Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive
Amy Seiwert's 'Sketches' Fuses Different Approaches
Robert Moses’ Kin Dancers Go Beyond Their Comfort Zone
Newcomers Expand Traditions at the San Francisco Ethnic Dance Festival
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"slug": "enjoy-the-beauty-of-dance-this-fall-and-remember-what-it-means-to-be-alive",
"title": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Dance is thriving in the Bay Area and the upcoming fall season offers a bewildering number works from local artists and groups. Dance enthusiasts have a cornucopia of options, from rethought classics to pieces hot off the grill, from the flexibility of installation formats to the clear perspective offered by the proscenium stage. Some will groups will choreograph alone, others collaboratively, but all will tell us something about what it means to be alive today.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918851\" class=\"wp-caption alignleft\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg\" alt=\"Lavany AnantH\" width=\"576\" height=\"600\" class=\"size-medium wp-image-10918851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-400x416.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4.jpg 610w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lavanya Ananth \u003ccite>(D. Shashikant )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lavanya Ananth and Charya Burt\u003c/h3>\n\u003ch5>Sept. 13, Marin Showcase Theater, San Rafael\u003cbr>\nSept. 19, Mexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/sangamartsorg\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>When Usha Srinivasan of \u003ca href=\"http://sangamarts.org/\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> suggested a program of \u003cem>Dances of Devotion\u003c/em> to Bharatanatyam performer Lavanya Ananth and Cambodian dancer Charya Burt, they were both intrigued despite never having met. While Indian and Cambodian classical dance share a common heritage — symmetry and abstraction with Hindu myths as their source material — the differences between the two disciplines promise a thrilling encounter. For lovers of classical Asian dance, \u003ci>Dances of Devotion\u003c/i> offers a rare opportunity to watch two contemporary practitioners share their interpretations of an art that may have originated in temple worships hundreds of years ago. Ananth and Burt will each perform a solo, follow up with a conversation and then they will dance together.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918852\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\" alt=\"Felipe Barrueto Cabello and Marit Brook-Kothlow\" width=\"720\" height=\"484\" class=\"size-thumbnail wp-image-10918852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felipe Barrueto Cabello and Marit Brook-Kothlow \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>Sept. 24 – Oct. 11\u003cbr>\nJoe Goode Annex, San Francisco\u003cbr>\n\u003ca href=\"http://www.joegoode.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For over two decades, the Joe Goode Performance Group has shown us complex images of the misfits of our society in works that pioneered the use of language in dance. Goode’s wit and compassion, colored with a dollop of melancholy, has made him one of the most beloved choreographers in the Bay area. For \u003ci>The Poetics of Space\u003c/i>, his newest endeavor that’s inspired by Gaston Bachelard’s study of domestic spaces, Goode and designer Sean Riley looked at the company’s own home, which boasts a generous 1500 sq.ft. and a 24 ft ceiling. From that they carved intimate habitats to explored by us at our own pace. Thankfully, long-time former Joe Goode dancer Marit Brook-Kothlow will rejoin the company on this journey.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918850\" class=\"wp-caption alignleft\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg\" alt=\"Zoe Klein and Amar Tabor Smith\" width=\"597\" height=\"600\" class=\"size-thumbnail wp-image-10918850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1175x1180.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1920x1928.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-75x75.jpg 75w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Klein and Amara Tabor-Smith \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Amara Tabor-Smith\u003c/h3>\n\u003ch5>Sept. 24 – 26\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.odctheater.org/\" target=\"_blank\" rel=\"noopener\">www.odctheater.org\u003c/a>\u003c/h5>\n\u003cp>Upon returning to her native San Francisco after having spent a major part of her dancing career with New York’s fierce and socially committed Urban Bush Women, Amara Tabor-Smith has pulled us in with cogently articulate choreography in which the past is very much part of the present. \u003cem>EarthBodyHome\u003c/em> is her most ambitious project yet. Taking inspiration from exiled Cuban artist Ana Mendieta who fashioned earthwork sculptures with her own body, Tabor-Smith created a multimedia ritual that looks at the turbulences of physical and spiritual displacement. She is working with some of the hottest performing talent around: co-director the Korean-born Dohee Lee and performers Laura “Larry” Arrington, Zoe Klein and Xandra Ibarra AKA “La Chica Boom.” They alone should make you want to go buy a ticket.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918854\" class=\"wp-caption alignleft\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg\" alt=\"Alayna Strouc\" width=\"661\" height=\"600\" class=\"size-thumbnail wp-image-10918854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-400x363.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1180x1071.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1920x1743.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-960x871.jpg 960w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alayna Stroud \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Flyaway Productions\u003c/h3>\n\u003ch5>Oct. 1-3, 8-10\u003cbr>\nContinuum Alley, San Francisco\u003cbr>\n\u003ca href=\"http://flyawayproductions.