Dancing Through the Summer Solstice with Sara Shelton Mann
Megan Lowe Imagines New Dance Connections
How Hip-Hop Dance Legend Rennie Harris Came to Pioneer Street Dance Theater
Meet Philadelphia’s House Dancers Preserving the Soul of the Scene
Fremont Choreographer Amit Patel is Reinventing Bollywood Dance His Way
Here’s How Performing Artists Stay Afloat Six Months into the Pandemic
Meet the Team Taking J-Setting from Underground Clubs to the Main Stage
Dancing an Indigenous Future: Native American Hip-Hop and Freestyle in Albuquerque
Dear Dancer: A Video Chain Letter to Move You
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Catch Justin biking through the city or baking vegan treats on the weekend.","avatar":"https://secure.gravatar.com/avatar/86cbbf64bf8c82d2a74d305c1760c365?s=600&d=blank&r=g","twitter":"JustinEbrahemi","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"Justin Ebrahemi | KQED","description":"Digital Engagement Manager","ogImgSrc":"https://secure.gravatar.com/avatar/86cbbf64bf8c82d2a74d305c1760c365?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/86cbbf64bf8c82d2a74d305c1760c365?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jebrahemi"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13915450":{"type":"posts","id":"arts_13915450","meta":{"index":"posts_1591205157","site":"arts","id":"13915450","score":null,"sort":[1656456750000]},"guestAuthors":[],"slug":"sara-shelton-mann-7-excavations-dance-fort-mason-center","title":"Dancing Through the Summer Solstice with Sara Shelton Mann","publishDate":1656456750,"format":"standard","headTitle":"Dancing Through the Summer Solstice with Sara Shelton Mann | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“Not everyone’s a sun gazer,” Sara Shelton Mann said softly just before the curtains rose on a glaringly vivid sunset. The Golden Gate Bridge appeared through the windows of Fort Mason Center’s Gallery 308, as audiences squinted and gasped. “If you don’t like what you see, turn around and wake up,” Mann added.\u003c/p>\n\u003cp>[aside postID='arts_13914237']The choreographer’s foreboding house note was an overture to an enveloping summer solstice performance of \u003ci>\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" target=\"_blank\" rel=\"noopener noreferrer\">7 Excavations / at the edge of the shore and the edge of the world\u003c/a>\u003c/i>. The work activated the Fort Mason Center for Arts & Culture campus to investigate our relationship to the region’s landscape and its history of ecological transformation.\u003c/p>\n\u003cp>Throughout the evening of June 21, dancers populated space as a mosaic of colors and patterns, falling and finding themselves in forlorn duets. Props on the cement floor waited to be activated; chalk created a hopscotch grid. A guttural synth grew louder as live percussion crescendoed and waned. Film was projected and poetry was whispered as dialogue to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13915454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png\" alt=\"Dancers in gallery space with large open windows\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bag Productions’ dancers performing at Fort Mason Center’s Gallery 308. \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>7 Excavations\u003c/i> by Mixed Bag Productions (dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence) was the culminating work of the ensemble’s 21-day activation of the Fort Mason campus. But the performance was also the result of scores developed over two decades by Mann, a longtime Bay Area dancer, choreographer and healer.\u003c/p>\n\u003cp>The evening was an experimental dance in collaboration with the sun, the view and all of the dancers’ surroundings. Sitting in the audience, which surrounded the “stage” on three sides, I had difficulty parsing reality from performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I forgot to mention there is a pre-show, show, post-show and second show,” Mann told the audience midway through \u003ci>7 Excavations\u003c/i>. “This is the second show.”\u003c/p>\n\u003cfigure id=\"attachment_13915452\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png\" alt=\"A Black person in a green dress poses with their arms outstretched\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performer Gabriel Christian in ‘7 Excavations.’ \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show involved dancer Jesse Zaritt being pushed to the limits of his physicality. He read from a page held by Mann as he lifted himself above a stool with only his arm strength. His palpable discomfort juxtaposed with Mann’s calm demeanor. Next, he joined the other dancers who slapped flower bouquets to the ground, spilling petals across the stage.\u003c/p>\n\u003cp>The sequence was interrupted by another kind of house note: the voice of Frank Smigiel, director of arts programming and partnerships for Fort Mason. As his voice echoed in the gallery space, we learned it was part of the theatrics. His speech shared historical insight into the site’s history of colonization and army-caused ecological destruction, both at Fort Mason and across San Francisco. Meanwhile, dancers sparred with themselves in struggling motion, embodying the history of the land we were occupying.\u003c/p>\n\u003cfigure id=\"attachment_13915457\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg\" alt=\"A woman with white hair with two performers in background\" width=\"801\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-768x604.