellowships\u003c/a>. On April 22\u003csup>nd\u003c/sup>, she will collect one more when Silicon Valley Creates recognizes Kumar’s 35 years of artistic accomplishment by presenting her with its \u003ca href=\"http://www.svcreates.org/page/Legacy_Laureate\">Legacy Laureate Award\u003c/a>. This Sunday, the Abhinaya Dance Company will present a special concert featuring guests flown in from India.\u003c/p>\n\u003cfigure id=\"attachment_10545799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10545799 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized.jpg\" alt=\"Kumar's daughters are also accomplished dancers. Shown here, right to left: Rasika Kumar and Malavika Kumar, with Yatrika Ajaya and Sindhu Natarajan. (photo Mukund Gunti) \" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mythli-daugthers-resized-320x160.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kumar’s daughters are also accomplished dancers. Shown here, right to left: Rasika Kumar and Malavika Kumar, with Yatrika Ajaya and Sindhu Natarajan. (photo Mukund Gunti)\u003c/figcaption>\u003c/figure>\n\u003cp>Everything Kumar does seems driven by a sense of service rather than from personal ambition. On a recent Friday, after returning from the airport where she picked up special concert guest Indra Rajan, Kumar asked if we could delay our interview 20 minutes so that she could serve her now 85-year-old former teacher a homemade lunch.\u003c/p>\n\u003cp>Kumar returns often to India to visit Rajan, her living connection to a sophisticated cultural past that immigrant families hope to keep alive in their children. For many Indians who immigrated, Kumar says, “When they were growing up in India the focus was on studying and getting a job, not learning music at home.” Now these immigrants are excited to give their children a cultural experience they never had.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when Bollywood threatens to overshadow classical Indian history, Bharatanatyam quickly connects children to a full heritage. “If you consider ballet class,” Kumar says, “at four or five years old, all they do is run across the stage.” By contrast, in training for Bharatanatyam, there’s an emphasis from the beginning on the culture that inspired the dance: “It’s not movement alone, it’s knowledge of the mythologies behind it. Dedication, perfecting the technique—that comes later.”\u003c/p>\n\u003cp>Surprisingly, connections to other cultures have also come, thanks to the initiative of the San Francisco Ethnic Dance Festival. “Without the Ethnic Dance Festival,” Kumar insists, “we would have remained in our own separate world.” Backstage festival conversations with San Jose Taiko led, for example, to a 1993 world premiere collaboration with the Japanese drumming troupe. “Talking with the taiko drummers, you see we have the same rhythms,” Kumar says. “Still, putting two cultural forms together is not easy. The process involves a lot of difficult compromise.”\u003c/p>\n\u003cp>Less difficult was the project of expanding Abhinaya’s productions beyond Hindu epics and into contemporary tales of social justice. The rarified gestural language of classical Indian dancing is unexpectedly easy to follow and adaptable, because it has long been the practice in India and the US to verbally narrate the action for the audience either before the dancing or during. Kumar has been especially innovative on this front, even having another character within her evening-length production of \u003cem>Gandhi\u003c/em> tell the flashback action about to be danced by Gandhi from the side of the stage, as though the character were recalling a memory.\u003c/p>\n\u003cp>“Any kind of story is possible with our gestures, not just stories of gods and goddesses,” Kumar believes. “And you can take combinations of steps that are ancient and bring something contemporary to [them].”\u003c/p>\n\u003cp>Now Kumar’s daughters are doing just that. Both Malavika and Rasika Kumar dance with Abhinaya. Malavika, an attorney, is renowned for her \u003cem>nattuvangram\u003c/em>, or vocal leadership of the live orchestra, while Rasika, a software engineer at Google, has launched her own choreography career. A 2013 solo concert of hers called \u003cem>Courage\u003c/em> included a dance about Rosa Parks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rasika, Malavika and other Abhinaya members will surely be listening closely this Sunday when their mother’s guru, Rajan, and fellow special guest Nandini Ramani lecture and demonstrate. Kumar will dance, too, and plans to restage her full-evening production of \u003cem>Gandhi\u003c/em> this fall. She says her daughters will not yet let her retire, but even when they do, “I always will teach. And when we teach, in this art form, we create.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shostakovich-trilogy/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Shostakovich Trilogy’\u003c/h2>\n\u003cdiv class=\"event-desc\">San Francisco Ballet dances Alexei Ratmansky’s masterpiece.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 8–19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">War Memorial Opera House\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shostakovich-trilogy/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When San Francisco Ballet first danced Alexei Ratmansky’s \u003cem>Shostakovich Trilogy \u003c/em>last April, artistic director Helgi Tomasson didn’t expect it to be a hit. A plotless three-act ballet set to the grating dissonances of Shostakovich? Tomasson slated the ballet for only one season. But after opening-night, word spread of the ballet’s brilliance and the crowds poured in. So the \u003cem>Shostakovich Trilogy \u003c/em>will return to San Francisco next week.\u003c/p>\n\u003cp>Thank goodness.\u003c/p>\n\u003cp>One might think the Russian-born Ratmansky would have inspired more confidence on Tomasson’s part. Trained at the Bolshoi, the choreographer is artist in residence at American Ballet Theatre and the recipient of a MacArthur “genius grant.” In recent years he has made commissions for the New York City Ballet, Royal Danish Ballet, La Scala and the Bolshoi Ballet, among many others. And he is only 46.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“‘Shostakovich Trilogy’ is, simply put, a contemporary masterpiece, an astonishing and quite possibly perfect whole.”\u003c/aside>\n\u003cp>His \u003cem>Shostakovich Trilogy \u003c/em>is, simply put, a contemporary masterpiece, an astonishing and quite possibly perfect whole. Ratmansky catches the inner current of the music, with its oscillation between sweet melodies and grotesque parodies, so that, in watching the dancers, we live inside Shostakovich’s emotional dissonance. Only a Russian choreographer with Ratmansky’s narrative leanings could have teased out this music’s true drama. Or perhaps a Czech, because watching the \u003cem>Shostakovich Trilogy \u003c/em>is like reading a Milan Kundera novel: by the end, you feel that you’ve vicariously lived in a communist state.\u003c/p>\n\u003cp>The ballet has no plot per se, but Ratmansky ingeniously and very subtly suggests a story. The first panel of the trilogy is danced to Symphony No. 9, an eerily bright romp that was commissioned to celebrate Russia’s victory over Nazi Germany. The dancers wear a murky mix of brown and green, with just a flash of gold on the underside of their skirts (this is ballet, after all). The women wear their hair is in peasant braids and cavort with the men like rustic folk to cheerful Haydenesque themes.\u003c/p>\n\u003cfigure id=\"attachment_10521259\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_couple.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10521259\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_couple.jpg\" alt=\"Sarah Van Patten and Carlos Quenedit cavort uncomfortably in of Alexei Ratmansky's "Shostakovich Trilogy."\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-768x1023.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-320x426.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Van Patten and Carlos Quenedit cavort uncomfortably in of Alexei Ratmansky’s “Shostakovich Trilogy.”\u003c/figcaption>\u003c/figure>\n\u003cp>Before long the mood – and the music – darkens, and a principal couple comes in (the always-dramatic Sarah Van Patten and the dashing Carlos Quenedit on last year’s opening night), looking warily over their shoulders. They seem to ask, is all this cheerfulness too good to be true? Two pizzicato notes are plucked by the cello between melodic refrains and the dancers look suspiciously left and right—not when the notes are plucked, but in the pauses when we hear, in our imaginations, the ghostly echoes of those two notes. Then they join the dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here we see Ratmansky’s brilliant musicality. A lesser choreographer would have made that wary principal couple either flail despondently or smile obscenely, foregrounding the symphony’s more disquieting tones. But Van Patten and Quenedit hit the perfect note of ambiguity: were they mildly enjoying the coerced jigs? They remain unreadable to those around them and to us, conveying that they themselves may be unclear how it feels to participate.