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Jo Kreiter makes tough-yet-poetic aerial work about people, women in particular, who have to survive the struggles of disenfranchisement. Following last year’s \u003cem>Multiple Mary and Invisible Jane\u003c/em>, which was a tribute to the Tenderloin’s homeless women, the new \u003cem>Needles to Thread\u003c/em> honors another group of the invisible poor, the women who slave away in the local garment industry. Kreiter, who calls her gravity defying work “apparatus-based dance,” has developed a rich vocabulary with which to look at ignored communities, often in consultation with its members. Watching her intrepid dancers scale walls, swing towards the clouds and hang from parapets makes you believe that anything is possible.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918874\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg\" alt=\"Noa Wertheim and Adi Sha'al of Vertigo Dance\" width=\"800\" height=\"450\" class=\"size-thumbnail wp-image-10918874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noa Wertheim and Adi Sha’al of Vertigo Dance \u003ccite>(courtesy SFDFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival (SFDFF)\u003c/h3>\n\u003ch5>Oct. 8 – 10\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>Though only in its sixth year, the SFDFF has more than earned its place among movie-loving audiences. It has become a must for those of us who want to see how two moving mediums — dance and film — can find common ground. This year’s plethora of selections from the around the globe feature many fascinating documentaries, including one on the great ballerina Mia Slavenska and another on the Paris Opera Ballet’s redoubtable director Brigitte Lefevre. Others include \u003cem>Renewal,\u003c/em> which shows Israel’s Vertigo Dance Company creating a more sustainable – in every way – identity for itself. The Canadian-made \u003cem>A Brief History of Madness\u003c/em> offers a perspective on mental illness while the remarkable Dutch double bill \u003cem>Symmetry\u003c/em> and \u003cem>Symmetry Unraveled\u003c/em> delve into the world for particle physics. My favorite part of SFDFF, however, remains the four evenings of shorts in which dancers and filmmakers collaborate often with astonishing results.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918848\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg\" alt=\"José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones\" width=\"800\" height=\"533\" class=\"size-thumbnail wp-image-10918848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones \u003ccite>(Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Silicon Valley Ballet\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nSan Jose Center for the Performing Arts, San Jose\u003cbr>\n\u003ca href=\"http://www.balletsj.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you like story ballets, \u003cem>Giselle\u003c/em> is for you. It’s been a hit ever since its first performance in 1841. The story of the innocent peasant girl betrayed by her aristocratic suitor remains irresistible. Most conventional interpretations focus on the lovers and the ballet’s demanding dancing. Not the one by Cuban ballerina Alicia Alonso, herself a legendary Giselle. Her version for the Ballet Nacional de Cuba shapes the love story as part of a larger narrative about aristocrats and common folk. Coached by Silicon Valley Ballet’s Artistic Director José Manuel Carreño, who trained under Alonso, this \u003cem>Giselle\u003c/em> will be a first for an American ballet company. Given the recent warming between Cuba and the USA, the timing seems particularly felicitous.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918853\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg\" alt=\"Twyla Tharp Taking to the Air\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10918853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Twyla-Tharp Taking to the Air \u003ccite>(Bill KIng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Twyla Tharp – 50th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nCal Performances, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Today Twyla Tharp remains a singular phenomenon in American dance. Perhaps only Jerome Robbins came close to her ability to successfully conquer modern, ballet, Broadway, Jazz, Television, Film and even two ice skating routines. Her musical tastes run from the Beach Boys to Bach, Billy Joel to Mozart, Benjamin Britten to Wynton Marsalis. There is little that Tharp, a polymath of dance, hasn’t attempted. For this ten-week anniversary tour, she engaged a troupe of 12, made up of Tharp regulars and ballet dancers from around the country. Much as we might like to see some of her now classics, Tharp would have none of it. She is touring with two pieces, one set to Bach’s “Well-Tempered Clavier”, the other, “Yowzie,” to jazz scores by Henry Butler and Steven Bernstein. Naturally, both are world premieres.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Dance is thriving in the Bay Area and the upcoming fall season offers a bewildering number works from local artists and groups. ",
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"title": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive | KQED",
