The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
San Francisco Gets a Brand New Gallery — With a Focus on African Artists
For Valentine’s, a Thai Fantasy About a Ghost in a (Vacuum) Machine
Fungi Fest Brings Mushroom Foraging, Food and Forest Science to Sonoma County
La Onda 2026 Lineup: J Balvin, Christian Nodal, Maná, Ivan Cornejo, More in Napa
Lovers Lane Unites San Francisco’s Mission District with Art and Cultura
SOMArts to Gather SF Arts Community During ‘State of Emergency’
‘The Cherry Orchard’ Is a Captivating Portrait of Family Delusion
At BAMPFA, Theresa Hak Kyung Cha’s Eloquent Art Lives On
Learn the True History of SantaCon in an SF IndieFest Documentary
Time Traveling Through Cece Carpio’s New Exhibition at SOMArts
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"content": "\u003cfigure id=\"attachment_13986618\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986618 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png\" alt=\"A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder. She is wearing blue jeans. \" width=\"1667\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-160x192.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-768x921.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1280x1536.png 1280w\" sizes=\"auto, (max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">Ayanda Mabulu, ‘The Load,’ 2025. \u003ccite>(Courtesy of AOCA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first thing you see when you enter \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (AOCA) — a brand new gallery at the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> — are three stunning, large scale, oil and gold leaf portraits of Black women by Ayanda Mabulu. In his own country, Mabulu is a controversial figure known for unflinching depictions of South Africa’s political landscape, from the apartheid era to the present day. His work often inspires heated discussion, outrage and discomfort.\u003c/p>\n\u003cp>The three pieces Mabulu contributes to AOCA’s inaugural exhibition \u003cem>Afropop\u003c/em>, however, are unexpectedly serene. \u003cem>The Load\u003c/em>, \u003cem>The Hunt\u003c/em> and \u003cem>Nongqawuse\u003c/em> each focus on African women as holders of cultural memory, power and adaptability. Mabulu’s work here is a stunning start to a show that offers a mixed bag of contemporary talent, brought together as a means to display work by artists from as many corners of the African continent as possible.\u003c/p>\n\u003cp>[aside postid='arts_13985813']AOCA has been three years in the making, a sister gallery to Johannesburg’s \u003ca href=\"https://themelrosegallery.com/\">The Melrose\u003c/a>, started by Craig Mark and fine art photographer Clint Strydom eight years ago. Mark and Strydom have long been focused on bringing contemporary African art to American audiences whenever art fairs around the country — in Miami, Los Angeles, Palm Beach, Chicago and others — presented the opportunity.\u003c/p>\n\u003cp>The decision to open a permanent gallery in San Francisco arose after Mark’s three children moved to the Bay Area to study at \u003ca href=\"https://www.kqed.org/news/tag/university-of-san-francisco\">University of San Francisco\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/uc-berkeley\">UC Berkeley\u003c/a>. Mark says he immediately felt at home in San Francisco, where he is now based full-time.\u003c/p>\n\u003cp>“I felt similarities with Capetown,” he tells KQED Arts. “The vibes, the geography, the community engagement, the beautiful mix of different genres. There’s always something going on in the city.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>AOCA moves into the Minnesota Street Project space that was previously home to Rena Bransten Gallery. Mark is the first new tenant in the complex after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> in late 2025.\u003c/p>\n\u003cfigure id=\"attachment_13986651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png\" alt=\"A piece of contemporary art, dark with several glowing elements depicts a distorted view of humanity, twisted and blended with animals.\" width=\"2000\" height=\"1721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-768x661.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-1536x1322.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mwass Githinji, ‘The Battle of Choice.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists featured in \u003cem>Afropop\u003c/em> hail from Uganda, Kenya, Ivory Coast, Cameroon, Democratic Republic of Congo, South Africa, Costa Rica and Barbados. They range in age from 25 to 90. And though the work in the show doesn’t always feel unified in style or theme, one gets the impression that Mark and Strydom are simply keen to show the Bay, right out of the gate, the wide range of what the contemporary African art world has to offer.\u003c/p>\n\u003cp>“A lot of the \u003cem>Afropop\u003c/em> works have traditional elements to them but also have a modern, contemporary feel that gives the show an interesting energy,” Mark says. “[\u003cem>Afropop\u003c/em> is] not supposed to be a representation of Africa as a whole. There’s one and a half billion people there! But by 2030, it’s estimated that 42% of the world’s youth will be in Africa. Their voice becomes extremely important globally. So I think you’re going to see more and more African [art] shows [in the U.S.]”\u003c/p>\n\u003cp>[aside postid='arts_13986355']Other standout pieces featured in \u003cem>Afropop\u003c/em> include \u003cem>The Battle of Choice\u003c/em> and \u003cem>Doomed\u003c/em> by Mwass Githinji. The 31-year-old Kenyan artist explores mythological underworlds and ongoing skirmishes between man and nature. So dimly lit and disorienting are his oil and pastel works, the viewer can’t help but think of the Mariana Trench’s deep sea creatures, both monstrous and fascinating to the human eye.\u003c/p>\n\u003cp>Elsewhere, Marcel Tchopwe explores the dearth of professional jobs in his native Cameroon, for even the most qualified candidates. \u003cem>Docteur de call box\u003c/em> depicts a man in scrubs, stethoscope slung around his neck, hawking cell phones on a street corner, seated dejectedly on a plastic chair.\u003c/p>\n\u003cfigure id=\"attachment_13986652\" class=\"wp-caption aligncenter\" style=\"max-width: 1882px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png\" alt=\"A predominantly lilac and purple painting depicting a Black man in doctor's scrubs seated on a plastic chair underneath a white umbrella. A sign at his right reads CALLS 50.\" width=\"1882\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png 1882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-768x816.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-1445x1536.png 1445w\" sizes=\"auto, (max-width: 1882px) 100vw, 1882px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Tchopwe, ‘Docteur de call box.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists on display include Akilah Watts, Dr. Willie Bester, Mederic Turay, Aza Mansongi, Edozie Anedu and Pascal Konan.\u003c/p>\n\u003cp>[aside postid='arts_13986135']In the future, Mark is hoping that AOCA can bring together African and African American artists for collaborations and panel discussions at the gallery. In the meantime, after \u003cem>Afropop\u003c/em> opens, Mark and Strydom will work with the \u003ca href=\"https://www.amfedarts.org/\">American Federation of Arts\u003c/a> to tour an exhibition of pieces by Dr. Esther Mahlangu, whose striking work also appears in \u003cem>Afropop\u003c/em>. The 90-year-old artist explores her heritage in large-scale paintings and pottery inspired by the murals of the Ndebele people.\u003c/p>\n\u003cp>“There has been a traditional underrepresentation of African artists in the U.S. Very few of them have done museum shows,” Mark notes. “Artists from Africa need this kind of international exposure.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afropop’ is on view at \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (1275 Minnesota St., San Francisco) Feb. 12–March 29, 2026. The opening reception takes place Thursday, Feb. 12, 6:30–9:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986618\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986618 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png\" alt=\"A contemporary painting featuring a Black woman wearing a hair wrap, her back to the viewer, with a white swan draped over her front, its neck resting on her shoulder. She is wearing blue jeans. \" width=\"1667\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan.png 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-160x192.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-768x921.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/swan-1280x1536.png 1280w\" sizes=\"auto, (max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">Ayanda Mabulu, ‘The Load,’ 2025. \u003ccite>(Courtesy of AOCA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first thing you see when you enter \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (AOCA) — a brand new gallery at the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> — are three stunning, large scale, oil and gold leaf portraits of Black women by Ayanda Mabulu. In his own country, Mabulu is a controversial figure known for unflinching depictions of South Africa’s political landscape, from the apartheid era to the present day. His work often inspires heated discussion, outrage and discomfort.\u003c/p>\n\u003cp>The three pieces Mabulu contributes to AOCA’s inaugural exhibition \u003cem>Afropop\u003c/em>, however, are unexpectedly serene. \u003cem>The Load\u003c/em>, \u003cem>The Hunt\u003c/em> and \u003cem>Nongqawuse\u003c/em> each focus on African women as holders of cultural memory, power and adaptability. Mabulu’s work here is a stunning start to a show that offers a mixed bag of contemporary talent, brought together as a means to display work by artists from as many corners of the African continent as possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>AOCA has been three years in the making, a sister gallery to Johannesburg’s \u003ca href=\"https://themelrosegallery.com/\">The Melrose\u003c/a>, started by Craig Mark and fine art photographer Clint Strydom eight years ago. Mark and Strydom have long been focused on bringing contemporary African art to American audiences whenever art fairs around the country — in Miami, Los Angeles, Palm Beach, Chicago and others — presented the opportunity.\u003c/p>\n\u003cp>The decision to open a permanent gallery in San Francisco arose after Mark’s three children moved to the Bay Area to study at \u003ca href=\"https://www.kqed.org/news/tag/university-of-san-francisco\">University of San Francisco\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/uc-berkeley\">UC Berkeley\u003c/a>. Mark says he immediately felt at home in San Francisco, where he is now based full-time.\u003c/p>\n\u003cp>“I felt similarities with Capetown,” he tells KQED Arts. “The vibes, the geography, the community engagement, the beautiful mix of different genres. There’s always something going on in the city.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>AOCA moves into the Minnesota Street Project space that was previously home to Rena Bransten Gallery. Mark is the first new tenant in the complex after \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">four galleries announced their closure\u003c/a> in late 2025.\u003c/p>\n\u003cfigure id=\"attachment_13986651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png\" alt=\"A piece of contemporary art, dark with several glowing elements depicts a distorted view of humanity, twisted and blended with animals.\" width=\"2000\" height=\"1721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-768x661.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/battle-of-choice-1536x1322.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mwass Githinji, ‘The Battle of Choice.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists featured in \u003cem>Afropop\u003c/em> hail from Uganda, Kenya, Ivory Coast, Cameroon, Democratic Republic of Congo, South Africa, Costa Rica and Barbados. They range in age from 25 to 90. And though the work in the show doesn’t always feel unified in style or theme, one gets the impression that Mark and Strydom are simply keen to show the Bay, right out of the gate, the wide range of what the contemporary African art world has to offer.