\u003c/p>\n\u003cp>The second panel of Ratmansky’s trilogy is Shostakovich’s Chamber Symphony (originally a string quartet), written in 1960, a few months after Shostakovich joined the Communist Party—and, according to his daughter, contemplated suicide. Here Ratmansky is more specifically biographical: We are given representations of the composer himself (danced movingly, never melodramatically, by both Davit Karapetyan and Jaime Garcia Castilla in separate performances). There’s a colluding, whispering ensemble, and then three principal women, who might represent Shostakovich’s wife and two mistresses. You don’t need to know this, though, to be immersed in all that matters here: The mind-twisting confusion of kisses offered, then manipulatively withheld (the young soloist Sasha De Sola was terrifying in her calculated flirtations), the devastating impossibility of trust (Lorena Feijoo was heartbreaking as the wifely figure whose impulses to solace were always quickly cut off by the fear of surveillance).\u003c/p>\n\u003cfigure id=\"attachment_10521260\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10521260 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure.jpg\" alt=\"San Francisco Ballet's Davit Karapetyan as the Shostakovich-like figure in the "Chamber Symphony" middle section of Alexei Ratmansky's "Shostakovich Trilogy."\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Davit Karapetyan as the Shostakovich-like figure in the “Chamber Symphony” middle section of Alexei Ratmansky’s “Shostakovich Trilogy.”\u003c/figcaption>\u003c/figure>\n\u003cp>It was the final panel of Ratmansky’s triptych, set to Shostakovich’s Piano Concerto No. 1, that put the ballet, for me, on the same level as George Balanchine’s masterpiece \u003cem>Jewels\u003c/em>. Ratmansky has inherited a lot from Balanchine, particularly his manner of establishing and interweaving sets of ensembles in response to the music’s structure. But Ratmansky’s aesthetic, now fully developed, is his own. He does not rely on the hierarchies of 19th century ballet, unlike Balanchine, who built his compositions on the separation of corps, soloist and principal ranks, often arrayed in lines. The dancers in Ratmansky’s ballet are not aristocratic idealizations. And his movement invention concentrates in the arms rather than the legs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final rich irony: The arresting set designs of the \u003cem>Shostakovich Trilogy, \u003c/em>which in the crowning Piano Concerto No. 1 spoof Soviet propaganda, were created by the same designer who created ceremony scenery for the 2014 Winter Olympics in Sochi. Ballet has often been used as a tool of propaganda, nowhere more thoroughly than in the Soviet Union. Ratmansky’s great talent for conveying emotional ambivalence transforms ballet into a tool for exposing propaganda—and does so without a dull moment. As the manipulative spectacle of the Winter Olympics and ensuing events in Russia prove, Ratmansky’s talent is strikingly timely.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shostakovich-trilogy/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Shostakovich Trilogy’\u003c/h2>\n\u003cdiv class=\"event-desc\">San Francisco Ballet dances Alexei Ratmansky’s masterpiece.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 8–19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">War Memorial Opera House\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shostakovich-trilogy/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When San Francisco Ballet first danced Alexei Ratmansky’s \u003cem>Shostakovich Trilogy \u003c/em>last April, artistic director Helgi Tomasson didn’t expect it to be a hit. A plotless three-act ballet set to the grating dissonances of Shostakovich? Tomasson slated the ballet for only one season. But after opening-night, word spread of the ballet’s brilliance and the crowds poured in. So the \u003cem>Shostakovich Trilogy \u003c/em>will return to San Francisco next week.\u003c/p>\n\u003cp>Thank goodness.\u003c/p>\n\u003cp>One might think the Russian-born Ratmansky would have inspired more confidence on Tomasson’s part. Trained at the Bolshoi, the choreographer is artist in residence at American Ballet Theatre and the recipient of a MacArthur “genius grant.” In recent years he has made commissions for the New York City Ballet, Royal Danish Ballet, La Scala and the Bolshoi Ballet, among many others. And he is only 46.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“‘Shostakovich Trilogy’ is, simply put, a contemporary masterpiece, an astonishing and quite possibly perfect whole.”\u003c/aside>\n\u003cp>His \u003cem>Shostakovich Trilogy \u003c/em>is, simply put, a contemporary masterpiece, an astonishing and quite possibly perfect whole. Ratmansky catches the inner current of the music, with its oscillation between sweet melodies and grotesque parodies, so that, in watching the dancers, we live inside Shostakovich’s emotional dissonance. Only a Russian choreographer with Ratmansky’s narrative leanings could have teased out this music’s true drama. Or perhaps a Czech, because watching the \u003cem>Shostakovich Trilogy \u003c/em>is like reading a Milan Kundera novel: by the end, you feel that you’ve vicariously lived in a communist state.\u003c/p>\n\u003cp>The ballet has no plot per se, but Ratmansky ingeniously and very subtly suggests a story. The first panel of the trilogy is danced to Symphony No. 9, an eerily bright romp that was commissioned to celebrate Russia’s victory over Nazi Germany. The dancers wear a murky mix of brown and green, with just a flash of gold on the underside of their skirts (this is ballet, after all). The women wear their hair is in peasant braids and cavort with the men like rustic folk to cheerful Haydenesque themes.\u003c/p>\n\u003cfigure id=\"attachment_10521259\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_couple.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10521259\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_couple.jpg\" alt=\"Sarah Van Patten and Carlos Quenedit cavort uncomfortably in of Alexei Ratmansky's "Shostakovich Trilogy."\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-768x1023.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_couple-320x426.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Van Patten and Carlos Quenedit cavort uncomfortably in of Alexei Ratmansky’s “Shostakovich Trilogy.”\u003c/figcaption>\u003c/figure>\n\u003cp>Before long the mood – and the music – darkens, and a principal couple comes in (the always-dramatic Sarah Van Patten and the dashing Carlos Quenedit on last year’s opening night), looking warily over their shoulders. They seem to ask, is all this cheerfulness too good to be true? Two pizzicato notes are plucked by the cello between melodic refrains and the dancers look suspiciously left and right—not when the notes are plucked, but in the pauses when we hear, in our imaginations, the ghostly echoes of those two notes. Then they join the dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here we see Ratmansky’s brilliant musicality. A lesser choreographer would have made that wary principal couple either flail despondently or smile obscenely, foregrounding the symphony’s more disquieting tones. But Van Patten and Quenedit hit the perfect note of ambiguity: were they mildly enjoying the coerced jigs? They remain unreadable to those around them and to us, conveying that they themselves may be unclear how it feels to participate.\u003c/p>\n\u003cp>The second panel of Ratmansky’s trilogy is Shostakovich’s Chamber Symphony (originally a string quartet), written in 1960, a few months after Shostakovich joined the Communist Party—and, according to his daughter, contemplated suicide. Here Ratmansky is more specifically biographical: We are given representations of the composer himself (danced movingly, never melodramatically, by both Davit Karapetyan and Jaime Garcia Castilla in separate performances). There’s a colluding, whispering ensemble, and then three principal women, who might represent Shostakovich’s wife and two mistresses. You don’t need to know this, though, to be immersed in all that matters here: The mind-twisting confusion of kisses offered, then manipulatively withheld (the young soloist Sasha De Sola was terrifying in her calculated flirtations), the devastating impossibility of trust (Lorena Feijoo was heartbreaking as the wifely figure whose impulses to solace were always quickly cut off by the fear of surveillance).\u003c/p>\n\u003cfigure id=\"attachment_10521260\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10521260 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure.jpg\" alt=\"San Francisco Ballet's Davit Karapetyan as the Shostakovich-like figure in the "Chamber Symphony" middle section of Alexei Ratmansky's "Shostakovich Trilogy."\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/sfballet_composterfigure-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Davit Karapetyan as the Shostakovich-like figure in the “Chamber Symphony” middle section of Alexei Ratmansky’s “Shostakovich Trilogy.”