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"headline": "Enjoy the Beauty of Dance This Fall and Remember What It Means to Be Alive",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Dance is thriving in the Bay Area and the upcoming fall season offers a bewildering number works from local artists and groups. Dance enthusiasts have a cornucopia of options, from rethought classics to pieces hot off the grill, from the flexibility of installation formats to the clear perspective offered by the proscenium stage. Some will groups will choreograph alone, others collaboratively, but all will tell us something about what it means to be alive today.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918851\" class=\"wp-caption alignleft\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg\" alt=\"Lavany AnantH\" width=\"576\" height=\"600\" class=\"size-medium wp-image-10918851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-576x600.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-400x416.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/lavanya4.jpg 610w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lavanya Ananth \u003ccite>(D. Shashikant )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lavanya Ananth and Charya Burt\u003c/h3>\n\u003ch5>Sept. 13, Marin Showcase Theater, San Rafael\u003cbr>\nSept. 19, Mexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/sangamartsorg\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>When Usha Srinivasan of \u003ca href=\"http://sangamarts.org/\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> suggested a program of \u003cem>Dances of Devotion\u003c/em> to Bharatanatyam performer Lavanya Ananth and Cambodian dancer Charya Burt, they were both intrigued despite never having met. While Indian and Cambodian classical dance share a common heritage — symmetry and abstraction with Hindu myths as their source material — the differences between the two disciplines promise a thrilling encounter. For lovers of classical Asian dance, \u003ci>Dances of Devotion\u003c/i> offers a rare opportunity to watch two contemporary practitioners share their interpretations of an art that may have originated in temple worships hundreds of years ago. Ananth and Burt will each perform a solo, follow up with a conversation and then they will dance together.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918852\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg\" alt=\"Felipe Barrueto Cabello and Marit Brook-Kothlow\" width=\"720\" height=\"484\" class=\"size-thumbnail wp-image-10918852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/C_Joe_Goode_150605_26-40-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felipe Barrueto Cabello and Marit Brook-Kothlow \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>Sept. 24 – Oct. 11\u003cbr>\nJoe Goode Annex, San Francisco\u003cbr>\n\u003ca href=\"http://www.joegoode.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For over two decades, the Joe Goode Performance Group has shown us complex images of the misfits of our society in works that pioneered the use of language in dance. Goode’s wit and compassion, colored with a dollop of melancholy, has made him one of the most beloved choreographers in the Bay area. For \u003ci>The Poetics of Space\u003c/i>, his newest endeavor that’s inspired by Gaston Bachelard’s study of domestic spaces, Goode and designer Sean Riley looked at the company’s own home, which boasts a generous 1500 sq.ft. and a 24 ft ceiling. From that they carved intimate habitats to explored by us at our own pace. Thankfully, long-time former Joe Goode dancer Marit Brook-Kothlow will rejoin the company on this journey.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918850\" class=\"wp-caption alignleft\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg\" alt=\"Zoe Klein and Amar Tabor Smith\" width=\"597\" height=\"600\" class=\"size-thumbnail wp-image-10918850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-597x600.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1175x1180.jpg 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1920x1928.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Amara-Tabor-Smith.-EarthBodyHOME.-Photo-by-Robbie-Sweeny-75x75.jpg 75w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Klein and Amara Tabor-Smith \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Amara Tabor-Smith\u003c/h3>\n\u003ch5>Sept. 24 – 26\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.odctheater.org/\" target=\"_blank\" rel=\"noopener\">www.odctheater.org\u003c/a>\u003c/h5>\n\u003cp>Upon returning to her native San Francisco after having spent a major part of her dancing career with New York’s fierce and socially committed Urban Bush Women, Amara Tabor-Smith has pulled us in with cogently articulate choreography in which the past is very much part of the present. \u003cem>EarthBodyHome\u003c/em> is her most ambitious project yet. Taking inspiration from exiled Cuban artist Ana Mendieta who fashioned earthwork sculptures with her own body, Tabor-Smith created a multimedia ritual that looks at the turbulences of physical and spiritual displacement. She is working with some of the hottest performing talent around: co-director the Korean-born Dohee Lee and performers Laura “Larry” Arrington, Zoe Klein and Xandra Ibarra AKA “La Chica Boom.” They alone should make you want to go buy a ticket.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918854\" class=\"wp-caption alignleft\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg\" alt=\"Alayna Strouc\" width=\"661\" height=\"600\" class=\"size-thumbnail wp-image-10918854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-661x600.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-400x363.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1180x1071.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-1920x1743.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/07-Jo-Kreiter.-Needles-to-Thread.-Alayna-Stroud-pictured.-Photo-by-RJ-Muna-960x871.jpg 960w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alayna Stroud \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Flyaway Productions\u003c/h3>\n\u003ch5>Oct. 1-3, 8-10\u003cbr>\nContinuum Alley, San Francisco\u003cbr>\n\u003ca href=\"http://flyawayproductions.