\u003c/p>\n\u003cp>“A lot of the \u003cem>Afropop\u003c/em> works have traditional elements to them but also have a modern, contemporary feel that gives the show an interesting energy,” Mark says. “[\u003cem>Afropop\u003c/em> is] not supposed to be a representation of Africa as a whole. There’s one and a half billion people there! But by 2030, it’s estimated that 42% of the world’s youth will be in Africa. Their voice becomes extremely important globally. So I think you’re going to see more and more African [art] shows [in the U.S.]”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other standout pieces featured in \u003cem>Afropop\u003c/em> include \u003cem>The Battle of Choice\u003c/em> and \u003cem>Doomed\u003c/em> by Mwass Githinji. The 31-year-old Kenyan artist explores mythological underworlds and ongoing skirmishes between man and nature. So dimly lit and disorienting are his oil and pastel works, the viewer can’t help but think of the Mariana Trench’s deep sea creatures, both monstrous and fascinating to the human eye.\u003c/p>\n\u003cp>Elsewhere, Marcel Tchopwe explores the dearth of professional jobs in his native Cameroon, for even the most qualified candidates. \u003cem>Docteur de call box\u003c/em> depicts a man in scrubs, stethoscope slung around his neck, hawking cell phones on a street corner, seated dejectedly on a plastic chair.\u003c/p>\n\u003cfigure id=\"attachment_13986652\" class=\"wp-caption aligncenter\" style=\"max-width: 1882px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png\" alt=\"A predominantly lilac and purple painting depicting a Black man in doctor's scrubs seated on a plastic chair underneath a white umbrella. A sign at his right reads CALLS 50.\" width=\"1882\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50.png 1882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-768x816.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/calls-50-1445x1536.png 1445w\" sizes=\"auto, (max-width: 1882px) 100vw, 1882px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Tchopwe, ‘Docteur de call box.’ \u003ccite>(Courtesy of AOCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists on display include Akilah Watts, Dr. Willie Bester, Mederic Turay, Aza Mansongi, Edozie Anedu and Pascal Konan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the future, Mark is hoping that AOCA can bring together African and African American artists for collaborations and panel discussions at the gallery. In the meantime, after \u003cem>Afropop\u003c/em> opens, Mark and Strydom will work with the \u003ca href=\"https://www.amfedarts.org/\">American Federation of Arts\u003c/a> to tour an exhibition of pieces by Dr. Esther Mahlangu, whose striking work also appears in \u003cem>Afropop\u003c/em>. The 90-year-old artist explores her heritage in large-scale paintings and pottery inspired by the murals of the Ndebele people.\u003c/p>\n\u003cp>“There has been a traditional underrepresentation of African artists in the U.S. Very few of them have done museum shows,” Mark notes. “Artists from Africa need this kind of international exposure.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afropop’ is on view at \u003ca href=\"https://www.aocaart.com/\">Art of Contemporary Africa\u003c/a> (1275 Minnesota St., San Francisco) Feb. 12–March 29, 2026. The opening reception takes place Thursday, Feb. 12, 6:30–9:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beneath its placid and gorgeously manicured surface, the quasi-supernatural Thai romantic fantasy \u003cem>A Useful Ghost\u003c/em> conceals a deep well of weirdness. A reserved yet occasionally ribald rendering of omnisexual love, longing and belonging, the Roxie’s Valentine’s weekend offering (\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">playing Feb. 13–16 and 19\u003c/a>) should find plenty of admirers in what used to be called Babylon by the Bay.\u003c/p>\n\u003cp>Ratchapoom Boonbunchachoke begins his Cannes prizewinning debut feature with an arresting tableau of Indigenous and historical figures posing for an artist. The completed frieze has only a short life in a public square, however, before it is removed, damaged, discarded and dissipated into dust — albeit not the same particles that make Academic Ladyboy (yes, that is the name of the shyly endearing character played by Wisarut Homhuan) sneeze, and prompt him to buy a vacuum cleaner.\u003c/p>\n\u003cp>Dust has many meanings in \u003cem>A Useful Ghost\u003c/em>, primarily as the physical and psychological residue of memories. On the personal level, dust suggests the lingering presence of deceased lovers. The filmmaker also laments the loss of historical memory, represented by the destroyed artwork (and its forgotten subjects) and the 2010 massacre of protestors by Thai soldiers that he explicitly references much later.\u003c/p>\n\u003cfigure id=\"attachment_13986672\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg\" alt=\"woman embraces man from behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics and history are not on Ladyboy’s mind, though, when a hiccup in his new appliance necessitates a visit from a repairman. The preternaturally composed Krong (Wanlop Rungkumjad) explains, possibly as a means of seduction, that there’s a ghost in Ladyboy’s machine, and he begins to recount the drolly haunted fable that comprises the heart of \u003cem>A Useful Ghost\u003c/em>.\u003c/p>\n\u003cp>The film is a compendium of unorthodox choices, starting with a gay romance as the frame for a heterosexual love story. Two more homosexual couples will join the proceedings; the audience discovers one of those relationships in flagrante. Partial spoiler alert: Three of the four couples share the same obstacle, namely, that one partner is dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie gets to the central relationship much, much faster than I have, patient reader. March (Witsarut Himmarat), mourning a loss, has contracted a respiratory illness. His late wife, Nat (Davika Hoorne), takes up residence in a vacuum cleaner to help cure him. This is not quite as random as you may think because Nat’s perennially disapproving mother-in-law Suman (Apasiri Nitibhon) owns the vacuum cleaner factory at the center of all the paranormal shenanigans.\u003c/p>\n\u003cfigure id=\"attachment_13986669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg\" alt=\"group of six older people face a vacuum cleaner\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boonbunchachoke’s precise compositions reminded me of absurdist Swedish filmmaker and Roxie favorite Roy Andersson (\u003cem>A Pigeon Sat on a Branch Reflecting on Existence\u003c/em>), so I expected oddball behavior passing as normal. The machine (that is, Nat) waiting patiently in line to get on an elevator at the hospital has the anthropomorphic pathos of a Pixar sequence. Suman’s dead-serious admonishment of March, “Please stop screwing your vacuum,” is a pretty good laugh line. (If you’re wondering if a vacuum cleaner can give consent, the answer is “Yes, please.”) \u003c/p>\n\u003cp>Other bits are more jarring than funny, like the monks commissioned by Suman to dispel Nat whose vitriol includes the c-word. The electroconvulsive therapy used to erase March’s memories of Nat — and which is subsequently employed for political purposes — isn’t intended to be funny but it certainly puts a chill on the light comedy.\u003c/p>\n\u003cfigure id=\"attachment_13986670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg\" alt=\"medical staff around a man in a chair, gagged with soundproofing on walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While it’s understandable, though not ideal, that the tone of a writer-director’s first feature wavers from time to time, it’s harder to accept the variability of the performances. The pretty young couple playing Nat and March don’t display much more emotional range than the vacuum cleaner — though it’s certainly possible that’s another joke I missed. (For the record, the machine is exceedingly well cast.)\u003c/p>\n\u003cp>\u003cem>A Useful Ghost\u003c/em> manages to be both earnest and transgressive, thoughtful and snotty. It’s an impeccably designed argument for “the force of love” (as March tells his mother) and against the curse of loneliness, with a political hand grenade tucked inside.\u003c/p>\n\u003cp>Rather unexpectedly, given its basic premise of a ghost inhabiting a vacuum cleaner, \u003cem>A Useful Ghost\u003c/em> is a deeply moralistic film and a comedy of conscience. In Boonbunchachoke’s view, there’s a place for everyone, even ghosts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">A Useful Ghost\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) Feb. 13–16 and 19, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beneath its placid and gorgeously manicured surface, the quasi-supernatural Thai romantic fantasy \u003cem>A Useful Ghost\u003c/em> conceals a deep well of weirdness. A reserved yet occasionally ribald rendering of omnisexual love, longing and belonging, the Roxie’s Valentine’s weekend offering (\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">playing Feb. 13–16 and 19\u003c/a>) should find plenty of admirers in what used to be called Babylon by the Bay.\u003c/p>\n\u003cp>Ratchapoom Boonbunchachoke begins his Cannes prizewinning debut feature with an arresting tableau of Indigenous and historical figures posing for an artist. The completed frieze has only a short life in a public square, however, before it is removed, damaged, discarded and dissipated into dust — albeit not the same particles that make Academic Ladyboy (yes, that is the name of the shyly endearing character played by Wisarut Homhuan) sneeze, and prompt him to buy a vacuum cleaner.\u003c/p>\n\u003cp>Dust has many meanings in \u003cem>A Useful Ghost\u003c/em>, primarily as the physical and psychological residue of memories. On the personal level, dust suggests the lingering presence of deceased lovers. The filmmaker also laments the loss of historical memory, represented by the destroyed artwork (and its forgotten subjects) and the 2010 massacre of protestors by Thai soldiers that he explicitly references much later.\u003c/p>\n\u003cfigure id=\"attachment_13986672\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg\" alt=\"woman embraces man from behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-04_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics and history are not on Ladyboy’s mind, though, when a hiccup in his new appliance necessitates a visit from a repairman. The preternaturally composed Krong (Wanlop Rungkumjad) explains, possibly as a means of seduction, that there’s a ghost in Ladyboy’s machine, and he begins to recount the drolly haunted fable that comprises the heart of \u003cem>A Useful Ghost\u003c/em>.\u003c/p>\n\u003cp>The film is a compendium of unorthodox choices, starting with a gay romance as the frame for a heterosexual love story. Two more homosexual couples will join the proceedings; the audience discovers one of those relationships in flagrante. Partial spoiler alert: Three of the four couples share the same obstacle, namely, that one partner is dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie gets to the central relationship much, much faster than I have, patient reader. March (Witsarut Himmarat), mourning a loss, has contracted a respiratory illness. His late wife, Nat (Davika Hoorne), takes up residence in a vacuum cleaner to help cure him. This is not quite as random as you may think because Nat’s perennially disapproving mother-in-law Suman (Apasiri Nitibhon) owns the vacuum cleaner factory at the center of all the paranormal shenanigans.\u003c/p>\n\u003cfigure id=\"attachment_13986669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg\" alt=\"group of six older people face a vacuum cleaner\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-0_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boonbunchachoke’s precise compositions reminded me of absurdist Swedish filmmaker and Roxie favorite Roy Andersson (\u003cem>A Pigeon Sat on a Branch Reflecting on Existence\u003c/em>), so I expected oddball behavior passing as normal. The machine (that is, Nat) waiting patiently in line to get on an elevator at the hospital has the anthropomorphic pathos of a Pixar sequence. Suman’s dead-serious admonishment of March, “Please stop screwing your vacuum,” is a pretty good laugh line. (If you’re wondering if a vacuum cleaner can give consent, the answer is “Yes, please.”) \u003c/p>\n\u003cp>Other bits are more jarring than funny, like the monks commissioned by Suman to dispel Nat whose vitriol includes the c-word. The electroconvulsive therapy used to erase March’s memories of Nat — and which is subsequently employed for political purposes — isn’t intended to be funny but it certainly puts a chill on the light comedy.