\u003c/figcaption>\u003c/figure>\n\u003cp>It was the final panel of Ratmansky’s triptych, set to Shostakovich’s Piano Concerto No. 1, that put the ballet, for me, on the same level as George Balanchine’s masterpiece \u003cem>Jewels\u003c/em>. Ratmansky has inherited a lot from Balanchine, particularly his manner of establishing and interweaving sets of ensembles in response to the music’s structure. But Ratmansky’s aesthetic, now fully developed, is his own. He does not rely on the hierarchies of 19th century ballet, unlike Balanchine, who built his compositions on the separation of corps, soloist and principal ranks, often arrayed in lines. The dancers in Ratmansky’s ballet are not aristocratic idealizations. And his movement invention concentrates in the arms rather than the legs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final rich irony: The arresting set designs of the \u003cem>Shostakovich Trilogy, \u003c/em>which in the crowning Piano Concerto No. 1 spoof Soviet propaganda, were created by the same designer who created ceremony scenery for the 2014 Winter Olympics in Sochi. Ballet has often been used as a tool of propaganda, nowhere more thoroughly than in the Soviet Union. Ratmansky’s great talent for conveying emotional ambivalence transforms ballet into a tool for exposing propaganda—and does so without a dull moment. As the manipulative spectacle of the Winter Olympics and ensuing events in Russia prove, Ratmansky’s talent is strikingly timely.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ballet-program-3/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Program 3\u003c/h2>\n\u003cdiv class=\"event-desc\">SF Ballet’s best of the season.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 24 – Mar. 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">War Memorial Opera House\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ballet-program-3/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you can only make it to one of San Francisco Ballet’s eight programs this year (and that would be a shame), I implore you to make it Program Three, opening this Tuesday. Not because this is necessarily the “best” bill of the season. And not because this is the most urgent bill, when there’s also the contemporary genius of Alexei Ratmansky’s politically timely, full-evening \u003cem>Shostakovich Trilogy\u003c/em> offered in April as Program Six.\u003c/p>\n\u003cp>But Program Three is the bill that will ground you in the most sublime of ballet’s past while carrying you through its 20\u003csup>th\u003c/sup> century evolution and into its possible future. It will astonish you, move you and make you a sharper-eyed viewer of any ballet you see afterward.\u003c/p>\n\u003cp>The evening’s foundation is the “Kingdom of the Shades” act from \u003cem>La Bayadere\u003c/em>, the 1877 ballet by the man who essentially created 19\u003csup>th\u003c/sup> century Russian ballet: Marius Petipa. \u003cem>La Bayadere\u003c/em> was virtually unknown in the U.S. until the star ballerina Natalia Makarova first staged the final “Shades” act for American Ballet Theatre in 1974, and it is Makarova’s staging that San Francisco Ballet has danced since their first performance in 2000.\u003c/p>\n\u003cfigure id=\"attachment_10403297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10403297 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited-800x501.jpg\" alt=\"Bayaderepreview_edited\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited-400x251.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From \u003cem>La Bayadere,\u003c/em> by Marius Petipa, the man who essentially created 19th century ballet.\u003c/figcaption>\u003c/figure>\n\u003cp>It helps, when watching this ballet, to get the backstory out of the way. In the first two acts of \u003cem>La Bayadere\u003c/em> – not presented in this program — the Indian prince Solor has, through a complicated series of events, unwittingly caused the death of Nikiya, the temple dancer he loves. In the third act, to blunt his grief, he smokes opium—and enters a dream in which he sees dozens of identical women in white descending like an ecstasy vapor trail, followed by Nikiya herself. The women in this case are the San Francisco Ballet female corps dancers—Nikiya multiplied to infinity—and the act is the ultimate test of their control and purity of line as they enter on a downward ramp, repeating a phrase in which they must lift the same leg to a perfect upward-diagonal arabesque 38 times.\u003c/p>\n\u003cp>As the grand dame of American dance criticism, Arlene Croce, wrote upon the “Kingdom of the Shades” premiere at ABT: “\u003cem>La Bayadere\u003c/em> looks like the first ballet ever made: like man’s—or, rather, woman’s—first imprint in space and time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Standing as the other pole in this program is William Forsythe’s 1996 ballet \u003cem>The Vertiginous Thrill of Exactitude,\u003c/em> which offers a prankster’s response to the challenge of making everything old new. All the steps are straight out of Petipa, utterly tidy and classical in their logic, but their velocity (the music is breakneck Schubert) is allowed to whiplash through the torso, resulting in a slinkiness that looks thoroughly postmodern. The costumes are short-shorts for the two men and lime-green pie-plate tutus that look like flying saucers for the women—a look since borrowed by legions of Forsythe imitators. The whole ballet has the delicious tension of a stunt, as though Forsythe were saying to his audience, “You want classical ballet? I’ll give you classical ballet!”\u003c/p>\n\u003cfigure id=\"attachment_10403298\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Variationspreview_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10403298 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Variationspreview_edited-400x488.jpg\" alt=\"Variationspreview_edited\" width=\"400\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Variationspreview_edited-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Variationspreview_edited-492x600.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Variationspreview_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Van Patten and Anthony Spaulding in Hans Van Manen’s “Variations for Two Couples.”\u003c/figcaption>\u003c/figure>\n\u003cp>A small, intriguing detour through the middle of the 20\u003csup>th\u003c/sup> century in this program is Hans Van Manen’s “Variations for Two Couples.” Van Manen is the choreographer who made Nederlands Dans Theater the important troupe it is today. Here the ballet language merges with the weighted solidity of modern dance, in a stark and mystical suite of tense man-woman interactions, set to music by Benjamin Britten, Einojuhani Rautavaara, Stefan Kovács Tickmayer and Aster Piazzolla.\u003c/p>\n\u003cp>And finally, Program Three looks to the future in a world premiere by Myles Thatcher, a young SF Ballet corps dancer who has proven himself especially gifted in three previous works created with students of the San Francisco Ballet School, as well as one short piece for SF Ballet’s 2013 gala. Thatcher’s movement language is sleek and gymnastic; his obvious talent is for shaping ensemble structures that move us through the music’s arc, and for this high-profile premiere, he felt he was ready to take on classical music. Speaking recently on his Monday off, he said he chose to contrast Bach’s “Musical Offering” and “Goldberg Variations” as an investigation of the tension between formalism and raw expression in his commission, “Manifesto.”\u003c/p>\n\u003cp>“What struck me in ‘Musical Offering’ is that the main theme is a little dark, alluring but with an oppressive tone to it,” Thatcher said. “It’s one of the last pieces Bach wrote, and you can tell in its conventions. It’s so mathematical, and the way the theme runs through feels almost like Bach is showing off how incredibly intellectual and masterful he was. And I felt that subdued the emotional aspect because it’s so tightly structured. So to contrast that, the Goldberg Variations feel so stripped down and soulful. That’s what I wanted to play with — the contrast.”\u003c/p>\n\u003cp>Thatcher is in the midst of a one-year choreographic mentorship with Alexei Ratmansky (creator of this season’s \u003cem>Shostakovich Trilogy\u003c/em>). As a winner of the Rolex Protegee award, he was allowed to shadow Ratmansky as he worked on a world premiere for New York City Ballet, and a setting of the 19\u003csup>th\u003c/sup> century ballet \u003cem>Paquita\u003c/em>. Ratmansky also sat in on five hours of rehearsal while Thatcher created a new work.\u003c/p>\n\u003cp>“I’ve gained more than I ever expected,” Thatcher said. “Rather than imposing his process on me, Alexei has been asking me questions. He’s put himself in my shoes and helped me clarify what I want to say. His main note was not to be afraid to cut the superfluous things. Sometimes the simplest things are the most effective at communicating. You can see that in his own work.”\u003c/p>\n\u003cp>And so the language of ballet continues to be spoken in new tongues.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>San Francisco Ballet’s Program Three opens Tuesday and runs through March 7\u003csup>th\u003c/sup> at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. Tickets are $22-$345. (415) 865-2000 or www.sfballet.org.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ballet-program-3/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Program 3\u003c/h2>\n\u003cdiv class=\"event-desc\">SF Ballet’s best of the season.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 24 – Mar. 