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Jo Kreiter makes tough-yet-poetic aerial work about people, women in particular, who have to survive the struggles of disenfranchisement. Following last year’s \u003cem>Multiple Mary and Invisible Jane\u003c/em>, which was a tribute to the Tenderloin’s homeless women, the new \u003cem>Needles to Thread\u003c/em> honors another group of the invisible poor, the women who slave away in the local garment industry. Kreiter, who calls her gravity defying work “apparatus-based dance,” has developed a rich vocabulary with which to look at ignored communities, often in consultation with its members. Watching her intrepid dancers scale walls, swing towards the clouds and hang from parapets makes you believe that anything is possible.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918874\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg\" alt=\"Noa Wertheim and Adi Sha'al of Vertigo Dance\" width=\"800\" height=\"450\" class=\"size-thumbnail wp-image-10918874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/renewal_still_1_Elad-Debi-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noa Wertheim and Adi Sha’al of Vertigo Dance \u003ccite>(courtesy SFDFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival (SFDFF)\u003c/h3>\n\u003ch5>Oct. 8 – 10\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>Though only in its sixth year, the SFDFF has more than earned its place among movie-loving audiences. It has become a must for those of us who want to see how two moving mediums — dance and film — can find common ground. This year’s plethora of selections from the around the globe feature many fascinating documentaries, including one on the great ballerina Mia Slavenska and another on the Paris Opera Ballet’s redoubtable director Brigitte Lefevre. Others include \u003cem>Renewal,\u003c/em> which shows Israel’s Vertigo Dance Company creating a more sustainable – in every way – identity for itself. The Canadian-made \u003cem>A Brief History of Madness\u003c/em> offers a perspective on mental illness while the remarkable Dutch double bill \u003cem>Symmetry\u003c/em> and \u003cem>Symmetry Unraveled\u003c/em> delve into the world for particle physics. My favorite part of SFDFF, however, remains the four evenings of shorts in which dancers and filmmakers collaborate often with astonishing results.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918848\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg\" alt=\"José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones\" width=\"800\" height=\"533\" class=\"size-thumbnail wp-image-10918848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Giselle496-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Junna Ige, Maykel Solas, Amy Marie Briones \u003ccite>(Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Silicon Valley Ballet\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nSan Jose Center for the Performing Arts, San Jose\u003cbr>\n\u003ca href=\"http://www.balletsj.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you like story ballets, \u003cem>Giselle\u003c/em> is for you. It’s been a hit ever since its first performance in 1841. The story of the innocent peasant girl betrayed by her aristocratic suitor remains irresistible. Most conventional interpretations focus on the lovers and the ballet’s demanding dancing. Not the one by Cuban ballerina Alicia Alonso, herself a legendary Giselle. Her version for the Ballet Nacional de Cuba shapes the love story as part of a larger narrative about aristocrats and common folk. Coached by Silicon Valley Ballet’s Artistic Director José Manuel Carreño, who trained under Alonso, this \u003cem>Giselle\u003c/em> will be a first for an American ballet company. Given the recent warming between Cuba and the USA, the timing seems particularly felicitous.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10918853\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg\" alt=\"Twyla Tharp Taking to the Air\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10918853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Twyla-Tharp-credit-Bill-King-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Twyla-Tharp Taking to the Air \u003ccite>(Bill KIng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Twyla Tharp – 50th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 16 – 18\u003cbr>\nCal Performances, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Today Twyla Tharp remains a singular phenomenon in American dance. Perhaps only Jerome Robbins came close to her ability to successfully conquer modern, ballet, Broadway, Jazz, Television, Film and even two ice skating routines. Her musical tastes run from the Beach Boys to Bach, Billy Joel to Mozart, Benjamin Britten to Wynton Marsalis. There is little that Tharp, a polymath of dance, hasn’t attempted. For this ten-week anniversary tour, she engaged a troupe of 12, made up of Tharp regulars and ballet dancers from around the country. Much as we might like to see some of her now classics, Tharp would have none of it. She is touring with two pieces, one set to Bach’s “Well-Tempered Clavier”, the other, “Yowzie,” to jazz scores by Henry Butler and Steven Bernstein. Naturally, both are world premieres.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This year choreographer Amy Seiwert switched gears for her \u003cem>Sketch5/Stirrings\u003c/em>. Instead of asking choreographers to create pieces on her dancers, she invited fellow Bay Area dance maker KT Nelson to co-create one for her company. Nelson, a long-time contemporary dance choreographer with ODC Dance, is experienced in collaboration. Seiwert, on the other hand, is a novice.\u003c/p>\n\u003cp>The experiment of co-creating “Starting at the End” comes close to being successful. What’s missing is a common thread that ties individual moments into a cohesive whole. Yet the richness of the material holds the eye captive, as long lines and precarious balances explode into quixotic kicks, drops and delicate finger gestures.\u003c/p>\n\u003cp>Seiwert and Nelson make no attempt to fuse their two approaches to dance together. One minute, a dancer performs a highly formal balletic extension; the next, the same performer rolls on the floor like a ball that’s been kicked.