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leading up to the solstice, the public could witness and participate in open rehearsals of Mann’s choreographic process on the Fort Mason campus. That process included activities like “Chi Cultivation,” “Movement Alchemy” physical training, and a writing and movement workshop. Filmmaker Tori Lawrence led a class that made a black-and-white film of the desert that later became part of \u003ci>7 excavations. \u003c/i>Watching the performance, I wondered how much the public contributed to the final product over the course of the residency.\u003c/p>\n\u003cp>\u003ci>7 Excavations\u003c/i>’ site-specific process was subtly displayed through performance vignettes. Unlike many pandemic-era performances, the June 21 audience wasn’t roving through an outdoor site to follow dancers as they jumped on benches or out of buildings. Rather, the ensemble’s relationship to the Fort Mason campus felt more intimate and contained.\u003c/p>\n\u003cp>At first I was surprised to be seated, but Mann later invited audiences to navigate the world she and her collaborators created, expanding the stage to include more of the world beyond Galley 308, with the dramatic Bay as its backdrop. We separated ourselves into indoor and outdoor viewers. Outside, dancers chased one another and scribbled chalk on the blacktop while Ira Echo played her violin. Inside, we explored the traces of the performance and set pieces constructed during the residency: projected prose about racism, a forgotten game of hopscotch, chalked poetry.\u003c/p>\n\u003cfigure id=\"attachment_13915456\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg\" alt=\"8 artists in colorful clothing smile in green meadow\" width=\"801\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-768x561.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bags Productions includes dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the art activations and culminating performance, \u003ci>7 Excavations \u003c/i>mined motifs of our relationship (or lack thereof) to nature. The work yearned for ecological and communal harmony without didacticism. And it succeeded; there was an acute whimsy at play with the gravity of the performance. The audience chuckled. Violin strings were plucked like a wink. Poetic choices were met with brevity, such as a voice that repeated, “Congratulations, you got the job!” alongside Miles Lassi’s lush, synth-drenched soundscore.\u003c/p>\n\u003cp>Watching the ensemble animate the Fort Mason campus, time seemed to stretch as it got dark. It felt like days ago I was squinting at the sunset through newly uncovered windows—always a good sign. \u003ci>7 Excavations / at the edge of the shore and the edge of the world\u003c/i> found innovative ways to collaborate with its setting, leaving me contemplating how “the rules” of a performance can evolve to match the evolution of the landscape around it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘7 Excavations / at the edge of the shore and the edge of the world’ took place on Tuesday, June 21 at Fort Mason Center for Arts & Culture. For more information on the venue’s summer programming, \u003ca href=\"https://fortmason.org/events\">click here\u003c/a>. \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area choreographer’s ‘7 Excavations’ activated Fort Mason Center with reflections on the shifting landscape.","status":"publish","parent":0,"modified":1705006675,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":980},"headData":{"title":"Sara Shelton Mann at Fort Mason: A Dance with Site and Solstice | KQED","description":"The Bay Area choreographer’s ‘7 Excavations’ activated Fort Mason Center with reflections on the shifting landscape.","ogTitle":"Dancing Through the Summer Solstice with Sara Shelton Mann","ogDescription":"","ogImgId":"","twTitle":"Dancing Through the Summer Solstice with Sara Shelton Mann","twDescription":"","twImgId":"","socialTitle":"Sara Shelton Mann at Fort Mason: A Dance with Site and Solstice %%sep%% KQED"},"sticky":false,"WpOldSlug":"sara-shelton-mann-fort-mason-center-for-arts","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","path":"/arts/13915450/sara-shelton-mann-7-excavations-dance-fort-mason-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Not everyone’s a sun gazer,” Sara Shelton Mann said softly just before the curtains rose on a glaringly vivid sunset. The Golden Gate Bridge appeared through the windows of Fort Mason Center’s Gallery 308, as audiences squinted and gasped. “If you don’t like what you see, turn around and wake up,” Mann added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914237","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The choreographer’s foreboding house note was an overture to an enveloping summer solstice performance of \u003ci>\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" target=\"_blank\" rel=\"noopener noreferrer\">7 Excavations / at the edge of the shore and the edge of the world\u003c/a>\u003c/i>. The work activated the Fort Mason Center for Arts & Culture campus to investigate our relationship to the region’s landscape and its history of ecological transformation.