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">War Memorial Opera House\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ballet-program-3/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you can only make it to one of San Francisco Ballet’s eight programs this year (and that would be a shame), I implore you to make it Program Three, opening this Tuesday. Not because this is necessarily the “best” bill of the season. And not because this is the most urgent bill, when there’s also the contemporary genius of Alexei Ratmansky’s politically timely, full-evening \u003cem>Shostakovich Trilogy\u003c/em> offered in April as Program Six.\u003c/p>\n\u003cp>But Program Three is the bill that will ground you in the most sublime of ballet’s past while carrying you through its 20\u003csup>th\u003c/sup> century evolution and into its possible future. It will astonish you, move you and make you a sharper-eyed viewer of any ballet you see afterward.\u003c/p>\n\u003cp>The evening’s foundation is the “Kingdom of the Shades” act from \u003cem>La Bayadere\u003c/em>, the 1877 ballet by the man who essentially created 19\u003csup>th\u003c/sup> century Russian ballet: Marius Petipa. \u003cem>La Bayadere\u003c/em> was virtually unknown in the U.S. until the star ballerina Natalia Makarova first staged the final “Shades” act for American Ballet Theatre in 1974, and it is Makarova’s staging that San Francisco Ballet has danced since their first performance in 2000.\u003c/p>\n\u003cfigure id=\"attachment_10403297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10403297 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited-800x501.jpg\" alt=\"Bayaderepreview_edited\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bayaderepreview_edited-400x251.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From \u003cem>La Bayadere,\u003c/em> by Marius Petipa, the man who essentially created 19th century ballet.\u003c/figcaption>\u003c/figure>\n\u003cp>It helps, when watching this ballet, to get the backstory out of the way. In the first two acts of \u003cem>La Bayadere\u003c/em> – not presented in this program — the Indian prince Solor has, through a complicated series of events, unwittingly caused the death of Nikiya, the temple dancer he loves. In the third act, to blunt his grief, he smokes opium—and enters a dream in which he sees dozens of identical women in white descending like an ecstasy vapor trail, followed by Nikiya herself. The women in this case are the San Francisco Ballet female corps dancers—Nikiya multiplied to infinity—and the act is the ultimate test of their control and purity of line as they enter on a downward ramp, repeating a phrase in which they must lift the same leg to a perfect upward-diagonal arabesque 38 times.\u003c/p>\n\u003cp>As the grand dame of American dance criticism, Arlene Croce, wrote upon the “Kingdom of the Shades” premiere at ABT: “\u003cem>La Bayadere\u003c/em> looks like the first ballet ever made: like man’s—or, rather, woman’s—first imprint in space and time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Standing as the other pole in this program is William Forsythe’s 1996 ballet \u003cem>The Vertiginous Thrill of Exactitude,\u003c/em> which offers a prankster’s response to the challenge of making everything old new. All the steps are straight out of Petipa, utterly tidy and classical in their logic, but their velocity (the music is breakneck Schubert) is allowed to whiplash through the torso, resulting in a slinkiness that looks thoroughly postmodern. The costumes are short-shorts for the two men and lime-green pie-plate tutus that look like flying saucers for the women—a look since borrowed by legions of Forsythe imitators. The whole ballet has the delicious tension of a stunt, as though Forsythe were saying to his audience, “You want classical ballet? I’ll give you classical ballet!”\u003c/p>\n\u003cfigure id=\"attachment_10403298\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Variationspreview_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10403298 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Variationspreview_edited-400x488.jpg\" alt=\"Variationspreview_edited\" width=\"400\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Variationspreview_edited-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Variationspreview_edited-492x600.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Variationspreview_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Van Patten and Anthony Spaulding in Hans Van Manen’s “Variations for Two Couples.”\u003c/figcaption>\u003c/figure>\n\u003cp>A small, intriguing detour through the middle of the 20\u003csup>th\u003c/sup> century in this program is Hans Van Manen’s “Variations for Two Couples.” Van Manen is the choreographer who made Nederlands Dans Theater the important troupe it is today. Here the ballet language merges with the weighted solidity of modern dance, in a stark and mystical suite of tense man-woman interactions, set to music by Benjamin Britten, Einojuhani Rautavaara, Stefan Kovács Tickmayer and Aster Piazzolla.\u003c/p>\n\u003cp>And finally, Program Three looks to the future in a world premiere by Myles Thatcher, a young SF Ballet corps dancer who has proven himself especially gifted in three previous works created with students of the San Francisco Ballet School, as well as one short piece for SF Ballet’s 2013 gala. Thatcher’s movement language is sleek and gymnastic; his obvious talent is for shaping ensemble structures that move us through the music’s arc, and for this high-profile premiere, he felt he was ready to take on classical music. Speaking recently on his Monday off, he said he chose to contrast Bach’s “Musical Offering” and “Goldberg Variations” as an investigation of the tension between formalism and raw expression in his commission, “Manifesto.”\u003c/p>\n\u003cp>“What struck me in ‘Musical Offering’ is that the main theme is a little dark, alluring but with an oppressive tone to it,” Thatcher said. “It’s one of the last pieces Bach wrote, and you can tell in its conventions. It’s so mathematical, and the way the theme runs through feels almost like Bach is showing off how incredibly intellectual and masterful he was. And I felt that subdued the emotional aspect because it’s so tightly structured. So to contrast that, the Goldberg Variations feel so stripped down and soulful. That’s what I wanted to play with — the contrast.”\u003c/p>\n\u003cp>Thatcher is in the midst of a one-year choreographic mentorship with Alexei Ratmansky (creator of this season’s \u003cem>Shostakovich Trilogy\u003c/em>). As a winner of the Rolex Protegee award, he was allowed to shadow Ratmansky as he worked on a world premiere for New York City Ballet, and a setting of the 19\u003csup>th\u003c/sup> century ballet \u003cem>Paquita\u003c/em>. Ratmansky also sat in on five hours of rehearsal while Thatcher created a new work.\u003c/p>\n\u003cp>“I’ve gained more than I ever expected,” Thatcher said. “Rather than imposing his process on me, Alexei has been asking me questions. He’s put himself in my shoes and helped me clarify what I want to say. His main note was not to be afraid to cut the superfluous things. Sometimes the simplest things are the most effective at communicating. You can see that in his own work.”\u003c/p>\n\u003cp>And so the language of ballet continues to be spoken in new tongues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>San Francisco Ballet’s Program Three opens Tuesday and runs through March 7\u003csup>th\u003c/sup> at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. Tickets are $22-$345. (415) 865-2000 or www.sfballet.org.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "chitresh-das-master-indian-dancer-and-prominent-teacher-dies-at-70",
"title": "Chitresh Das, Master Indian Dancer and Prominent Teacher, Dies at 70",
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"content": "\u003cp>The Bay Area dance world lost one of its all-time greats this weekend with the sudden passing of Chitresh Das, master of the classical Indian dance form known as Kathak.\u003c/p>\n\u003cp>Das was an ecstatic presence, wild-eyed and haired, still performing his athletically demanding style of dance — with its 10 pounds of bells on each ankle and its rapid-fire foot-stampings — into his 70th year. Over the past decade it had become one of Das’ chief delights to test the physical virtuosity and musical sophistication of Kathak against other dance traditions. Last September, he appeared at the Palace of Fine Arts Theatre, soaked in sweat, in a friendly showdown with flamenco dancer Antonio Hidalgo Paz. His evening-length show with tap dancer Jason Samuels Smith, “India Jazz Suites,” was a critical and popular hit and toured the country. (Their performances together are\u003ca href=\"https://vimeo.com/80965715\"> documented in the film \u003cem>Upaj\u003c/em>\u003c/a>\u003cem>,\u003c/em> which means “improvise” in Hindi and aired on PBS last year.) In my own estimation, Das was always the winner of these cross-cultural contests.\u003c/p>\n\u003cp>[sc:jwspark movie=\"chitreshda\" image_url=\"http://www.kqed.org/assets/img/arts/programs/spark/artists/chitreshda-headshot.jpg\" ]\u003c/p>\n\u003cp>View Spark segment on Pandit Chitresh Das. Original air date: May 2007.