\u003c/p>\n\u003cp>When Brandon Freeman tackles James Gilmer at top speed, you might expect conflict. Yet the dancers’ bodies accommodate each other like two very different trees growing into one.\u003c/p>\n\u003cp>Much of the credit for “Starting at the End” goes to the superb dancers who integrate the movement material so confidently into their bodies. Rachel Furst mesmerizes as much with her delicate yet strong pliancy as she does with her ability to change speed and direction with the velocity of a scared rabbit. Liang Fu courteously partners a pliant Annali Rose while holding his own in a competitive race with two male colleagues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The program also includes Seiwert’s “Traveling Alone,” set on Colorado Ballet in 2012, as well as her reworked “Back to,” created for Cincinnati Ballet as “Yesterday, Tomorrow,” in 2013.\u003c/p>\n\u003cp>Fast-paced and edgy, “Traveling Alone” is a wistful ballad about not fitting in. Guest artist Dana Benton, petite and razor-sharp in her attacks, is the lone traveler who marches self-confidently to center stage, whips her turns and shoots her arms straight at us. That’s one self-absorbed woman, you think.\u003c/p>\n\u003cp>Dressed in elegant red, Benton encounters a world where every one wears white. All she can do is observe and try to fit in. She encounters a trio of bird-like women and forcefully inserts herself into intimate pas de deux. Partnering with individual men leads nowhere. A mirroring duet across space peters out.\u003c/p>\n\u003cp>A lovely touch is Seiwert’s bow to the grand 19\u003csup>th\u003c/sup> century ballet manner. Gilmer and Fu partner the regal Sarah Griffin trophy style. They manipulate her limbs, spin, lift and dive her precariously. But this grand ballerina looks about as lonely as Benton, who seems destined to remain without a partner.\u003c/p>\n\u003cp>At last, Freeman engages her with his strong arms and assertive lifts. But is that the end of this outsider’s journey? Benton’s face remains a question mark.\u003c/p>\n\u003cp>“Back to” is a curiously folksy piece set to some tinny sounding bluegrass music by Gillian Welch and David Rawlings. It may have some ancestry in the hoedown and the frolicking and mishaps that one encounters on a hot Saturday in the local grange hall. A bench serves as a common meeting place.\u003c/p>\n\u003cp>There is something stiff in the way these young people encounter each other. They all look as if they are realizing steps that they or their ancestors have done hundreds of times before. The dancing is bland and dutiful despite the considerable energy invested in it.\u003c/p>\n\u003cp>A central duet for Fu and Rose in “Back to” goes on as if in a loop. After a while, it becomes almost painful to watch. The only person with any sense of individuality is Freeman who plops himself where he likes and slides through the piece with considerable jest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite some moments of levity, such as a mock death, “Back to” is an odd piece about a community in which people are held together more by force of habit than by choice. After a while the piece begins to drag. Seiwert is apparently still tweaking it. Perhaps she can kick some more life into it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The program also includes Seiwert’s “Traveling Alone,” set on Colorado Ballet in 2012, as well as her reworked “Back to,” created for Cincinnati Ballet as “Yesterday, Tomorrow,” in 2013.\u003c/p>\n\u003cp>Fast-paced and edgy, “Traveling Alone” is a wistful ballad about not fitting in. Guest artist Dana Benton, petite and razor-sharp in her attacks, is the lone traveler who marches self-confidently to center stage, whips her turns and shoots her arms straight at us. That’s one self-absorbed woman, you think.\u003c/p>\n\u003cp>Dressed in elegant red, Benton encounters a world where every one wears white. All she can do is observe and try to fit in. She encounters a trio of bird-like women and forcefully inserts herself into intimate pas de deux. Partnering with individual men leads nowhere. A mirroring duet across space peters out.\u003c/p>\n\u003cp>A lovely touch is Seiwert’s bow to the grand 19\u003csup>th\u003c/sup> century ballet manner. Gilmer and Fu partner the regal Sarah Griffin trophy style. They manipulate her limbs, spin, lift and dive her precariously. But this grand ballerina looks about as lonely as Benton, who seems destined to remain without a partner.\u003c/p>\n\u003cp>At last, Freeman engages her with his strong arms and assertive lifts. But is that the end of this outsider’s journey? Benton’s face remains a question mark.\u003c/p>\n\u003cp>“Back to” is a curiously folksy piece set to some tinny sounding bluegrass music by Gillian Welch and David Rawlings. It may have some ancestry in the hoedown and the frolicking and mishaps that one encounters on a hot Saturday in the local grange hall. A bench serves as a common meeting place.\u003c/p>\n\u003cp>There is something stiff in the way these young people encounter each other. They all look as if they are realizing steps that they or their ancestors have done hundreds of times before. The dancing is bland and dutiful despite the considerable energy invested in it.\u003c/p>\n\u003cp>A central duet for Fu and Rose in “Back to” goes on as if in a loop. After a while, it becomes almost painful to watch. The only person with any sense of individuality is Freeman who plops himself where he likes and slides through the piece with considerable jest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite some moments of levity, such as a mock death, “Back to” is an odd piece about a community in which people are held together more by force of habit than by choice. After a while the piece begins to drag. Seiwert is apparently still tweaking it. Perhaps she can kick some more life into it.\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/robert-moses-kin-presents-the-by-series/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Robert Moses’ Kin Presents the \u003ci>By Series\u003c/i>\u003c/h2>\n\u003cdiv class=\"event-desc\">Bay Area dance luminary challenges his dancers by having them do new works by him and other local choreographers.