\u003c/p>\n\u003cfigure id=\"attachment_13986670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg\" alt=\"medical staff around a man in a chair, gagged with soundproofing on walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AUG-03_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ratchapoom Boonbunchachoke’s ‘A Useful Ghost.’ \u003ccite>(Cineverse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While it’s understandable, though not ideal, that the tone of a writer-director’s first feature wavers from time to time, it’s harder to accept the variability of the performances. The pretty young couple playing Nat and March don’t display much more emotional range than the vacuum cleaner — though it’s certainly possible that’s another joke I missed. (For the record, the machine is exceedingly well cast.)\u003c/p>\n\u003cp>\u003cem>A Useful Ghost\u003c/em> manages to be both earnest and transgressive, thoughtful and snotty. It’s an impeccably designed argument for “the force of love” (as March tells his mother) and against the curse of loneliness, with a political hand grenade tucked inside.\u003c/p>\n\u003cp>Rather unexpectedly, given its basic premise of a ghost inhabiting a vacuum cleaner, \u003cem>A Useful Ghost\u003c/em> is a deeply moralistic film and a comedy of conscience. In Boonbunchachoke’s view, there’s a place for everyone, even ghosts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/a-useful-ghost/#showtimes\">A Useful Ghost\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) Feb. 13–16 and 19, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "guerneville-russian-river-fungi-fest-mushroom-foraging-food-science-sonoma-county",
"title": "Fungi Fest Brings Mushroom Foraging, Food and Forest Science to Sonoma County",
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"content": "\u003cp>In winter, when the \u003ca href=\"https://www.kqed.org/news/tag/russian-river\">Russian River\u003c/a> slows and fog clings to the redwoods, another kingdom quietly rises beneath the forest floor. \u003c/p>\n\u003cp>Now, Guerneville is throwing a festival in its honor.\u003c/p>\n\u003cp>The inaugural \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a>, taking place Feb. 21–22, brings a two-day celebration of mushrooms to West Sonoma County, blending science talks, forest foraging, art and food. \u003c/p>\n\u003cp>[aside postID='arts_13984173']“We just threw some paint at the wall,” says Nick Schwanz, president of the \u003ca href=\"https://www.sonomacounty.com/events/russian-river-fungi-fest/\">Russian River Chamber of Commerce\u003c/a> and co-founder of \u003ca href=\"https://www.instagram.com/solarpunkfarms/\">Solar Punk Farms\u003c/a>, which is co-organizing the event. “And the instantaneous energy around it was like — okay, great, let’s do it.”\u003c/p>\n\u003cp>The celebration comes at a time when mushroom safety is top of mind. California has seen recent cases of accidental poisonings from \u003ca href=\"https://www.kqed.org/science/1999828/california-combats-largest-mushroom-poisoning-outbreak-in-the-country\">death cap mushrooms\u003c/a> — a toxic species that can resemble edible varieties and grows widely across the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s one reason Schwanz says education is central to the festival. \u003c/p>\n\u003cp>Fungi Fest evolved from two overlapping goals. Solar Punk Farms, a climate-focused community hub, is always looking for ways to get people excited about ecology. The chamber of commerce, meanwhile, wants to remind visitors that Sonoma County isn’t just a summer river destination, Schwanz says. \u003c/p>\n\u003cp>“Nature and winter in Sonoma County just scream mushrooms,” he explains.\u003c/p>\n\u003cp>Rather than positioning themselves as mushroom authorities, organizers built what Schwanz calls a “scaffolding”: a platform for the region’s mycologists, foragers and fungi enthusiasts to share their knowledge.\u003c/p>\n\u003cp>At the center of the weekend is a \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Mushroom Marketplace\u003c/a>, expected to feature 60 to 80 vendors selling fresh mushrooms, foraging kits, books and mushroom-dyed artwork. A section dubbed “Yeast Village” will spotlight fermented foods, beer, wine and sourdough bread — everyday examples of fungi at work.\u003c/p>\n\u003cp>Two stages will host the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#fungi-forum\">Fungi Forum\u003c/a>, with about 15 speakers covering topics from the basics of Sonoma County mushroom identification to how to forage safely and avoid poisonous lookalikes. Some talks will dive deeper into mycelium, the threadlike underground network that makes up most of a fungus.\u003c/p>\n\u003cfigure id=\"attachment_13984067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg\" alt=\"person crouches to cut mushroom off log, dog and another person behind\" width=\"2000\" height=\"1314\" class=\"size-full wp-image-13984067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-1536x1009.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz picks mushrooms from the forest at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people think of fungi, they think about the mushroom,” Schwanz says. “But most of fungi really is the mycelium.”\u003c/p>\n\u003cp>Mycelium, that hidden web, is essential to forest ecosystems, breaking down dead material and recycling nutrients. It’s also inspiring innovation, including biodegradable packaging and experimental building materials.\u003c/p>\n\u003cp>Beyond lectures, the festival invites people into the woods. \u003ca href=\"https://www.solarpunkfarms.com/fungifest#outdoor-adventure\">Guided hikes\u003c/a> through Armstrong Woods and foraging expeditions with local experts will give beginners a chance to learn how to identify species and harvest responsibly.\u003c/p>\n\u003cp>And then there are the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#pop-up-events\">pop-ups\u003c/a> — nearly 30 of them. Local restaurants and businesses are planning mushroom-themed menus, drink specials, movie screenings, workshops and even a mushroom tattoo flash. “It’s a very Guerneville party,” Schwanz admits. \u003c/p>\n\u003cp>The suggested donation is $15 for the full weekend, with no one turned away for lack of funds. Organizers say the event is designed to be family-friendly, with some programming specifically for kids.\u003c/p>\n\u003cp>“This isn’t just for people who love mushrooms on pizza,” Schwanz says. “It’s for people who are just curious about nature.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a> takes place Feb. 21–22, 2026 in downtown Guerneville. It is a free event with a suggested donation of $15 for the full weekend.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In winter, when the \u003ca href=\"https://www.kqed.org/news/tag/russian-river\">Russian River\u003c/a> slows and fog clings to the redwoods, another kingdom quietly rises beneath the forest floor. \u003c/p>\n\u003cp>Now, Guerneville is throwing a festival in its honor.\u003c/p>\n\u003cp>The inaugural \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a>, taking place Feb. 21–22, brings a two-day celebration of mushrooms to West Sonoma County, blending science talks, forest foraging, art and food. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We just threw some paint at the wall,” says Nick Schwanz, president of the \u003ca href=\"https://www.sonomacounty.com/events/russian-river-fungi-fest/\">Russian River Chamber of Commerce\u003c/a> and co-founder of \u003ca href=\"https://www.instagram.com/solarpunkfarms/\">Solar Punk Farms\u003c/a>, which is co-organizing the event. “And the instantaneous energy around it was like — okay, great, let’s do it.”\u003c/p>\n\u003cp>The celebration comes at a time when mushroom safety is top of mind. California has seen recent cases of accidental poisonings from \u003ca href=\"https://www.kqed.org/science/1999828/california-combats-largest-mushroom-poisoning-outbreak-in-the-country\">death cap mushrooms\u003c/a> — a toxic species that can resemble edible varieties and grows widely across the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s one reason Schwanz says education is central to the festival. \u003c/p>\n\u003cp>Fungi Fest evolved from two overlapping goals. Solar Punk Farms, a climate-focused community hub, is always looking for ways to get people excited about ecology. The chamber of commerce, meanwhile, wants to remind visitors that Sonoma County isn’t just a summer river destination, Schwanz says. \u003c/p>\n\u003cp>“Nature and winter in Sonoma County just scream mushrooms,” he explains.\u003c/p>\n\u003cp>Rather than positioning themselves as mushroom authorities, organizers built what Schwanz calls a “scaffolding”: a platform for the region’s mycologists, foragers and fungi enthusiasts to share their knowledge.\u003c/p>\n\u003cp>At the center of the weekend is a \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Mushroom Marketplace\u003c/a>, expected to feature 60 to 80 vendors selling fresh mushrooms, foraging kits, books and mushroom-dyed artwork. A section dubbed “Yeast Village” will spotlight fermented foods, beer, wine and sourdough bread — everyday examples of fungi at work.\u003c/p>\n\u003cp>Two stages will host the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#fungi-forum\">Fungi Forum\u003c/a>, with about 15 speakers covering topics from the basics of Sonoma County mushroom identification to how to forage safely and avoid poisonous lookalikes. Some talks will dive deeper into mycelium, the threadlike underground network that makes up most of a fungus.\u003c/p>\n\u003cfigure id=\"attachment_13984067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg\" alt=\"person crouches to cut mushroom off log, dog and another person behind\" width=\"2000\" height=\"1314\" class=\"size-full wp-image-13984067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-17-KQED-1536x1009.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz picks mushrooms from the forest at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people think of fungi, they think about the mushroom,” Schwanz says. “But most of fungi really is the mycelium.”\u003c/p>\n\u003cp>Mycelium, that hidden web, is essential to forest ecosystems, breaking down dead material and recycling nutrients. It’s also inspiring innovation, including biodegradable packaging and experimental building materials.\u003c/p>\n\u003cp>Beyond lectures, the festival invites people into the woods. \u003ca href=\"https://www.solarpunkfarms.com/fungifest#outdoor-adventure\">Guided hikes\u003c/a> through Armstrong Woods and foraging expeditions with local experts will give beginners a chance to learn how to identify species and harvest responsibly.\u003c/p>\n\u003cp>And then there are the \u003ca href=\"https://www.solarpunkfarms.com/fungifest#pop-up-events\">pop-ups\u003c/a> — nearly 30 of them. Local restaurants and businesses are planning mushroom-themed menus, drink specials, movie screenings, workshops and even a mushroom tattoo flash. “It’s a very Guerneville party,” Schwanz admits. \u003c/p>\n\u003cp>The suggested donation is $15 for the full weekend, with no one turned away for lack of funds. Organizers say the event is designed to be family-friendly, with some programming specifically for kids.\u003c/p>\n\u003cp>“This isn’t just for people who love mushrooms on pizza,” Schwanz says. “It’s for people who are just curious about nature.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.solarpunkfarms.com/fungifest\">Russian River Fungi Fest\u003c/a> takes place Feb. 21–22, 2026 in downtown Guerneville. It is a free event with a suggested donation of $15 for the full weekend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lovers Lane Unites San Francisco’s Mission District with Art and Cultura",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The free Valentine’s Day block party features bands, muralists, lowriders, kids’ activities and wellness offerings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In recent months, \u003ca href=\"https://www.kqed.org/arts/tag/somarts\">SOMArts\u003c/a> Executive Director Maria Jenson has routinely found herself huddled in small groups, debriefing on street corners.