\u003c/p>\n\u003cp>He was trained by his parents and his guru, Pandit Ram Narayan Misra, in his native Kolkata, and first came to the US on a fellowship to the University of Maryland. In 1971 he came to San Rafael to teach at the Ali Akbar College of Music, and a few years later created the first college-accredited Kathak course, at San Francisco State University. In Marin and at SFSU, he attracted what he joked was his “rainbow coalition:” women from a range of ethnicities who found a lifelong calling as his disciples, undergoing deep vows of apprenticeship. Many of these disciples, like Chalotte Moraga and Farah Yasmeen Shaikh, have become mesmerizing performers in their own right. In addition to dancing as the Chitresh Das Dance Company, these dancers pass on his example of complete life commitment to students at Das’ \u003ca href=\"http://www.kathak.org/site/kathak/section.php?id=4174\">Chhandam School of Kathak\u003c/a>, which he founded in 1979, opening a branch in India in 2002. Chhandam now has ten branches and 550 students.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kathak, one of India’s eight classical dance forms, derives its name from the \u003cem>kathakas,\u003c/em> who would travel among Mughal Courts in the 16\u003csup>th\u003c/sup> century reenacting tales from the Ramayana and other Hindu texts. Though Das worked most deeply as an innovator of pure musicality — he developed a training method he dubbed “Kathak Yoga,” in which the dancer rises to a higher state of concentration by stamping rhythms, singing and playing the harmonium — I remember him most vividly as a storyteller. To see him transform from the manly guise of the Hindu deity Krishna into a seductive female admirer with just the coy rising of his eyebrow was to experience both Das’ mischievous personality and his deep understanding of human nature.\u003c/p>\n\u003cp>Like the Kathak spectacles in the Mughal Courts, Das’ performances could go on for hours, punctuated by long breaks during which he explained the intricacies of a rhythmic challenge or told the Hindu story he was about to enact, always speaking teasingly and with laughter. In press interviews, too — I was fortunate to interview him several times — he would talk tirelessly about the history of his art and the spiritual dimensions of his practice. In every interview, he would tell me how badly he wanted to stage a performance with the San Francisco Ballet, pitting his dancers’ dervish-like spins against the ballerinas’ pirouettes. He never got to do it, but he didn’t really need to. Over five decades of boundless advocacy, he educated, enchanted, inspired — and proved his art form the equal to any in the world.\u003c/p>\n\u003cp>Chitresh Das leaves behind his wife, Celine Schein, executive director of the school and dance company, and two young daughters. His community is committed to carrying on: the Chitresh Das Dance Company will dance one of Das’ last evening-length dramas, \u003ca href=\"http://events.berkeley.edu/?event_ID=80755&date=2015-03-29&tab=performing_arts\">“Shiva,” at UC Berkeley in March\u003c/a>. A memorial is scheduled for Friday, January 9th at 10 am, at the \u003ca href=\"https://www.google.com/maps/place/2500+5th+Ave,+San+Rafael,+CA+94901/@37.9866711,-122.5552087,17z/data=!3m1!4b1!4m2!3m1!1s0x8085976df1364c07:0x876d3fd0b1d47806\">Mount Tamalpais Mortuary and Cemetery\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Chitresh Das, Master Indian Dancer and Prominent Teacher, Dies at 70 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area dance world lost one of its all-time greats this weekend with the sudden passing of Chitresh Das, master of the classical Indian dance form known as Kathak.\u003c/p>\n\u003cp>Das was an ecstatic presence, wild-eyed and haired, still performing his athletically demanding style of dance — with its 10 pounds of bells on each ankle and its rapid-fire foot-stampings — into his 70th year. Over the past decade it had become one of Das’ chief delights to test the physical virtuosity and musical sophistication of Kathak against other dance traditions. Last September, he appeared at the Palace of Fine Arts Theatre, soaked in sweat, in a friendly showdown with flamenco dancer Antonio Hidalgo Paz. His evening-length show with tap dancer Jason Samuels Smith, “India Jazz Suites,” was a critical and popular hit and toured the country. (Their performances together are\u003ca href=\"https://vimeo.com/80965715\"> documented in the film \u003cem>Upaj\u003c/em>\u003c/a>\u003cem>,\u003c/em> which means “improvise” in Hindi and aired on PBS last year.) In my own estimation, Das was always the winner of these cross-cultural contests.\u003c/p>\n\u003cp>[sc:jwspark movie=\"chitreshda\" image_url=\"http://www.kqed.org/assets/img/arts/programs/spark/artists/chitreshda-headshot.jpg\" ]\u003c/p>\n\u003cp>View Spark segment on Pandit Chitresh Das. Original air date: May 2007.\u003c/p>\n\u003cp>He was trained by his parents and his guru, Pandit Ram Narayan Misra, in his native Kolkata, and first came to the US on a fellowship to the University of Maryland. In 1971 he came to San Rafael to teach at the Ali Akbar College of Music, and a few years later created the first college-accredited Kathak course, at San Francisco State University. In Marin and at SFSU, he attracted what he joked was his “rainbow coalition:” women from a range of ethnicities who found a lifelong calling as his disciples, undergoing deep vows of apprenticeship. Many of these disciples, like Chalotte Moraga and Farah Yasmeen Shaikh, have become mesmerizing performers in their own right. In addition to dancing as the Chitresh Das Dance Company, these dancers pass on his example of complete life commitment to students at Das’ \u003ca href=\"http://www.kathak.org/site/kathak/section.php?id=4174\">Chhandam School of Kathak\u003c/a>, which he founded in 1979, opening a branch in India in 2002. Chhandam now has ten branches and 550 students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kathak, one of India’s eight classical dance forms, derives its name from the \u003cem>kathakas,\u003c/em> who would travel among Mughal Courts in the 16\u003csup>th\u003c/sup> century reenacting tales from the Ramayana and other Hindu texts. Though Das worked most deeply as an innovator of pure musicality — he developed a training method he dubbed “Kathak Yoga,” in which the dancer rises to a higher state of concentration by stamping rhythms, singing and playing the harmonium — I remember him most vividly as a storyteller. To see him transform from the manly guise of the Hindu deity Krishna into a seductive female admirer with just the coy rising of his eyebrow was to experience both Das’ mischievous personality and his deep understanding of human nature.\u003c/p>\n\u003cp>Like the Kathak spectacles in the Mughal Courts, Das’ performances could go on for hours, punctuated by long breaks during which he explained the intricacies of a rhythmic challenge or told the Hindu story he was about to enact, always speaking teasingly and with laughter. In press interviews, too — I was fortunate to interview him several times — he would talk tirelessly about the history of his art and the spiritual dimensions of his practice. In every interview, he would tell me how badly he wanted to stage a performance with the San Francisco Ballet, pitting his dancers’ dervish-like spins against the ballerinas’ pirouettes. He never got to do it, but he didn’t really need to. Over five decades of boundless advocacy, he educated, enchanted, inspired — and proved his art form the equal to any in the world.\u003c/p>\n\u003cp>Chitresh Das leaves behind his wife, Celine Schein, executive director of the school and dance company, and two young daughters. His community is committed to carrying on: the Chitresh Das Dance Company will dance one of Das’ last evening-length dramas, \u003ca href=\"http://events.berkeley.edu/?event_ID=80755&date=2015-03-29&tab=performing_arts\">“Shiva,” at UC Berkeley in March\u003c/a>. A memorial is scheduled for Friday, January 9th at 10 am, at the \u003ca href=\"https://www.google.com/maps/place/2500+5th+Ave,+San+Rafael,+CA+94901/@37.9866711,-122.5552087,17z/data=!3m1!4b1!4m2!3m1!1s0x8085976df1364c07:0x876d3fd0b1d47806\">Mount Tamalpais Mortuary and Cemetery\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-dance-preview-get-your-kicks-at-these-10-upcoming-shows",
"title": "Fall Dance Preview: Get Your Kicks at These 10 Upcoming Shows",