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19 – June 21, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Choreographer Robert Moses knows that relationships thrive when periodically you step back for a breath of fresh air. That’s why in 2012 he created \u003cem>The BY Series\u003c/em> and \u003cem>Draft \u003c/em>in which the choreographer and his dancers go beyond their comfort zone.\u003c/p>\n\u003cp>Moses, rather uniquely among dance makers working in the U.S., takes a dual approach to risk-taking.\u003c/p>\n\u003cp>For\u003cem> The BY Series, \u003c/em>he invites young choreographers to set pieces on his own superbly-trained troupe. This provides a fabulous opportunity for the guest choreographers and a chance for Moses to look at his dancers through someone else’s eyes.\u003c/p>\n\u003cp>For \u003cem>Draft, \u003c/em>he invites outside dancers to join his own company. This gives the choreographer a new mix of talents to consider. He creates individual sketches on them and at the last minute pulls the pieces together into a cohesive whole.\u003c/p>\n\u003cp>The evening opens to Moses’ sizzling adaptation of his 2006 version of \u003cem>Draft, \u003c/em>which could be glimpsed in a dark video behind the dancers. The choreography imagines a club on a hot Saturday night in which people take the measure of each other, pair up, compete for attention or stay caught in their own worlds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The dance is performed to excerpts from “Copulation Blues 1926-1940,” a\u003cstrong> \u003c/strong>\u003cstrong> \u003c/strong>compilation of popular African American songs in the blues tradition. The collection has some of the bawdiest lyrics ever recorded, yet also rides a propulsive beat.\u003c/p>\n\u003cp>This year’s \u003cem>Draft\u003c/em> features a rich mix of ensembles and solos. A trio for women suddenly blossoms into a sextet; eight dancers shake each other’s heads as they squeeze themselves into an ever-tightening space.\u003c/p>\n\u003cp>Moses spotlights the strengths of individual dancers in the solo sections: Jeremy Bannon-Neches nuzzles up to potential partners; Briana Dickinson whiplashes her spine; Carly Johnson shoots along the floor looks as if propelled by a rocket. And Karla Johanna Quintero’s elegant long limbs claim center space.\u003c/p>\n\u003cp>In\u003cem> State Space,\u003c/em> guest choreographer Daiane Da Silva serves up a smart, fast paced quintet in which the dancers behave naturally when they aren’t maniacally driven by something akin to an internal robot on speed.\u003c/p>\n\u003cp>\u003cem>State Space \u003c/em>looks like a game of individuality versus efficiency.\u003c/p>\n\u003cp>Sitting trios engage in high speed teeth brushing, belly scratching, nose picking and underarm sniffing. Then the quintet explodes into spatial chaos until some internal mechanism slows everyone down into near crawls. Next, the dancers try on new identities by exchanging their clothes.\u003c/p>\n\u003cp>\u003cem>State Space \u003c/em>also features what must be one of the sweetest courting duets I’ve ever seen on a Bay Area stage. Holding his hand up to her face, Victor Talledos repeatedly tries to calm a screaming, shaking Norma Fong. He finally succeeds. Shuffling after her tiptoeing attempt to escape, the dancer takes her wild hair and braids it.\u003c/p>\n\u003cp>Guest choreographer Amy Foley’s \u003cem>Loom\u003c/em> possesses its own sweetness. The piece communicates with plainspoken simplicity, much in the spirit of the recorded excerpt of poetry by Mary Oliver that opens this well-crafted but modest essay.\u003c/p>\n\u003cp>While the emotional range of its four movements remains tightly — perhaps too tightly — confined, Foley shows a secure and sensitive hand in the employment of dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also welcome is the addition of a contentious duet performed by Crystaldawn Bell and Delvis Savigne Frinon. The piece comes from \u003cem>Silt\u003c/em>, a recent premiere by Robert Moses’ Kin. The intensity of dancers’ moilingly hot attraction and repulsion for one other could frighten anyone into a life of solitude.\u003c/p>\n\n",
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"content": "\u003cp>If your definition of “ethnic dance” consists primarily of non-professional, enthusiastic dancers in colorful costumes at the local community center, think again.\u003c/p>\n\u003cp>This year, five companies performing for the first time at \u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"_blank\" rel=\"noopener\">The San Francisco Ethnic Dance Festival \u003c/a>expand traditional notions of what ethnic dance is.\u003c/p>\n\u003cp>The term “ethnic dance” is rooted in a specific people’s identity. Yet practices change over time, and new ones evolve as communities become more urbanized and culturally intertwined.\u003c/p>\n\u003cp>This year’s Festival program still includes plenty of time-honored communal and ritual practices from around the globe, transferred to the stage. But, more intriguingly, the newcomers are putting their own stamp on what ethnic dance can be.\u003c/p>\n\u003cp>\u003cstrong>Hilit Maniv rethinks flamenco\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10726171\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10726171 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71.jpg\" alt=\"Dancer Hilary Maniv\" width=\"576\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-400x395.