\u003c/p>\n\u003cp>It was always after an arts community meeting organized by the city, she explains. Attendees showed up hoping to ask questions about Mayor Lurie’s plan to \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">merge the city’s three arts agencies\u003c/a>. Would grant disbursement change? Would available funding shrink? Artists and arts administrators went to these events looking for civic discourse and real dialogue.\u003c/p>\n\u003cp>“But what happened after each of the meetings I attended is that we left feeling rather unfulfilled,” Jenson says. Hence the hurried corner debriefings.\u003c/p>\n\u003cp>If the city wasn’t going to provide a forum for these conversations, SOMArts would, Jenson and her board decided. On Friday, Feb. 13, the cultural center will host a community convening they’re calling “\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here\u003c/a>.” All are welcome; the event will follow an “unconference” format, a participant-driven way to capture topics and conversations as they unfold over the course of four hours.\u003c/p>\n\u003cp>“This is a state of emergency and urgency,” Jenson says. “It’s not a moment to continue to have these very, almost curated civic meetings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco arts scene has experienced major blows in recent weeks. On Jan. 13, the 119-year-old California College of the Arts, Northern California’s last remaining nonprofit art and design school, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">announced it would close\u003c/a> at the end of the 2026–2027 school year. Less than two weeks later, the Mission Cultural Center for Latino Arts (MCCLA), founded in 1977, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">shuttered indefinitely\u003c/a> due to financial crisis. These sudden announcements came after a spate of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and nonprofit art space closures at the end of 2025.\u003c/p>\n\u003cp>“The infrastructure that sustains creative life is eroding faster than policy and philanthropy can respond,” the “Artists Live Here” event page proclaims. “If we don’t have this conversation now, we may not get another chance.”\u003c/p>\n\u003cp>Taking matters into their own hands is very much in keeping with the historical role of San Francisco’s \u003ca href=\"https://www.sfartscommission.org/experience-art/cultural-centers\">seven neighborhood cultural centers\u003c/a>, which provide accessible arts spaces, classes, exhibitions and other programming. In addition to the MCCLA and SOMArts, the city’s cultural centers include the African American Art and Culture Complex, the American Indian Cultural Center, the Asian Pacific Islander Cultural Center, Bayview Opera House Ruth Williams Memorial Theatre, and the Queer Cultural Center. Only four — now three — have physical spaces.\u003c/p>\n\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Brass and Copper,’ 2017, part of the artist’s current exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday’s convening comes as SOMArts is itself facing an uncertain financial future. “We received a 10% cut for this fiscal year, which we didn’t learn was going to happen until way after we normally prepare our annual budget,” Jenson explains. At the most recent Arts Commission meeting, a budget presentation shared big-picture numbers, but not the detailed breakdown that will help Jenson, her staff and board make plans for SOMArts’ future.\u003c/p>\n\u003cp>[aside postID='arts_13986135']“What is it going to be this year? Is it a 2% cut? Is it a 10% cut, is it more?” she asks. “That is instability right there.”\u003c/p>\n\u003cp>Meanwhile, major changes to San Francisco’s arts agencies are already underway. The cultural affairs director of the San Francisco Arts Commission (SFAC) announced his retirement on Feb. 2, less than week after the mayor posted \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the job listing\u003c/a> for the city’s first executive director of arts and culture, a role that will oversee the still-undefined merger of the SFAC, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>In its \u003ca href=\"https://media.api.sf.gov/documents/Commission_Streamlining_Task_Force_Final_Report.pdf\">final report\u003c/a>, the Commission Streamlining Task Force has recommended moving the majority of the 15-member Arts Commission’s functions out of the city charter and into the administrative code, where it will be more malleable — and subject to shifts in each administration’s priorities.\u003c/p>\n\u003cp>“If you wanted to create a perfect storm for an arts and culture community, then it’s all of the things we’re talking about,” Jenson says, counting off the staffing, organizational and budget changes coming from the city. “All of this change is rolling out and it’s coming towards the arts community. It looks like a small wave when you look out on the horizon, but it’s actually a tsunami.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here: Community Convening\u003c/a>’ will take place at SOMArts (934 Brannan St., San Francisco) on Friday, Feb. 13, 4–8 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent months, \u003ca href=\"https://www.kqed.org/arts/tag/somarts\">SOMArts\u003c/a> Executive Director Maria Jenson has routinely found herself huddled in small groups, debriefing on street corners.\u003c/p>\n\u003cp>It was always after an arts community meeting organized by the city, she explains. Attendees showed up hoping to ask questions about Mayor Lurie’s plan to \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">merge the city’s three arts agencies\u003c/a>. Would grant disbursement change? Would available funding shrink? Artists and arts administrators went to these events looking for civic discourse and real dialogue.\u003c/p>\n\u003cp>“But what happened after each of the meetings I attended is that we left feeling rather unfulfilled,” Jenson says. Hence the hurried corner debriefings.\u003c/p>\n\u003cp>If the city wasn’t going to provide a forum for these conversations, SOMArts would, Jenson and her board decided. On Friday, Feb. 13, the cultural center will host a community convening they’re calling “\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here\u003c/a>.” All are welcome; the event will follow an “unconference” format, a participant-driven way to capture topics and conversations as they unfold over the course of four hours.\u003c/p>\n\u003cp>“This is a state of emergency and urgency,” Jenson says. “It’s not a moment to continue to have these very, almost curated civic meetings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco arts scene has experienced major blows in recent weeks. On Jan. 13, the 119-year-old California College of the Arts, Northern California’s last remaining nonprofit art and design school, \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">announced it would close\u003c/a> at the end of the 2026–2027 school year. Less than two weeks later, the Mission Cultural Center for Latino Arts (MCCLA), founded in 1977, \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">shuttered indefinitely\u003c/a> due to financial crisis. These sudden announcements came after a spate of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and nonprofit art space closures at the end of 2025.\u003c/p>\n\u003cp>“The infrastructure that sustains creative life is eroding faster than policy and philanthropy can respond,” the “Artists Live Here” event page proclaims. “If we don’t have this conversation now, we may not get another chance.”\u003c/p>\n\u003cp>Taking matters into their own hands is very much in keeping with the historical role of San Francisco’s \u003ca href=\"https://www.sfartscommission.org/experience-art/cultural-centers\">seven neighborhood cultural centers\u003c/a>, which provide accessible arts spaces, classes, exhibitions and other programming. In addition to the MCCLA and SOMArts, the city’s cultural centers include the African American Art and Culture Complex, the American Indian Cultural Center, the Asian Pacific Islander Cultural Center, Bayview Opera House Ruth Williams Memorial Theatre, and the Queer Cultural Center. Only four — now three — have physical spaces.\u003c/p>\n\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Brass and Copper,’ 2017, part of the artist’s current exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday’s convening comes as SOMArts is itself facing an uncertain financial future. “We received a 10% cut for this fiscal year, which we didn’t learn was going to happen until way after we normally prepare our annual budget,” Jenson explains. At the most recent Arts Commission meeting, a budget presentation shared big-picture numbers, but not the detailed breakdown that will help Jenson, her staff and board make plans for SOMArts’ future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What is it going to be this year? Is it a 2% cut? Is it a 10% cut, is it more?” she asks. “That is instability right there.”\u003c/p>\n\u003cp>Meanwhile, major changes to San Francisco’s arts agencies are already underway. The cultural affairs director of the San Francisco Arts Commission (SFAC) announced his retirement on Feb. 2, less than week after the mayor posted \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the job listing\u003c/a> for the city’s first executive director of arts and culture, a role that will oversee the still-undefined merger of the SFAC, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>In its \u003ca href=\"https://media.api.sf.gov/documents/Commission_Streamlining_Task_Force_Final_Report.pdf\">final report\u003c/a>, the Commission Streamlining Task Force has recommended moving the majority of the 15-member Arts Commission’s functions out of the city charter and into the administrative code, where it will be more malleable — and subject to shifts in each administration’s priorities.\u003c/p>\n\u003cp>“If you wanted to create a perfect storm for an arts and culture community, then it’s all of the things we’re talking about,” Jenson says, counting off the staffing, organizational and budget changes coming from the city. “All of this change is rolling out and it’s coming towards the arts community. It looks like a small wave when you look out on the horizon, but it’s actually a tsunami.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://somarts.org/event/artistslivehere/\">Artists Live Here: Community Convening\u003c/a>’ will take place at SOMArts (934 Brannan St., San Francisco) on Friday, Feb. 13, 4–8 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>[aside postID='arts_13984286']Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>[aside postid='arts_13983649']The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At BAMPFA, Theresa Hak Kyung Cha’s Eloquent Art Lives On",