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"headTitle": "Fall Dance Preview: Get Your Kicks at These 10 Upcoming Shows | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10136791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\">\u003c/a>There’s something about the free-spiritedness of the Bay Area that has made it a playground for dance since our own Isadora Duncan first taught us to move unhampered by corsets or social constraints. Bay Area choreographers will keep channeling that freedom this fall while stepping to a wide range of influences and beats. The Indian rhythms of tabla master Zakir Hussain will again stir the ballet dancers of Lines, while Indian Kathak master Chitresh Das will see what happens when the fire of flamenco powers his footwork. Garrett + Moulton’s lush movers will take inspiration from Mahler, while Muisi-kongo Malonga will reach into the roots of her family’s native Congo.\u003c/p>\n\u003cp>A trio of boundary-pushing visitors — Mark Morris, Sasha Waltz, and Ohad Naharin — will bring fresh influence from afar, while homegrown Joe Goode, a personality of Isadora-sized charisma and originality, will pass his classic solo on to the next generation. And for a fitting finale, the Bay Area’s own Jess Curtis, now based part-time in Berlin, will give us a playful, possibly sobering glimpse of San Francisco’s future.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140488\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/West-Wave_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140488\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/West-Wave_edited-400x266.jpg\" alt=\"Maria Basile in Donald McKayle's “Angelitos Negros.”\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/West-Wave_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/West-Wave_edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/West-Wave_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Basile in Donald McKayle’s “Angelitos Negros.” Photo by Thomas Hassing\u003c/figcaption>\u003c/figure>\n\u003ch3>West Wave Dance Festival\u003c/h3>\n\u003ch5>Sept. 3-7\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.westwavesf.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>This year’s West Wave Dance Festival, “Dance Around the Bay,” provides a geographic sampler of the Bay Area’s dance bounty, including a program of East Bay choreographers on September 4th and North Bay artists on September 5th, all presented in San Francisco’s Z Space. The likely high point? The South Bay program on September 6th, when San Jose’s sjDANCEco will perform rarely seen masterworks by two geniuses of 20th-century modern dance, Jose Limon and Donald McKayle.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140466\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/moulton_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140466 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/moulton_edited-400x266.jpg\" alt=\"Tegan Schwab in Garrett & Moulton’s The Luminous Edge.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/moulton_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/moulton_edited-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/moulton_edited.jpg 1391w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tegan Schwab in Garrett & Moulton’s \u003cem>The Luminous Edge.\u003c/em> Photo by RJ Muna.\u003c/figcaption>\u003c/figure>\n\u003ch3>Garrett + Moulton, ‘The Luminous Edge’\u003c/h3>\n\u003ch5>Sept. 18-21\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=18988\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The local creative team of Janice Garrett and Charles Moulton make dances that are lyrical, quirky and tender. \u003cem>The Luminous Edge\u003c/em> is their third work to use a movement choir (this time of 18 members) to enhance the dreamy interactions of six exquisitely trained main dancers. Accompanying the dancers will be a seven-member music ensemble and local contralto Karen Clark. Gustav Mahler’s song cycle \u003cem>Kindertotenlider\u003c/em> (\u003cem>Songs on the Death of Children\u003c/em>) provides the foundation for explorations of loss.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140486\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mark-morris_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140486 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mark-morris_edited-400x266.jpg\" alt=\"The Mark Morris's “Crosswalk.” set to music by Carl Maria von Weber.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mark-morris_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mark-morris_edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mark-morris_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Mark Morris’s “Crosswalk.” Photo by Elaine Mayson.\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Last season’ visit from the Mark Morris Dance Group brought us his brilliant staging of the opera \u003cem>Acis and Galatea\u003c/em>, but denied us the chance to catch up with his company’s wide-ranging repertory. So we’re well overdue for these two musically intrepid programs coming to UC Berkeley’s Cal Performances, which include dances set to Samuel Barber, Carl Maria von Weber and Scottish folk songs as arranged by Beethoven. We’ll also get a reprise of Morris’s offbeat take on Stravinsky’s eternally shocking \u003cem>Rite of Spring\u003c/em>, as cheerfully interpreted by jazz trio The Bad Plus, who will provide live accompaniment.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140468\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140468 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited-400x266.jpg\" alt=\"Melecio Estrella in Joe Goode’s “Wonderboy.” \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited.jpg 652w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melecio Estrella in “Wonderboy.” Photo by RJ Muna.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>Sept. 25-Oct 4\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://zspace.org/new-work/wonderboy-29-effeminate-gestures\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Twenty-seven years ago, Joe Goode made a seismic impact on Bay Area dance with his landmark solo “29 Effeminate Gestures.” His big-hearted, campy combination of movement and spoken drama shook up stereotypes and created a distinctive new flavor of dance theater. Now in his sixties, Goode is passing this iconic solo on to company member Melecio Estrella. It will be performed alongside 2008’s magical “Wonderboy,” with puppetry by Basil Twist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140469\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/yatra-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140469 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/yatra-edited-400x266.jpg\" alt=\"Chitresh Das and Antonio Hidalgo Paz. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/yatra-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/yatra-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/yatra-edited.jpg 858w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chitresh Das and Antonio Hidalgo Paz.\u003c/figcaption>\u003c/figure>\n\u003ch3>Chitresh Das Dance Company, ‘Yatra: Journey from India to Spain’\u003c/h3>\n\u003ch5>Sept. 27-28\u003cbr>\nPalace of Fine Arts Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.kathak.org/site/kathak/content.php?type=1&id=10243\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>He took the fierce foot-pounding rhythms of Indian Kathak dancing head-to-head with tap in \u003cem>India Jazz Suites. \u003c/em> Now San Francisco’s own Chitresh Das, in his seventies and powerful as ever, stages a showdown with Spanish flamenco star Antonio Hidalgo. With live accompaniment from top-notch Spanish and Indian musicians, this feast of improvisation is sure to be a spectacle for eyes and ears.\u003c/p>\n\u003c/div>\n\u003cp>https://www.youtube.com/watch?v=QQU0qpmsfuU\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140467\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sasha-Waltz-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140467 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sasha-Waltz-edited-400x266.jpg\" alt=\"From Sasha Waltz's Impromptus.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sasha-Waltz-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sasha-Waltz-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sasha-Waltz-edited.jpg 1299w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From Sasha Waltz’s Impromptus. Photo by Sebastian Bolesch\u003c/figcaption>\u003c/figure>\n\u003ch3>Sasha Waltz & Guests, ‘Impromptus’\u003c/h3>\n\u003ch5>Oct. 24-25\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/sasha-waltz-guests.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Like Ohad Naharin (see below), Berlin-based choreographer Sasha Waltz wields tremendous influence on the world stage. Carrying forward a starkly emotional and explosive aesthetic that can be traced back to German Expressionism and the birth of modern dance after World War I, Waltz will bring 2004’s \u003cem>Impromptus, \u003c/em> an intimate setting of Schubert Impromptus and lieder featuring seven dancers and live music by pianist Cristina Marton and mezzo-soprano Ruth Sandhoff.\u003c/p>\n\u003c/div>\n\u003caside class=\"aligncenter\">[vimeo 54163991 w=640&h=360]\u003c/aside>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140487\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140487 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited-400x266.jpg\" alt=\"Batsheva Dance Company. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Batsheva Dance Company. Photo by Gadi Dagon.\u003c/figcaption>\u003c/figure>\n\u003ch3>Batsheva Dance Company, ‘Sadeh21’\u003c/h3>\n\u003ch5>Nov. 6-7\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"http://sfperformances.org/performances/1415/Batsheva.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Batsheva is the urgent must-see of fall, bringing explosively honest movement from Israel and a vision of dance at its most fearless and forward-thinking from artistic director Ohad Naharin. For this rare visit to the Bay Area, celebrating the company’s 50th anniversary, these daredevil dancers will bring \u003cem>Sadeh21, \u003c/em> a series of rubber-limbed “studies” (sadeh is “study” in Hebrew) showcasing Naharin’s celebrated \u003ca href=\"http://en.wikipedia.org/wiki/Gaga_(movement_language)\" target=\"_blank\" rel=\"noopener\">“Gaga”\u003c/a> movement technique, and building to a devastating reflection on violence.