\u003c/p>\n\u003cp>Throughout the evening of June 21, dancers populated space as a mosaic of colors and patterns, falling and finding themselves in forlorn duets. Props on the cement floor waited to be activated; chalk created a hopscotch grid. A guttural synth grew louder as live percussion crescendoed and waned. Film was projected and poetry was whispered as dialogue to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13915454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png\" alt=\"Dancers in gallery space with large open windows\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-solstice-wide-trigger-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bag Productions’ dancers performing at Fort Mason Center’s Gallery 308. \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>7 Excavations\u003c/i> by Mixed Bag Productions (dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence) was the culminating work of the ensemble’s 21-day activation of the Fort Mason campus. But the performance was also the result of scores developed over two decades by Mann, a longtime Bay Area dancer, choreographer and healer.\u003c/p>\n\u003cp>The evening was an experimental dance in collaboration with the sun, the view and all of the dancers’ surroundings. Sitting in the audience, which surrounded the “stage” on three sides, I had difficulty parsing reality from performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I forgot to mention there is a pre-show, show, post-show and second show,” Mann told the audience midway through \u003ci>7 Excavations\u003c/i>. “This is the second show.”\u003c/p>\n\u003cfigure id=\"attachment_13915452\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png\" alt=\"A Black person in a green dress poses with their arms outstretched\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ssm-gabriel-balance-01cc-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performer Gabriel Christian in ‘7 Excavations.’ \u003ccite>(Wes Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show involved dancer Jesse Zaritt being pushed to the limits of his physicality. He read from a page held by Mann as he lifted himself above a stool with only his arm strength. His palpable discomfort juxtaposed with Mann’s calm demeanor. Next, he joined the other dancers who slapped flower bouquets to the ground, spilling petals across the stage.\u003c/p>\n\u003cp>The sequence was interrupted by another kind of house note: the voice of Frank Smigiel, director of arts programming and partnerships for Fort Mason. As his voice echoed in the gallery space, we learned it was part of the theatrics. His speech shared historical insight into the site’s history of colonization and army-caused ecological destruction, both at Fort Mason and across San Francisco. Meanwhile, dancers sparred with themselves in struggling motion, embodying the history of the land we were occupying.\u003c/p>\n\u003cfigure id=\"attachment_13915457\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg\" alt=\"A woman with white hair with two performers in background\" width=\"801\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_Sara_Mann_Sara-midshot_Robbie-Sweeny-768x604.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leading up to the solstice, the public could witness and participate in open rehearsals of Mann’s choreographic process on the Fort Mason campus. That process included activities like “Chi Cultivation,” “Movement Alchemy” physical training, and a writing and movement workshop. Filmmaker Tori Lawrence led a class that made a black-and-white film of the desert that later became part of \u003ci>7 excavations. \u003c/i>Watching the performance, I wondered how much the public contributed to the final product over the course of the residency.\u003c/p>\n\u003cp>\u003ci>7 Excavations\u003c/i>’ site-specific process was subtly displayed through performance vignettes. Unlike many pandemic-era performances, the June 21 audience wasn’t roving through an outdoor site to follow dancers as they jumped on benches or out of buildings. Rather, the ensemble’s relationship to the Fort Mason campus felt more intimate and contained.\u003c/p>\n\u003cp>At first I was surprised to be seated, but Mann later invited audiences to navigate the world she and her collaborators created, expanding the stage to include more of the world beyond Galley 308, with the dramatic Bay as its backdrop. We separated ourselves into indoor and outdoor viewers. Outside, dancers chased one another and scribbled chalk on the blacktop while Ira Echo played her violin. Inside, we explored the traces of the performance and set pieces constructed during the residency: projected prose about racism, a forgotten game of hopscotch, chalked poetry.\u003c/p>\n\u003cfigure id=\"attachment_13915456\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg\" alt=\"8 artists in colorful clothing smile in green meadow\" width=\"801\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/FM_ART_sara_mann-10A_-Robbie-Sweeny-768x561.jpg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Mixed Bags Productions includes dancers jose e abad, Gabriele Christian, Abby Crain, Clarissa Dyas, Ellie Goudie-Averill, Gizeh Muniz-Vengel, Ainsley Tharp, Jesse Zaritt, and filmmaker Tori Lawrence. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the art activations and culminating performance, \u003ci>7 Excavations \u003c/i>mined motifs of our relationship (or lack thereof) to nature. The work yearned for ecological and communal harmony without didacticism. And it succeeded; there was an acute whimsy at play with the gravity of the performance. The audience chuckled. Violin strings were plucked like a wink. Poetic choices were met with brevity, such as a voice that repeated, “Congratulations, you got the job!” alongside Miles Lassi’s lush, synth-drenched soundscore.