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"content": "\u003cp>There are so many words in \u003ci>\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>\u003c/i> that it can be a bit daunting to form a written response of one’s own. The retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, curated by Victoria Sung with assistance from Tausif Noor, presents a decade of work by an artist who died too soon: in 1982, at the age of 31. The museum has housed her art and archives since 1992.\u003c/p>\n\u003cp>Cha’s practice transcended media, but words — spoken, recorded, written — are nearly always at the center. Born in Busan, South Korea in 1951, she immigrated with her family to Hawaii in 1962. They moved to San Francisco two years later. Words in Korean, English and French punctuated and inscribed her practice, which included performances, sound pieces, films, artist books and mail art.\u003c/p>\n\u003cp>Berkeley isn’t just the starting point for this traveling retrospective, it’s the geographical backdrop of Cha’s commitment to art. The artist spent eight years at UC Berkeley, getting bachelor’s degrees in comparative literature and art, then an MA and an MFA. She worked at the Pacific Film Archive, and as a preparator and video technician at the University Art Museum, BAMPFA’s precursor. Along the way, she showed at a mix of major Bay Area institutions and artist-run spaces: 63 Bluxome, La Mamelle, the San Francisco Art Institute, the San Francisco Museum of Modern Art, 80 Langton Street.\u003c/p>\n\u003cfigure id=\"attachment_13986357\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg\" alt=\"image of Asian woman in black, one hand tucked in pocket, the other leaning on window she looks out of; stenciled text piece on raw canvas\" width=\"2000\" height=\"1404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Theresa Hak Kyung Cha in 1979. R: Theresa Hak Kyung Cha, ‘Repetitive Pattern,’ 1975. \u003ccite>(Photo by James H. Cha; Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The main body of my work is with language,” she wrote in an artist statement in the late ’70s, “‘looking for the roots of the language before it is born on the tip of the tongue.’” Later in the same text, she used the phrase “multiple telling with multiple offering” to describe how she combined images, text and sound to give audiences a variety of entry points into the works.\u003c/p>\n\u003cp>Despite Cha’s short career, \u003ci>Multiple Offerings\u003c/i> contains over 100 works, starting with early ’70s forays into ceramics and weaving, and ending with \u003ci>\u003ca href=\"https://www.ucpress.edu/books/dictee/paper\">Dictée\u003c/a>\u003c/i>, an 1982 experimental book published by Tanam Press. Shortly after the book was published, Cha was raped and murdered in New York City, where she moved in 1980.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That staggering loss — of a full life and career — threatens to overshadow any posthumous reception of Cha’s work. In the beautiful catalog that accompanies BAMPFA’s exhibition, Mason Leaver-Yap cautions against solely focusing on “absence” in Cha’s work. “The repeated emphasis on its ‘ghostliness’ congeals uncomfortably to a retrospective biographical lensing,” Leaver-Yap writes. Cha had no presentiment of her own death. In the mid-’70s she began a piece of text with “i have time.”\u003c/p>\n\u003cp>\u003ci>Multiple Offerings\u003c/i> fleshes out the art historical context of Cha’s years at Berkeley with show posters, sketchbooks and the contemporaries who influenced her work. Wrapping around one corner of the first gallery, documentation of a 1975 rehearsal for \u003ci>Aveugle Voix\u003c/i> (“blind voice”) shows Cha in large, warmly framed black-and-white photos, wrapping fabric around her eyes and mouth at Berkeley’s Greek Theatre. She unfurls a long white cloth with words stenciled down its center, then crouches, barefoot, head tucked into arms.\u003c/p>\n\u003cfigure id=\"attachment_13986358\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg\" alt=\"gallery view with framed black and white photographs and a table of ceramics\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Theresa Hak Kyung Cha: Multiple Offerings’ at BAMPFA with ‘Aveugle Voix’ in the corner. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Cha’s work was temporal — her body took up time and space in the moment of performance, then flattened into a series of still images, onto film or video footage. Save for her early ceramic vessels, very little of Cha’s work at BAMPFA extends beyond the thickness of a book. But \u003ci>Multiple Offerings\u003c/i> is far from immaterial. Unfolding gracefully via sound and moving image, the show rewards a slower pace.\u003c/p>\n\u003cp>The formal spareness of Cha’s work, mainly rendered in a spectrum of black and white, belies its playfulness and generosity. She delighted in wordplay, printing text upside down and backwards, prying words apart into new formulations. \u003ci>A Ble Wail\u003c/i>, a 1975 performance piece, is read as “a blue whale.” In \u003ci>Dictée\u003c/i>, “afar” becomes “a far.”\u003c/p>\n\u003cp>Sometimes her art looked like a magic trick. In the 1974 performance \u003ci>Barren Cave Mute\u003c/i>, she marked large sheets of white paper with invisible wax letters. As she held a candle to the paper, the wax melted to reveal the hidden message of the artwork’s title.\u003c/p>\n\u003cp>The 1976 film \u003ci>Permutations\u003c/i> is made up of six one-second shots of Cha’s younger sister Bernadette, ordered and repeated by chance. Cha embedded herself in the film like a secret message, spliced between her sister’s images. In BAMPFA’s presentation, a suspended scrim catches the projection for a double-sided presentation.\u003c/p>\n\u003cfigure id=\"attachment_13986376\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg\" alt=\"thick black edged envelopes mounted sticking out from burgundy wall\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13986376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Hak Kyung Cha, ‘Faire-Part,’ 1976; Ink and press type on fifteen envelopes. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition moves chronologically and geographically, following Cha’s semester abroad in Paris in 1976 and her trips back to Korea in 1979 and 1980. European travel brought her into contact with Fluxus, mail art and, in Amsterdam, the conceptual artist and bookmaker Ulises Carrión. In Korea, she traveled with her brother James, shooting footage for \u003ci>White Dust from Mongolia\u003c/i>, a film that remained unfinished at her death.\u003c/p>\n\u003cp>Scattered throughout the show are works by her antecedents and successors. A sound and textile installation by Cecila Vicuña (subject of her own \u003ca href=\"https://www.kqed.org/arts/13838208/at-bampfa-the-discarded-and-forgotten-become-prayers-for-the-future\">stunning BAMPFA retrospective\u003c/a> in 2018) adds vertical columns of gauzy color to the show’s restrained palette. \u003ca href=\"https://www.na-mira.com/\">Na Mira\u003c/a>’s video installation \u003ci>Marquee\u003c/i>, deploys some of Cha’s now-familiar tactics (reflection, text, a proxy figure) around a transistor radio tuned to the Los Angeles AM station Radio Korea.\u003c/p>\n\u003cp>Distance, displacement, memory, grief — Cha addressed these seemingly inexpressible things from as many angles as possible, and sometimes from every angle at once. It’s an approach, an offering, that still feels instructive, even 44 years after her death. Cha made her work with generosity, curiosity and rigor, reminding us now that no matter how difficult it is to form the words, there’s great value in trying.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.) through April 19, 2026.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many words in \u003ci>\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>\u003c/i> that it can be a bit daunting to form a written response of one’s own. The retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, curated by Victoria Sung with assistance from Tausif Noor, presents a decade of work by an artist who died too soon: in 1982, at the age of 31. The museum has housed her art and archives since 1992.\u003c/p>\n\u003cp>Cha’s practice transcended media, but words — spoken, recorded, written — are nearly always at the center. Born in Busan, South Korea in 1951, she immigrated with her family to Hawaii in 1962. They moved to San Francisco two years later. Words in Korean, English and French punctuated and inscribed her practice, which included performances, sound pieces, films, artist books and mail art.\u003c/p>\n\u003cp>Berkeley isn’t just the starting point for this traveling retrospective, it’s the geographical backdrop of Cha’s commitment to art. The artist spent eight years at UC Berkeley, getting bachelor’s degrees in comparative literature and art, then an MA and an MFA. She worked at the Pacific Film Archive, and as a preparator and video technician at the University Art Museum, BAMPFA’s precursor. Along the way, she showed at a mix of major Bay Area institutions and artist-run spaces: 63 Bluxome, La Mamelle, the San Francisco Art Institute, the San Francisco Museum of Modern Art, 80 Langton Street.\u003c/p>\n\u003cfigure id=\"attachment_13986357\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg\" alt=\"image of Asian woman in black, one hand tucked in pocket, the other leaning on window she looks out of; stenciled text piece on raw canvas\" width=\"2000\" height=\"1404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/01_Theresa-Hak-Kyung-Cha_Portrait-in-Studio_2000-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Theresa Hak Kyung Cha in 1979. R: Theresa Hak Kyung Cha, ‘Repetitive Pattern,’ 1975. \u003ccite>(Photo by James H. Cha; Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The main body of my work is with language,” she wrote in an artist statement in the late ’70s, “‘looking for the roots of the language before it is born on the tip of the tongue.’” Later in the same text, she used the phrase “multiple telling with multiple offering” to describe how she combined images, text and sound to give audiences a variety of entry points into the works.\u003c/p>\n\u003cp>Despite Cha’s short career, \u003ci>Multiple Offerings\u003c/i> contains over 100 works, starting with early ’70s forays into ceramics and weaving, and ending with \u003ci>\u003ca href=\"https://www.ucpress.edu/books/dictee/paper\">Dictée\u003c/a>\u003c/i>, an 1982 experimental book published by Tanam Press. Shortly after the book was published, Cha was raped and murdered in New York City, where she moved in 1980.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That staggering loss — of a full life and career — threatens to overshadow any posthumous reception of Cha’s work. In the beautiful catalog that accompanies BAMPFA’s exhibition, Mason Leaver-Yap cautions against solely focusing on “absence” in Cha’s work. “The repeated emphasis on its ‘ghostliness’ congeals uncomfortably to a retrospective biographical lensing,” Leaver-Yap writes. Cha had no presentiment of her own death. In the mid-’70s she began a piece of text with “i have time.”\u003c/p>\n\u003cp>\u003ci>Multiple Offerings\u003c/i> fleshes out the art historical context of Cha’s years at Berkeley with show posters, sketchbooks and the contemporaries who influenced her work. Wrapping around one corner of the first gallery, documentation of a 1975 rehearsal for \u003ci>Aveugle Voix\u003c/i> (“blind voice”) shows Cha in large, warmly framed black-and-white photos, wrapping fabric around her eyes and mouth at Berkeley’s Greek Theatre. She unfurls a long white cloth with words stenciled down its center, then crouches, barefoot, head tucked into arms.\u003c/p>\n\u003cfigure id=\"attachment_13986358\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg\" alt=\"gallery view with framed black and white photographs and a table of ceramics\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_002_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Theresa Hak Kyung Cha: Multiple Offerings’ at BAMPFA with ‘Aveugle Voix’ in the corner. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Cha’s work was temporal — her body took up time and space in the moment of performance, then flattened into a series of still images, onto film or video footage. Save for her early ceramic vessels, very little of Cha’s work at BAMPFA extends beyond the thickness of a book. But \u003ci>Multiple Offerings\u003c/i> is far from immaterial. Unfolding gracefully via sound and moving image, the show rewards a slower pace.\u003c/p>\n\u003cp>The formal spareness of Cha’s work, mainly rendered in a spectrum of black and white, belies its playfulness and generosity. She delighted in wordplay, printing text upside down and backwards, prying words apart into new formulations. \u003ci>A Ble Wail\u003c/i>, a 1975 performance piece, is read as “a blue whale.” In \u003ci>Dictée\u003c/i>, “afar” becomes “a far.”\u003c/p>\n\u003cp>Sometimes her art looked like a magic trick. In the 1974 performance \u003ci>Barren Cave Mute\u003c/i>, she marked large sheets of white paper with invisible wax letters. As she held a candle to the paper, the wax melted to reveal the hidden message of the artwork’s title.\u003c/p>\n\u003cp>The 1976 film \u003ci>Permutations\u003c/i> is made up of six one-second shots of Cha’s younger sister Bernadette, ordered and repeated by chance. Cha embedded herself in the film like a secret message, spliced between her sister’s images. In BAMPFA’s presentation, a suspended scrim catches the projection for a double-sided presentation.