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-75x75.jpg 75w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hilit Maniv (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>Flamenco dance from Andalucia is closely connected to Arab and Roma cultures. But for hundreds of years, Southern Spain also had a thriving Jewish community until its citizens were expelled. In the \u003cem>Petenera\u003c/em>, for which she uses Ladino (a music of the Andalucian Jews) and Spanish music, Israel-born performer Hilit Maniv dances the story of a fierce Jewish woman’s lament for herself and her people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Ballroom meets ragtime\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10723500\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10723500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan.jpg\" alt=\"Kimber Rudo and Irvin Tyan\" width=\"576\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan-64x64.jpg 64w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kimber Rudo and Irvin Tyan (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>When white America’s genteel ballroom dance encountered the syncopations of African American ragtime around the turn of the last century, sparks began to fly. Almost overnight, ragtime dance became a passion in this country. The steps were simple, the music irresistible and people were crazy for the waltzes, quadrilles and “animal dances.”. The Academy of Danse Libre presents a selection of what the visitors to the 1915 Panama-Pacific International Exposition might have seen – and danced.\u003c/p>\n\u003cp>\u003cb>A new generation thrives with Indian dance\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10723497\" class=\"wp-caption alignright\" style=\"max-width: 672px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10723497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar.jpg\" alt=\"Gurus of Dance: Candice Newnes and Ajeenkya Bhatalkar \" width=\"672\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar-400x229.jpg 400w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gurus of Dance: Candice Newnes and Ajeenkya Bhatalkar (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Last year’s festival dedicated a whole evening to India’s refined classical dance traditions. Not for us, say the kids of Gurus of Dance. Theirs is a different world. The company’s hallmark style is influenced by Bollywood, where Indian folk traditions get thrown into a joyous mashup of Indian movies and Broadway musicals.\u003c/p>\n\u003cp>\u003cstrong>Urban African dance travels to Oakland\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10723498\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10723498\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna.jpg\" alt=\"Jikelele Dance Theater: Tiffany Rabb\" width=\"576\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna-400x352.jpg 400w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jikelele Dance Theater: Tiffany Rabb (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>In South Africa, the Black Township Theater came to life in the 1970s in Johannesburg as a form of resistance to Apartheid. Reflecting a culture that was vital but also severely stressed, dancers created choreographies that were rooted in the past yet spoke to and about their lives at that time. Featuring Zulu and Xhosa dances, Jikelele Dance Theater pays tribute to that painful period. The company’snine dancers honor that past while also claiming these works as their own.\u003c/p>\n\u003cp>\u003cstrong>Harlem sweeps the country\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10723496\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Starchild_Traci-Bartlow-e1433288855261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10723496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Starchild_Traci-Bartlow-400x600.jpg\" alt=\"Starchild Dance: Traci Bartlow\" width=\"400\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Starchild Dance: Traci Bartlow (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>Although born in the Rural South, African American vernacular dance came to national prominence during the jazz age in the dance halls and clubs of Harlem. But it kept moving and changing. Tracy Barlow and her partner Ray F. Davis dance the evolution of this indigenous American art across the country. They take with equal ease to the lindy, hip-hop, house dance and more recent choreographic genres such as get lite and cypher. The duo models their show, \u003cem>Skit, Skat, How ‘Bout That\u003c/em> after the bravura dance-offs that traditionally occurred between competing lindy hop couples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"_blank\" rel=\"noopener\">The San Francisco Ethnic Dance Festival \u003c/a>runs June 5-27 at the Palace of Fine Arts and Marina Green, San Francisco. \u003c/em>\u003c/p>\n\n",
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"title": "Newcomers Expand Traditions at the San Francisco Ethnic Dance Festival | KQED",
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"headline": "Newcomers Expand Traditions at the San Francisco Ethnic Dance Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your definition of “ethnic dance” consists primarily of non-professional, enthusiastic dancers in colorful costumes at the local community center, think again.\u003c/p>\n\u003cp>This year, five companies performing for the first time at \u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"_blank\" rel=\"noopener\">The San Francisco Ethnic Dance Festival \u003c/a>expand traditional notions of what ethnic dance is.\u003c/p>\n\u003cp>The term “ethnic dance” is rooted in a specific people’s identity. Yet practices change over time, and new ones evolve as communities become more urbanized and culturally intertwined.\u003c/p>\n\u003cp>This year’s Festival program still includes plenty of time-honored communal and ritual practices from around the globe, transferred to the stage. But, more intriguingly, the newcomers are putting their own stamp on what ethnic dance can be.\u003c/p>\n\u003cp>\u003cstrong>Hilit Maniv rethinks flamenco\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10726171\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10726171 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71.jpg\" alt=\"Dancer Hilary Maniv\" width=\"576\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-400x395.