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/A6RWvh0JMv8\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140652\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/malonga_edited1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/malonga_edited1-400x266.jpg\" alt=\"Muisi-kongo Malonga\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/malonga_edited1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/malonga_edited1-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/malonga_edited1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Muisi-kongo Malonga in <emKimpa Vita!\u003c/figcaption>\u003c/figure>\n\u003ch3>Muisi-kongo Malonga, ‘Kimpa Vita!’\u003c/h3>\n\u003ch5>CounterPulse, San Francisco\u003cbr>\nNov. 7-16\u003cbr>\n\u003ca href=\"https://counterpulse.secure.force.com/ticket#details_a0Si0000004y5sTEAQ\" target=\"_blank\" rel=\"noopener\">Tickets and information \u003c/a>\u003c/h5>\n\u003cp>Muisi-kongo Malonga is the daughter of Oakland’s revered and much-mourned master of Congolese dance and drumming, Malonga Casquelourd, and the director of the roof-raising company her father founded, Fua Dia Congo. She now steps out as an artist in her own right with her first full-length work, \u003cem>Kimpa Vita! \u003c/em> Part of CounterPulse’s “Performing Diaspora” series, Malonga’s \u003cem>Kimpa Vita! \u003c/em> will use dance, drumming and theater to explore the life of 17th century prophet and martyr Mama Kimpa Vita, known as the Congolese Joan of Arc.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140484\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/lines-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140484 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/lines-edited-400x266.jpg\" alt=\"Lines Ballet’s Kara Wilkes and Yujin Kim. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited-1440x959.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited.jpg 1685w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lines Ballet’s Kara Wilkes and Yujin Kim. Photo by RJ Muna.\u003c/figcaption>\u003c/figure>\n\u003ch3>Alonzo King Lines Ballet, ‘Rasa’\u003c/h3>\n\u003ch5>Nov. 14-23\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"http://www.linesballet.org/performances/current-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Over his 22 years of making otherworldly ballets in San Francisco, Lines artistic director Alonzo King has collaborated with everyone from jazz saxophonist Pharoah Sanders to Japanese koto master Miya Masaoka. But his most joyous and transporting collaboration, in my opinion, is his 2007 work Rasa, with live music by Indian tabla virtuoso Zakir Hussain. For the fall home season, Hussain will be back, channeling his rhythmic energies through a new generation of sleek, fearless Lines dancers.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140483\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/jess-curtis_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140483 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/jess-curtis_edited-400x266.jpg\" alt=\"A member of Jess Curtis/Gravity.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jess-curtis_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jess-curtis_edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jess-curtis_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer Rachael Dichter. Photo by Robbie Sweeny\u003c/figcaption>\u003c/figure>\n\u003ch3>New Work by Jess Curtis/Gravity\u003c/h3>\n\u003ch5>Dec. 4-14\u003cbr>\nCounterPulse, San Francisco\u003cbr>\n\u003ca href=\"https://counterpulse.secure.force.com/ticket#details_a0Si0000004yp1fEAA\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Born of the seminal counter-cultural collective Contraband, Jess Curtis now divides his time between SF and Berlin, where he is wired in with the vanguard of intellectual dance. His work combines an irrepressible braininess with sharp social commentary and genuine physical vulnerability. His new project “about the disappearance of SF as we know it,” is turning the culture of relentless online self-promotion back on itself with a \u003ca href=\"https://www.facebook.com/TheDanceThatDocumentsItself\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> where Curtis is collecting raw material for the dance.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Fall Dance Preview: Get Your Kicks at These 10 Upcoming Shows | KQED",
"description": "There’s something about the free-spiritedness of the Bay Area that has made it a playground for dance since our own Isadora Duncan first taught us to move unhampered by corsets or social constraints. Bay Area choreographers will keep channeling that freedom this fall while stepping to a wide range of influences and beats.",
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"headline": "Fall Dance Preview: Get Your Kicks at These 10 Upcoming Shows",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10136791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\">\u003c/a>There’s something about the free-spiritedness of the Bay Area that has made it a playground for dance since our own Isadora Duncan first taught us to move unhampered by corsets or social constraints. Bay Area choreographers will keep channeling that freedom this fall while stepping to a wide range of influences and beats. The Indian rhythms of tabla master Zakir Hussain will again stir the ballet dancers of Lines, while Indian Kathak master Chitresh Das will see what happens when the fire of flamenco powers his footwork. Garrett + Moulton’s lush movers will take inspiration from Mahler, while Muisi-kongo Malonga will reach into the roots of her family’s native Congo.\u003c/p>\n\u003cp>A trio of boundary-pushing visitors — Mark Morris, Sasha Waltz, and Ohad Naharin — will bring fresh influence from afar, while homegrown Joe Goode, a personality of Isadora-sized charisma and originality, will pass his classic solo on to the next generation. And for a fitting finale, the Bay Area’s own Jess Curtis, now based part-time in Berlin, will give us a playful, possibly sobering glimpse of San Francisco’s future.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140488\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/West-Wave_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140488\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/West-Wave_edited-400x266.jpg\" alt=\"Maria Basile in Donald McKayle's “Angelitos Negros.”\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/West-Wave_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/West-Wave_edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/West-Wave_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Basile in Donald McKayle’s “Angelitos Negros.” Photo by Thomas Hassing\u003c/figcaption>\u003c/figure>\n\u003ch3>West Wave Dance Festival\u003c/h3>\n\u003ch5>Sept. 3-7\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.westwavesf.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>This year’s West Wave Dance Festival, “Dance Around the Bay,” provides a geographic sampler of the Bay Area’s dance bounty, including a program of East Bay choreographers on September 4th and North Bay artists on September 5th, all presented in San Francisco’s Z Space. The likely high point? The South Bay program on September 6th, when San Jose’s sjDANCEco will perform rarely seen masterworks by two geniuses of 20th-century modern dance, Jose Limon and Donald McKayle.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140466\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/moulton_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140466 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/moulton_edited-400x266.jpg\" alt=\"Tegan Schwab in Garrett & Moulton’s The Luminous Edge.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/moulton_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/moulton_edited-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/moulton_edited.jpg 1391w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tegan Schwab in Garrett & Moulton’s \u003cem>The Luminous Edge.\u003c/em> Photo by RJ Muna.\u003c/figcaption>\u003c/figure>\n\u003ch3>Garrett + Moulton, ‘The Luminous Edge’\u003c/h3>\n\u003ch5>Sept. 18-21\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=18988\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The local creative team of Janice Garrett and Charles Moulton make dances that are lyrical, quirky and tender. \u003cem>The Luminous Edge\u003c/em> is their third work to use a movement choir (this time of 18 members) to enhance the dreamy interactions of six exquisitely trained main dancers. Accompanying the dancers will be a seven-member music ensemble and local contralto Karen Clark. Gustav Mahler’s song cycle \u003cem>Kindertotenlider\u003c/em> (\u003cem>Songs on the Death of Children\u003c/em>) provides the foundation for explorations of loss.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140486\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mark-morris_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140486 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mark-morris_edited-400x266.jpg\" alt=\"The Mark Morris's “Crosswalk.” set to music by Carl Maria von Weber.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mark-morris_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mark-morris_edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mark-morris_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Mark Morris’s “Crosswalk.” Photo by Elaine Mayson.