\u003c/p>\n\u003cfigure id=\"attachment_13986376\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg\" alt=\"thick black edged envelopes mounted sticking out from burgundy wall\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13986376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Install_Multiple-Offerings_2026_130_hpr_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Hak Kyung Cha, ‘Faire-Part,’ 1976; Ink and press type on fifteen envelopes. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition moves chronologically and geographically, following Cha’s semester abroad in Paris in 1976 and her trips back to Korea in 1979 and 1980. European travel brought her into contact with Fluxus, mail art and, in Amsterdam, the conceptual artist and bookmaker Ulises Carrión. In Korea, she traveled with her brother James, shooting footage for \u003ci>White Dust from Mongolia\u003c/i>, a film that remained unfinished at her death.\u003c/p>\n\u003cp>Scattered throughout the show are works by her antecedents and successors. A sound and textile installation by Cecila Vicuña (subject of her own \u003ca href=\"https://www.kqed.org/arts/13838208/at-bampfa-the-discarded-and-forgotten-become-prayers-for-the-future\">stunning BAMPFA retrospective\u003c/a> in 2018) adds vertical columns of gauzy color to the show’s restrained palette. \u003ca href=\"https://www.na-mira.com/\">Na Mira\u003c/a>’s video installation \u003ci>Marquee\u003c/i>, deploys some of Cha’s now-familiar tactics (reflection, text, a proxy figure) around a transistor radio tuned to the Los Angeles AM station Radio Korea.\u003c/p>\n\u003cp>Distance, displacement, memory, grief — Cha addressed these seemingly inexpressible things from as many angles as possible, and sometimes from every angle at once. It’s an approach, an offering, that still feels instructive, even 44 years after her death. Cha made her work with generosity, curiosity and rigor, reminding us now that no matter how difficult it is to form the words, there’s great value in trying.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.) through April 19, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At one point in new documentary \u003cem>SANTACON\u003c/em>, Chuck Palahniuk is working very hard to bring meaning to his early involvement in \u003ca href=\"https://www.kqed.org/news/11707402/how-santacon-got-its-start-in-san-francisco-counterculture-2\">SantaCon\u003c/a>, the infamous festive event that wreaks havoc on cities all over the world every December.\u003c/p>\n\u003cp>“I had so wanted Santa to be real,” the \u003cem>Fight Club\u003c/em> author says of his childhood. “I had played by all of Santa’s rules. And when I was finally told it was all a huge conspiracy and that the people I loved most in the world had all lied to me to produce a certain kind of behavior, I was just devastated. I couldn’t trust anyone again after that. Now it makes it very easy to believe in people like Jeffrey Epstein.”\u003c/p>\n\u003cp>[aside postid='news_11707402'] Palahniuk’s words sound a lot like satire, yes, but his face suggests he’s being deadly serious.\u003c/p>\n\u003cp>If you live in San Francisco — where SantaCon started — you almost certainly know what this annual event now involves: thousands of drunk idiots in Santa suits, shouting, puking, flashing, fighting and dry humping their way through a bar crawl around the city. It is, to bystanders everywhere, a traveling dumpster fire.\u003c/p>\n\u003cp>To get to the real roots of today’s red-and-white menace, New York-based filmmaker Seth Porges tracked down the founders and early participants of SantaCon for his documentary. It turns out that the most annoying holiday party in history was started by the \u003ca href=\"https://www.kqed.org/arts/122043/tales_of_the_san_francisco_cacophony_society\">San Francisco Cacophony Society\u003c/a> — the same kooks who started \u003ca href=\"https://www.kqed.org/news/tag/burning-man\">Burning Man\u003c/a>. (Because of course it was them. \u003cem>Of course it was\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the founders — Palahniuk included — do their darnedest in \u003cem>SANTACON\u003c/em> to try and drag meaning into the banquet of bufoonery they started. Almost all insist that SantaCon was originally intended to be artistic street theater and social commentary with a dash of Santa-based trauma on the side.\u003c/p>\n\u003cp>Luckily, generously supplementing Porges’ interviews is a wealth of gloriously ’90s home videos from four of the first five SantaCons. (The very first SantaCon happened in 1994, was the brainchild of Rob Schmitt and only involved about 20 people — none of whom seem to have documented it.) The camcorder footage in \u003cem>SANTACON\u003c/em> does a much better job of depicting the early SantaCons than any nostalgic human ever could.\u003c/p>\n\u003cp>Based on this footage, there was indeed a concerted effort at the second SantaCon in 1995 to go after San Francisco’s elite while mocking capitalist values. That year, the Cacophony Society met up on the Embarcadero, then unleashed chaos on the Hyatt Regency Hotel, the Legion of Honor, Macy’s, and more. In Macy’s, the Santas chant “Spend your money! Charge it! Keep shopping!” Later that evening, one Santa notes that the group stopped at Nob Hill’s Huntington Park because it’s “where the evil lizard people control the Earth from.” The 1995 SantaCon invaded fancy events, plundered buffets and stole wine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7C0WCqBICw\u003c/p>\n\u003cp>It was also a night that started with a ton of festive cheer — bewildered bystanders are clearly thrilled by the sight of the Santas chanting “ho ho ho!” and singing carols as they roam around downtown. If only that portion of the evening hadn’t culminated in SantaCon leader John Law getting hung from a lamppost in Union Square in front of hundreds of families out holiday shopping, they might have been onto a great thing.\u003c/p>\n\u003cp>“When you’re lynching Santa Claus in the middle of Union Square, you’re definitely making a statement,” says Cacophony Society member Chris Radcliffe, interviewed for \u003cem>SANTACON\u003c/em> before his 2024 death, “whether you’ve thought it through or not.”\u003c/p>\n\u003cp>[aside postid='arts_122043']In his own interview, Law doubles down on the anti-capitalist sentiments of the early events. “It’s the job of pranksters and artists to fuck with the people who control everything,” he says. “Because you can’t actually go after their money — they’ll kill you. You \u003cem>can\u003c/em> make fun of ’em though.”\u003c/p>\n\u003cp>\u003cem>SANTACON\u003c/em>’s subsequent footage of Portland (1996) and Los Angeles (1997) stands as evidence that the anti-capitalist point might have died in ’95. Participants can be seen attempting repeatedly to recapture the anarchic magic of the ’95 SantaCon and mostly failing. Portland’s event was devoid of joy because of an overzealous police presence. And the highlight of LA’s event appears to be the Santas getting quietly kicked out of a strip club.\u003c/p>\n\u003cp>Though footage from SantaCon ’98 in New York City offers somewhat of a return to ’95 form, it’s clear that, before the new millennium had even started, SantaCon was a dead horse that had been flogged enough. If \u003cem>SANTACON\u003c/em> proves nothing else, it’s that if SantaCon been left in ’95, the event would have remained golden, the stuff of local legend, lightning in a bottle. Instead, now we have … that terrible thing that we have.\u003c/p>\n\u003cfigure id=\"attachment_13986171\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png\" alt=\"A distinguished older white man with a white mustache wearing a red bow tie, santa hat and camel colored winter coat, stands next to a white man of similar age wearing a santa suit.\" width=\"2000\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-1536x932.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) John Law and (R) Rob Schmitt, the original co-founders of SantaCon. \u003ccite>(‘SANTACON’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary culminates in John Law and Rob Schmitt making an appearance at a recent New York SantaCon — and looking utterly mortified at what they find. Law is visibly taken aback by the sea of drunken college kids that hail him as a hero. When one young man approaches him and slurs, “Look at this! You created this!” Law replies, “Well, we \u003cem>started\u003c/em> it. You created this.”\u003c/p>\n\u003cp>Later, Law tells the filmmakers: “It’s pretty mind-boggling that such a kernel of an idea could grow into something so ridiculous. I mean, we live in an idiotic culture. So of course something silly and idiotic is going to rise to the top.”\u003c/p>\n\u003cp>[aside postid='arts_13985828']But that’s the thing that sticks in the craw at the end of \u003cem>SANTACON\u003c/em>. For all the interviewees’ commentary on artistic values and experimentation and freedom, what the home video footage ultimately proves is that SantaCon was \u003cem>always\u003c/em> mostly about getting drunk and running amok. From the very beginning, many people were there purely to cause mayhem. It always involved bro jokes, flashing body parts and imbibing too much booze. \u003cem>SANTACON\u003c/em> is smart enough to let the evidence speak for itself.\u003c/p>\n\u003cp>As early as 1998, Santas can be seen roaming through the streets chanting “Hey hey! Ho ho! Santa needs some blow!”\u003c/p>\n\u003cp>Is it any wonder future generations missed the point?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/sf-indiefest-santacon/\">Santacon\u003c/a>’ opens this year’s \u003ca href=\"https://roxie.com/series/25th-sf-indiefest/\">San Francisco IndieFest\u003c/a> on Feb. 5, 2026. Filmmaker Seth Porges and original SantaCon participants are expected to appear for a Q&A after the screening.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At one point in new documentary \u003cem>SANTACON\u003c/em>, Chuck Palahniuk is working very hard to bring meaning to his early involvement in \u003ca href=\"https://www.kqed.org/news/11707402/how-santacon-got-its-start-in-san-francisco-counterculture-2\">SantaCon\u003c/a>, the infamous festive event that wreaks havoc on cities all over the world every December.\u003c/p>\n\u003cp>“I had so wanted Santa to be real,” the \u003cem>Fight Club\u003c/em> author says of his childhood. “I had played by all of Santa’s rules. And when I was finally told it was all a huge conspiracy and that the people I loved most in the world had all lied to me to produce a certain kind of behavior, I was just devastated. I couldn’t trust anyone again after that. Now it makes it very easy to believe in people like Jeffrey Epstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Palahniuk’s words sound a lot like satire, yes, but his face suggests he’s being deadly serious.\u003c/p>\n\u003cp>If you live in San Francisco — where SantaCon started — you almost certainly know what this annual event now involves: thousands of drunk idiots in Santa suits, shouting, puking, flashing, fighting and dry humping their way through a bar crawl around the city. It is, to bystanders everywhere, a traveling dumpster fire.\u003c/p>\n\u003cp>To get to the real roots of today’s red-and-white menace, New York-based filmmaker Seth Porges tracked down the founders and early participants of SantaCon for his documentary. It turns out that the most annoying holiday party in history was started by the \u003ca href=\"https://www.kqed.org/arts/122043/tales_of_the_san_francisco_cacophony_society\">San Francisco Cacophony Society\u003c/a> — the same kooks who started \u003ca href=\"https://www.kqed.org/news/tag/burning-man\">Burning Man\u003c/a>. (Because of course it was them. \u003cem>Of course it was\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the founders — Palahniuk included — do their darnedest in \u003cem>SANTACON\u003c/em> to try and drag meaning into the banquet of bufoonery they started. Almost all insist that SantaCon was originally intended to be artistic street theater and social commentary with a dash of Santa-based trauma on the side.\u003c/p>\n\u003cp>Luckily, generously supplementing Porges’ interviews is a wealth of gloriously ’90s home videos from four of the first five SantaCons. (The very first SantaCon happened in 1994, was the brainchild of Rob Schmitt and only involved about 20 people — none of whom seem to have documented it.) The camcorder footage in \u003cem>SANTACON\u003c/em> does a much better job of depicting the early SantaCons than any nostalgic human ever could.