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_HilitManiv_5x71-75x75.jpg 75w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hilit Maniv (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>Flamenco dance from Andalucia is closely connected to Arab and Roma cultures. But for hundreds of years, Southern Spain also had a thriving Jewish community until its citizens were expelled. In the \u003cem>Petenera\u003c/em>, for which she uses Ladino (a music of the Andalucian Jews) and Spanish music, Israel-born performer Hilit Maniv dances the story of a fierce Jewish woman’s lament for herself and her people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ballroom meets ragtime\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10723500\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10723500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan.jpg\" alt=\"Kimber Rudo and Irvin Tyan\" width=\"576\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/DanseLibre_Kimber-Rudo-Irvin-Tyan-64x64.jpg 64w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kimber Rudo and Irvin Tyan (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>When white America’s genteel ballroom dance encountered the syncopations of African American ragtime around the turn of the last century, sparks began to fly. Almost overnight, ragtime dance became a passion in this country. The steps were simple, the music irresistible and people were crazy for the waltzes, quadrilles and “animal dances.”. The Academy of Danse Libre presents a selection of what the visitors to the 1915 Panama-Pacific International Exposition might have seen – and danced.\u003c/p>\n\u003cp>\u003cb>A new generation thrives with Indian dance\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10723497\" class=\"wp-caption alignright\" style=\"max-width: 672px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10723497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar.jpg\" alt=\"Gurus of Dance: Candice Newnes and Ajeenkya Bhatalkar \" width=\"672\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gurus-of-Dance-Candice-Newnes-Ajeenkya-Bhatalkar-400x229.jpg 400w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gurus of Dance: Candice Newnes and Ajeenkya Bhatalkar (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Last year’s festival dedicated a whole evening to India’s refined classical dance traditions. Not for us, say the kids of Gurus of Dance. Theirs is a different world. The company’s hallmark style is influenced by Bollywood, where Indian folk traditions get thrown into a joyous mashup of Indian movies and Broadway musicals.\u003c/p>\n\u003cp>\u003cstrong>Urban African dance travels to Oakland\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10723498\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10723498\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna.jpg\" alt=\"Jikelele Dance Theater: Tiffany Rabb\" width=\"576\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/EDF15_Jikelele_Tiffany-Rabb_-by-RJ-Muna-400x352.jpg 400w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jikelele Dance Theater: Tiffany Rabb (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>In South Africa, the Black Township Theater came to life in the 1970s in Johannesburg as a form of resistance to Apartheid. Reflecting a culture that was vital but also severely stressed, dancers created choreographies that were rooted in the past yet spoke to and about their lives at that time. Featuring Zulu and Xhosa dances, Jikelele Dance Theater pays tribute to that painful period. The company’snine dancers honor that past while also claiming these works as their own.\u003c/p>\n\u003cp>\u003cstrong>Harlem sweeps the country\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10723496\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Starchild_Traci-Bartlow-e1433288855261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10723496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Starchild_Traci-Bartlow-400x600.jpg\" alt=\"Starchild Dance: Traci Bartlow\" width=\"400\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Starchild Dance: Traci Bartlow (Photo by R J Muna)\u003c/figcaption>\u003c/figure>\n\u003cp>Although born in the Rural South, African American vernacular dance came to national prominence during the jazz age in the dance halls and clubs of Harlem. But it kept moving and changing. Tracy Barlow and her partner Ray F. Davis dance the evolution of this indigenous American art across the country. They take with equal ease to the lindy, hip-hop, house dance and more recent choreographic genres such as get lite and cypher. The duo models their show, \u003cem>Skit, Skat, How ‘Bout That\u003c/em> after the bravura dance-offs that traditionally occurred between competing lindy hop couples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"_blank\" rel=\"noopener\">The San Francisco Ethnic Dance Festival \u003c/a>runs June 5-27 at the Palace of Fine Arts and Marina Green, San Francisco. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
},
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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 />",
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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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"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",
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"order": 15
},
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},
"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",
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"order": 18
},
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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/",
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},
"link": "/radio/program/latino-usa",
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"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"
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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