\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Last season’ visit from the Mark Morris Dance Group brought us his brilliant staging of the opera \u003cem>Acis and Galatea\u003c/em>, but denied us the chance to catch up with his company’s wide-ranging repertory. So we’re well overdue for these two musically intrepid programs coming to UC Berkeley’s Cal Performances, which include dances set to Samuel Barber, Carl Maria von Weber and Scottish folk songs as arranged by Beethoven. We’ll also get a reprise of Morris’s offbeat take on Stravinsky’s eternally shocking \u003cem>Rite of Spring\u003c/em>, as cheerfully interpreted by jazz trio The Bad Plus, who will provide live accompaniment.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140468\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140468 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited-400x266.jpg\" alt=\"Melecio Estrella in Joe Goode’s “Wonderboy.” \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joe-goode-wonderboy-edited.jpg 652w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melecio Estrella in “Wonderboy.” Photo by RJ Muna.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>Sept. 25-Oct 4\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://zspace.org/new-work/wonderboy-29-effeminate-gestures\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Twenty-seven years ago, Joe Goode made a seismic impact on Bay Area dance with his landmark solo “29 Effeminate Gestures.” His big-hearted, campy combination of movement and spoken drama shook up stereotypes and created a distinctive new flavor of dance theater. Now in his sixties, Goode is passing this iconic solo on to company member Melecio Estrella. It will be performed alongside 2008’s magical “Wonderboy,” with puppetry by Basil Twist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140469\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/yatra-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140469 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/yatra-edited-400x266.jpg\" alt=\"Chitresh Das and Antonio Hidalgo Paz. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/yatra-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/yatra-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/yatra-edited.jpg 858w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chitresh Das and Antonio Hidalgo Paz.\u003c/figcaption>\u003c/figure>\n\u003ch3>Chitresh Das Dance Company, ‘Yatra: Journey from India to Spain’\u003c/h3>\n\u003ch5>Sept. 27-28\u003cbr>\nPalace of Fine Arts Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.kathak.org/site/kathak/content.php?type=1&id=10243\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>He took the fierce foot-pounding rhythms of Indian Kathak dancing head-to-head with tap in \u003cem>India Jazz Suites. \u003c/em> Now San Francisco’s own Chitresh Das, in his seventies and powerful as ever, stages a showdown with Spanish flamenco star Antonio Hidalgo. 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Photo by Sebastian Bolesch\u003c/figcaption>\u003c/figure>\n\u003ch3>Sasha Waltz & Guests, ‘Impromptus’\u003c/h3>\n\u003ch5>Oct. 24-25\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/sasha-waltz-guests.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Like Ohad Naharin (see below), Berlin-based choreographer Sasha Waltz wields tremendous influence on the world stage. Carrying forward a starkly emotional and explosive aesthetic that can be traced back to German Expressionism and the birth of modern dance after World War I, Waltz will bring 2004’s \u003cem>Impromptus, \u003c/em> an intimate setting of Schubert Impromptus and lieder featuring seven dancers and live music by pianist Cristina Marton and mezzo-soprano Ruth Sandhoff.\u003c/p>\n\u003c/div>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140487\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140487 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited-400x266.jpg\" alt=\"Batsheva Dance Company. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/SFP-Batsheva-edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Batsheva Dance Company. Photo by Gadi Dagon.\u003c/figcaption>\u003c/figure>\n\u003ch3>Batsheva Dance Company, ‘Sadeh21’\u003c/h3>\n\u003ch5>Nov. 6-7\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"http://sfperformances.org/performances/1415/Batsheva.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Batsheva is the urgent must-see of fall, bringing explosively honest movement from Israel and a vision of dance at its most fearless and forward-thinking from artistic director Ohad Naharin. For this rare visit to the Bay Area, celebrating the company’s 50th anniversary, these daredevil dancers will bring \u003cem>Sadeh21, \u003c/em> a series of rubber-limbed “studies” (sadeh is “study” in Hebrew) showcasing Naharin’s celebrated \u003ca href=\"http://en.wikipedia.org/wiki/Gaga_(movement_language)\" target=\"_blank\" rel=\"noopener\">“Gaga”\u003c/a> movement technique, and building to a devastating reflection on violence.\u003c/p>\n\u003c/div>\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/A6RWvh0JMv8'\n title='//www.youtube.com/embed/A6RWvh0JMv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140652\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/malonga_edited1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/malonga_edited1-400x266.jpg\" alt=\"Muisi-kongo Malonga\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/malonga_edited1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/malonga_edited1-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/malonga_edited1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Muisi-kongo Malonga in <emKimpa Vita!\u003c/figcaption>\u003c/figure>\n\u003ch3>Muisi-kongo Malonga, ‘Kimpa Vita!’\u003c/h3>\n\u003ch5>CounterPulse, San Francisco\u003cbr>\nNov. 7-16\u003cbr>\n\u003ca href=\"https://counterpulse.secure.force.com/ticket#details_a0Si0000004y5sTEAQ\" target=\"_blank\" rel=\"noopener\">Tickets and information \u003c/a>\u003c/h5>\n\u003cp>Muisi-kongo Malonga is the daughter of Oakland’s revered and much-mourned master of Congolese dance and drumming, Malonga Casquelourd, and the director of the roof-raising company her father founded, Fua Dia Congo. She now steps out as an artist in her own right with her first full-length work, \u003cem>Kimpa Vita! \u003c/em> Part of CounterPulse’s “Performing Diaspora” series, Malonga’s \u003cem>Kimpa Vita! \u003c/em> will use dance, drumming and theater to explore the life of 17th century prophet and martyr Mama Kimpa Vita, known as the Congolese Joan of Arc.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140484\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/lines-edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140484 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/lines-edited-400x266.jpg\" alt=\"Lines Ballet’s Kara Wilkes and Yujin Kim. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited-1440x959.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/lines-edited.jpg 1685w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lines Ballet’s Kara Wilkes and Yujin Kim. Photo by RJ Muna.\u003c/figcaption>\u003c/figure>\n\u003ch3>Alonzo King Lines Ballet, ‘Rasa’\u003c/h3>\n\u003ch5>Nov. 14-23\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"http://www.linesballet.org/performances/current-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Over his 22 years of making otherworldly ballets in San Francisco, Lines artistic director Alonzo King has collaborated with everyone from jazz saxophonist Pharoah Sanders to Japanese koto master Miya Masaoka. But his most joyous and transporting collaboration, in my opinion, is his 2007 work Rasa, with live music by Indian tabla virtuoso Zakir Hussain. For the fall home season, Hussain will be back, channeling his rhythmic energies through a new generation of sleek, fearless Lines dancers.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140483\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/jess-curtis_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140483 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/jess-curtis_edited-400x266.jpg\" alt=\"A member of Jess Curtis/Gravity.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jess-curtis_edited-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jess-curtis_edited-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jess-curtis_edited.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer Rachael Dichter. Photo by Robbie Sweeny\u003c/figcaption>\u003c/figure>\n\u003ch3>New Work by Jess Curtis/Gravity\u003c/h3>\n\u003ch5>Dec. 4-14\u003cbr>\nCounterPulse, San Francisco\u003cbr>\n\u003ca href=\"https://counterpulse.secure.force.com/ticket#details_a0Si0000004yp1fEAA\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Born of the seminal counter-cultural collective Contraband, Jess Curtis now divides his time between SF and Berlin, where he is wired in with the vanguard of intellectual dance. His work combines an irrepressible braininess with sharp social commentary and genuine physical vulnerability. His new project “about the disappearance of SF as we know it,” is turning the culture of relentless online self-promotion back on itself with a \u003ca href=\"https://www.facebook.com/TheDanceThatDocumentsItself\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> where Curtis is collecting raw material for the dance.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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