\u003c/p>\n\u003cp>Based on this footage, there was indeed a concerted effort at the second SantaCon in 1995 to go after San Francisco’s elite while mocking capitalist values. That year, the Cacophony Society met up on the Embarcadero, then unleashed chaos on the Hyatt Regency Hotel, the Legion of Honor, Macy’s, and more. In Macy’s, the Santas chant “Spend your money! Charge it! Keep shopping!” Later that evening, one Santa notes that the group stopped at Nob Hill’s Huntington Park because it’s “where the evil lizard people control the Earth from.” The 1995 SantaCon invaded fancy events, plundered buffets and stole wine.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r7C0WCqBICw'\n title='//www.youtube.com/embed/r7C0WCqBICw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was also a night that started with a ton of festive cheer — bewildered bystanders are clearly thrilled by the sight of the Santas chanting “ho ho ho!” and singing carols as they roam around downtown. If only that portion of the evening hadn’t culminated in SantaCon leader John Law getting hung from a lamppost in Union Square in front of hundreds of families out holiday shopping, they might have been onto a great thing.\u003c/p>\n\u003cp>“When you’re lynching Santa Claus in the middle of Union Square, you’re definitely making a statement,” says Cacophony Society member Chris Radcliffe, interviewed for \u003cem>SANTACON\u003c/em> before his 2024 death, “whether you’ve thought it through or not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In his own interview, Law doubles down on the anti-capitalist sentiments of the early events. “It’s the job of pranksters and artists to fuck with the people who control everything,” he says. “Because you can’t actually go after their money — they’ll kill you. You \u003cem>can\u003c/em> make fun of ’em though.”\u003c/p>\n\u003cp>\u003cem>SANTACON\u003c/em>’s subsequent footage of Portland (1996) and Los Angeles (1997) stands as evidence that the anti-capitalist point might have died in ’95. Participants can be seen attempting repeatedly to recapture the anarchic magic of the ’95 SantaCon and mostly failing. Portland’s event was devoid of joy because of an overzealous police presence. And the highlight of LA’s event appears to be the Santas getting quietly kicked out of a strip club.\u003c/p>\n\u003cp>Though footage from SantaCon ’98 in New York City offers somewhat of a return to ’95 form, it’s clear that, before the new millennium had even started, SantaCon was a dead horse that had been flogged enough. If \u003cem>SANTACON\u003c/em> proves nothing else, it’s that if SantaCon been left in ’95, the event would have remained golden, the stuff of local legend, lightning in a bottle. Instead, now we have … that terrible thing that we have.\u003c/p>\n\u003cfigure id=\"attachment_13986171\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png\" alt=\"A distinguished older white man with a white mustache wearing a red bow tie, santa hat and camel colored winter coat, stands next to a white man of similar age wearing a santa suit.\" width=\"2000\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/JL-RS-SC-1536x932.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) John Law and (R) Rob Schmitt, the original co-founders of SantaCon. \u003ccite>(‘SANTACON’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary culminates in John Law and Rob Schmitt making an appearance at a recent New York SantaCon — and looking utterly mortified at what they find. Law is visibly taken aback by the sea of drunken college kids that hail him as a hero. When one young man approaches him and slurs, “Look at this! You created this!” Law replies, “Well, we \u003cem>started\u003c/em> it. You created this.”\u003c/p>\n\u003cp>Later, Law tells the filmmakers: “It’s pretty mind-boggling that such a kernel of an idea could grow into something so ridiculous. I mean, we live in an idiotic culture. So of course something silly and idiotic is going to rise to the top.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But that’s the thing that sticks in the craw at the end of \u003cem>SANTACON\u003c/em>. For all the interviewees’ commentary on artistic values and experimentation and freedom, what the home video footage ultimately proves is that SantaCon was \u003cem>always\u003c/em> mostly about getting drunk and running amok. From the very beginning, many people were there purely to cause mayhem. It always involved bro jokes, flashing body parts and imbibing too much booze. \u003cem>SANTACON\u003c/em> is smart enough to let the evidence speak for itself.\u003c/p>\n\u003cp>As early as 1998, Santas can be seen roaming through the streets chanting “Hey hey! Ho ho! Santa needs some blow!”\u003c/p>\n\u003cp>Is it any wonder future generations missed the point?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/sf-indiefest-santacon/\">Santacon\u003c/a>’ opens this year’s \u003ca href=\"https://roxie.com/series/25th-sf-indiefest/\">San Francisco IndieFest\u003c/a> on Feb. 5, 2026. Filmmaker Seth Porges and original SantaCon participants are expected to appear for a Q&A after the screening.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio. ‘Brass and Copper,’ 2017. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside SOMArts gallery, the walls are adorned with sharp machete blades everywhere, and a pair of adorable, covertly embedded dangly earrings. Bold depictions of goddesses, painted in acrylic on wood and canvas, are surrounded by real bird feathers, wicker fans and seashells.\u003c/p>\n\u003cp>In one corner, a suspended pile of sticks rotating counterclockwise is accentuated with miscellaneous objects, including a mug with the face of Gromit from \u003cem>Wallace and Gromit\u003c/em>. In another corner, a multimedia installation airs an archival video from the \u003ca href=\"http://news.bbc.co.uk/2/hi/programmes/documentary_archive/4713466.stm\">EDSA People Power Revolution of February 1986\u003c/a> in Manila, Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13986202\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986202 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg\" alt=\"A colorful display of paintings on two vertically standing surf boards that bookend a shrine-like display of arts. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘The Central Altar,’ 2026. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The wide range of materials — which also includes boots, a bottle of small-batch rum, surf boards, driftwood, brass bowls, copper containers and more blades than one can count — is all part of renowned visual artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a>’s first solo gallery exhibition, \u003ci>\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>“The literal translation is ‘set aside, set aside,'” Carpio says of the exhibition’s title during a video call, noting the cultural norm of repeating a word for of emphasis. The title derives from the belief that spirits live in the forest, where one must “carve pathways” and “ask for permission to be able to walk through where they’re living.”\u003c/p>\n\u003cp>The exhibition, on view through March 29, provides a look into the heritage, heart and mind of a longtime painter whose work can be found on walls of the streets around the Bay Area, and in countries around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Using more than paint, Carpio combines multiple mediums with poetically penned descriptions, bringing audiences into a world where time travel and mysticism overlap with oral traditions and family history. Ultimately, her work reimagines what we understand, and creatively fills in the gaps where knowledge is lacking.\u003c/p>\n\u003cfigure id=\"attachment_13986203\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg\" alt=\"A painted image of three brown-skinned faces, all with their eyes closed, next to each other as they're surrounded by pink flower pedals. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Bugambilia,’ 2025. \u003ccite>(Brandon Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in the Philippines and raised by her great-grandmother until the age of 12, Carpio attests that, in many ways, this exhibition is an ode to the matriarch of her family.\u003c/p>\n\u003cp>“She passed away in 1998 when she was 99 years old,” Carpio says of her great-grandmother. The year of her birth, 1899, is now tattooed on the artist’s neck.\u003c/p>\n\u003cp>Carpio’s great-grandmother was a midwife, an herbalist, a farmer and more. She survived wars and outlived her husband, as well as her own children. “She raised my mother, who then left [for America] when I was like three months old, and then she raised me,” says Carpio, affirming that her great-grandmother raised five generations in total. “Her story \u003cem>is\u003c/em> time travel.”\u003c/p>\n\u003cp>Childhood interactions with her great-grandmother brought about Carpio’s earliest art pieces. Living in a farming village where tropical fruits readily grew, Carpio would illustrate things that were rare to her, like apples brought back from the United States by her parents during visits. When Carpio wasn’t teaching her great-grandmother how to read numbers, she would illustrate stories she’d learned at school.\u003c/p>\n\u003cp>“I wanted share that with her,” Carpio tells me. “Obviously, there were words” — at the time, she was also learning English herself — “but sometimes, the images actually say so much more.”\u003c/p>\n\u003cfigure id=\"attachment_13986204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg\" alt=\"Through white clothing on a clothes line a painted picture is revealed, depicting a woman balancing a gourd on her head with one hand. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Indianale: Goddess of Labor,’ 2019. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Education went both ways. Carpio’s great-grandmother, not a woman of many words, would wake every morning and sweep the leaves in the front yard before burning them; a custom in their village. Carpio sees this seemingly mundane practice, a morning meditation of sorts, as a microcosm of the lack of understanding about indigenous cultures.\u003c/p>\n\u003cp>“If you’re an outsider looking in, then it’s something unfamiliar. I guess that’s what they make a lot of movies and animation about,” she posits, referencing the scene from \u003cem>The Little Mermaid\u003c/em> where Ariel sees a fork and thinks it’s a comb.\u003c/p>\n\u003cp>“If it’s not familiar in people’s eyes, then it is going to be odd, it is going to be awkward, it’s going to be weird,” Carpio says sharply. “But if you practice it every day, and you have a whole community practicing every day, you don’t necessarily question it anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13986205\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986205 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg\" alt=\"A small figurine placed in a pile of foliage, mounted on a bamboo-raft like object. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A small community offering sits atop Cece Carpio’s ‘Maganda at Malakas,’ 2023. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navigating “the norm” has been prevalent throughout Carpio’s life. As a kid she accepted that her parents living nearly 7,000 miles away was the way things were. When Carpio herself moved to the United States as a preteen, she learned to deal with cultural differences — namely, her accent — by drawing.\u003c/p>\n\u003cp>“Art became a tool of communication,” she says, recalling middle school days where she’d draw characters and flyers for folks’ birthday parties in exchange for a dollar or two. “And that made me cool,” Carpio says with a laugh. “It’s like, ‘It’s that girl who, I don’t know if she talks, but she can draw.'”\u003c/p>\n\u003cp>Blessed to have landed in the Bay Area, Carpio still celebrates finding “like-hearted and like-minded people.” She’s built deep bonds with others also raised by their grandparents or great-grandparents. She’s befriended folks who listened to bedtime stories that didn’t come from books, but from the mouths of elders. She’s found community in people who were also allowed to play with machetes at five years old.\u003c/p>\n\u003cfigure id=\"attachment_13986206\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986206\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg\" alt=\"A broad view of multiple art pieces inside of a gallery with moody lighting. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A installation view of Cece Carpio’s exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, Carpio, a member of the \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle Collective\u003c/a>, says that members of her crew sometimes gift small daggers to each other. Both practical and symbolic, Carpio says the daggers are a reminder that “we are trying to cut the injustices of… all those things that we know are not working.”\u003c/p>\n\u003cp>Growing up poor, she says, forced Carpio to dream. In turn, her imagination became a tool of survival. She learned to change things she couldn’t control, and create things when there was a lack. She used story, myths and folklore to explain the incomprehensible.\u003c/p>\n\u003cp>And that’s on par with how she lives now. “In this show,” she says, “I’m highlighting some of those mythologies.”\u003c/p>\n\u003cp>Using folklore and mythology, she says, is more normal than not. And, she adds, it plays a big part in her process of creating art.\u003c/p>\n\u003cp>“We create things that we not only imagine,” she professes, “but we \u003cem>see\u003c/em> and we \u003cem>believe\u003c/em>. At least that’s a hope.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>’ is on view through March 29 at SOMArts (934 Brannan St, San Francisco). \u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986215\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05930-1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio. ‘Brass and Copper,’ 2017. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside SOMArts gallery, the walls are adorned with sharp machete blades everywhere, and a pair of adorable, covertly embedded dangly earrings. Bold depictions of goddesses, painted in acrylic on wood and canvas, are surrounded by real bird feathers, wicker fans and seashells.\u003c/p>\n\u003cp>In one corner, a suspended pile of sticks rotating counterclockwise is accentuated with miscellaneous objects, including a mug with the face of Gromit from \u003cem>Wallace and Gromit\u003c/em>. In another corner, a multimedia installation airs an archival video from the \u003ca href=\"http://news.bbc.co.uk/2/hi/programmes/documentary_archive/4713466.stm\">EDSA People Power Revolution of February 1986\u003c/a> in Manila, Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13986202\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986202 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg\" alt=\"A colorful display of paintings on two vertically standing surf boards that bookend a shrine-like display of arts. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05926-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘The Central Altar,’ 2026. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The wide range of materials — which also includes boots, a bottle of small-batch rum, surf boards, driftwood, brass bowls, copper containers and more blades than one can count — is all part of renowned visual artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a>’s first solo gallery exhibition, \u003ci>\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>“The literal translation is ‘set aside, set aside,'” Carpio says of the exhibition’s title during a video call, noting the cultural norm of repeating a word for of emphasis. The title derives from the belief that spirits live in the forest, where one must “carve pathways” and “ask for permission to be able to walk through where they’re living.”\u003c/p>\n\u003cp>The exhibition, on view through March 29, provides a look into the heritage, heart and mind of a longtime painter whose work can be found on walls of the streets around the Bay Area, and in countries around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using more than paint, Carpio combines multiple mediums with poetically penned descriptions, bringing audiences into a world where time travel and mysticism overlap with oral traditions and family history. Ultimately, her work reimagines what we understand, and creatively fills in the gaps where knowledge is lacking.\u003c/p>\n\u003cfigure id=\"attachment_13986203\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg\" alt=\"A painted image of three brown-skinned faces, all with their eyes closed, next to each other as they're surrounded by pink flower pedals. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05917-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Bugambilia,’ 2025. \u003ccite>(Brandon Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in the Philippines and raised by her great-grandmother until the age of 12, Carpio attests that, in many ways, this exhibition is an ode to the matriarch of her family.\u003c/p>\n\u003cp>“She passed away in 1998 when she was 99 years old,” Carpio says of her great-grandmother. The year of her birth, 1899, is now tattooed on the artist’s neck.\u003c/p>\n\u003cp>Carpio’s great-grandmother was a midwife, an herbalist, a farmer and more. She survived wars and outlived her husband, as well as her own children. “She raised my mother, who then left [for America] when I was like three months old, and then she raised me,” says Carpio, affirming that her great-grandmother raised five generations in total. “Her story \u003cem>is\u003c/em> time travel.”\u003c/p>\n\u003cp>Childhood interactions with her great-grandmother brought about Carpio’s earliest art pieces. Living in a farming village where tropical fruits readily grew, Carpio would illustrate things that were rare to her, like apples brought back from the United States by her parents during visits. When Carpio wasn’t teaching her great-grandmother how to read numbers, she would illustrate stories she’d learned at school.\u003c/p>\n\u003cp>“I wanted share that with her,” Carpio tells me. “Obviously, there were words” — at the time, she was also learning English herself — “but sometimes, the images actually say so much more.”\u003c/p>\n\u003cfigure id=\"attachment_13986204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg\" alt=\"Through white clothing on a clothes line a painted picture is revealed, depicting a woman balancing a gourd on her head with one hand. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05918-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio, ‘Indianale: Goddess of Labor,’ 2019. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Education went both ways. Carpio’s great-grandmother, not a woman of many words, would wake every morning and sweep the leaves in the front yard before burning them; a custom in their village. Carpio sees this seemingly mundane practice, a morning meditation of sorts, as a microcosm of the lack of understanding about indigenous cultures.\u003c/p>\n\u003cp>“If you’re an outsider looking in, then it’s something unfamiliar. I guess that’s what they make a lot of movies and animation about,” she posits, referencing the scene from \u003cem>The Little Mermaid\u003c/em> where Ariel sees a fork and thinks it’s a comb.\u003c/p>\n\u003cp>“If it’s not familiar in people’s eyes, then it is going to be odd, it is going to be awkward, it’s going to be weird,” Carpio says sharply. “But if you practice it every day, and you have a whole community practicing every day, you don’t necessarily question it anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13986205\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986205 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg\" alt=\"A small figurine placed in a pile of foliage, mounted on a bamboo-raft like object. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05934-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A small community offering sits atop Cece Carpio’s ‘Maganda at Malakas,’ 2023. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navigating “the norm” has been prevalent throughout Carpio’s life. As a kid she accepted that her parents living nearly 7,000 miles away was the way things were. When Carpio herself moved to the United States as a preteen, she learned to deal with cultural differences — namely, her accent — by drawing.\u003c/p>\n\u003cp>“Art became a tool of communication,” she says, recalling middle school days where she’d draw characters and flyers for folks’ birthday parties in exchange for a dollar or two. “And that made me cool,” Carpio says with a laugh. “It’s like, ‘It’s that girl who, I don’t know if she talks, but she can draw.'”\u003c/p>\n\u003cp>Blessed to have landed in the Bay Area, Carpio still celebrates finding “like-hearted and like-minded people.” She’s built deep bonds with others also raised by their grandparents or great-grandparents. She’s befriended folks who listened to bedtime stories that didn’t come from books, but from the mouths of elders. She’s found community in people who were also allowed to play with machetes at five years old.\u003c/p>\n\u003cfigure id=\"attachment_13986206\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986206\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg\" alt=\"A broad view of multiple art pieces inside of a gallery with moody lighting. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R05959-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A installation view of Cece Carpio’s exhibition ‘Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here’ at SOMArts in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, Carpio, a member of the \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle Collective\u003c/a>, says that members of her crew sometimes gift small daggers to each other. Both practical and symbolic, Carpio says the daggers are a reminder that “we are trying to cut the injustices of… all those things that we know are not working.”\u003c/p>\n\u003cp>Growing up poor, she says, forced Carpio to dream. In turn, her imagination became a tool of survival. She learned to change things she couldn’t control, and create things when there was a lack. She used story, myths and folklore to explain the incomprehensible.\u003c/p>\n\u003cp>And that’s on par with how she lives now. “In this show,” she says, “I’m highlighting some of those mythologies.”\u003c/p>\n\u003cp>Using folklore and mythology, she says, is more normal than not. And, she adds, it plays a big part in her process of creating art.\u003c/p>\n\u003cp>“We create things that we not only imagine,” she professes, “but we \u003cem>see\u003c/em> and we \u003cem>believe\u003c/em>. At least that’s a hope.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here\u003c/a>’ is on view through March 29 at SOMArts (934 Brannan St, San Francisco). \u003ca href=\"https://somarts.org/exhibition/tabitabipo/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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},
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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},
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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",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
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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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},
"freakonomics-radio": {
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
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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.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"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",
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"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"
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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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},
"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"
}
},
"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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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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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",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"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"
}
},
"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": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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