\u003c/p>\n\u003cp>Watching the ensemble animate the Fort Mason campus, time seemed to stretch as it got dark. It felt like days ago I was squinting at the sunset through newly uncovered windows—always a good sign. \u003ci>7 Excavations / at the edge of the shore and the edge of the world\u003c/i> found innovative ways to collaborate with its setting, leaving me contemplating how “the rules” of a performance can evolve to match the evolution of the landscape around it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘7 Excavations / at the edge of the shore and the edge of the world’ took place on Tuesday, June 21 at Fort Mason Center for Arts & Culture. For more information on the venue’s summer programming, \u003ca href=\"https://fortmason.org/events\">click here\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915450/sara-shelton-mann-7-excavations-dance-fort-mason-center","authors":["11771"],"categories":["arts_1","arts_1003"],"tags":["arts_879","arts_3978","arts_1184","arts_3371"],"featImg":"arts_13915451","label":"arts"},"arts_13915067":{"type":"posts","id":"arts_13915067","meta":{"index":"posts_1591205157","site":"arts","id":"13915067","score":null,"sort":[1656006214000]},"guestAuthors":[],"slug":"megan-lowe-imagines-new-dance-connections","title":"Megan Lowe Imagines New Dance Connections","publishDate":1656006214,"format":"standard","headTitle":"Megan Lowe Imagines New Dance Connections | KQED","labelTerm":{"term":17807,"site":"arts"},"content":"\u003cp>Dance is in every fiber of Megan Lowe’s body. Having started dancing when she was three years old, she now has a career as a professional dancer, choreographer, performer, singer-songwriter, filmmaker, and teacher of Chinese and Irish descent.\u003c/p>\n\u003cp>With an affinity for dynamic places and partners, her creations through \u003ca href=\"https://www.meganlowedances.com/\">Megan Lowe Dances\u003c/a> tackle unusual physical situations and invent solutions to open up the imagination to what’s possible. “My artistic process thrives off of collaboration,” she says, “prioritizing creating relationships of respect, generosity, inspiration, gratitude, trust, and whole-hearted support.”\u003c/p>\n\u003cfigure id=\"attachment_13915089\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915089 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/03-Megan-Lowe-and-Johnny-Huy-Nguyen-HOMEinSTEAD-Photo-by-Henrik-Kam-800x1217.jpg\" alt=\"Megan Lowe and Johnny Huy Nguyen posing in doorway\" width=\"600\" height=\"915\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe and Johnny Huy Nguyen in ‘HOMEinSTEAD’ (Henrik Kam.) \u003ccite>(Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amidst a rise in anti-Asian violence and discrimination, Lowe recently shifted her attention to sharing free and accessible outdoor public art in solidarity with API communities. In 2021 she created the dance film \u003cem>Maw Jaw\u003c/em> in partnership with Asian Pacific Islander Cultural Center, which was presented as a free outdoor event as part of the 24th annual United States of Asian America Festival.\u003c/p>\n\u003cp>The rehearsals activated structures in public spaces around San Francisco’s Chinatown. Lowe invited community members, many of whom were elders, to be part of the creative process. “The work fostered intergenerational connections,” she recalls, “and these connections used dance as a tool to engage with the environment.”\u003c/p>\n\u003cfigure id=\"attachment_13915094\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915094 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg\" alt=\"Woman dancing in urban outdoor setting\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe in ‘Maw Jaw.’ \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe’s dance process is ultimately couched in curiosity and self-discovery. Her practice urges students and collaborators to discover themselves, the people around them and intersections with the world of human experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Megan Lowe and Johnny Huy Nguyen’s HOME(in)STEAD,’ a site-specific performance investigating the meaning of home, runs Friday–Sunday, June 24–26 and July 1-3, at \u003ca href=\"https://500cappstreet.org/events/homeinstead/\">The David Ireland House\u003c/a>. Megan Lowe Dances also partners with the de Young Museum for ‘\u003ca href=\"https://www.meganlowedances.com/upcoming-performances\">No Way You Can Encompass All the Things You Might,\u003c/a>‘ a site-specific dance, live public process, and performance celebration for the closing of the ‘Hung Liu: Golden Gate (金門)’ exhibit, on Saturday, Aug. 6. Learn more at \u003ca href=\"http://meganlowedances.com\">meganlowedances.com\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Megan Lowe Dances invents physical solutions and opens up the imagination to what’s possible.","status":"publish","parent":0,"modified":1705006694,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":368},"headData":{"title":"Megan Lowe Imagines New Dance Connections | KQED","description":"With an affinity for dynamic places and partners, her creations through Megan Lowe Dances tackle unusual physical situations and invent solutions to open up the imagination to what’s possible.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"With an affinity for dynamic places and partners, her creations through Megan Lowe Dances tackle unusual physical situations and invent solutions to open up the imagination to what’s possible."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915067/megan-lowe-imagines-new-dance-connections","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dance is in every fiber of Megan Lowe’s body. Having started dancing when she was three years old, she now has a career as a professional dancer, choreographer, performer, singer-songwriter, filmmaker, and teacher of Chinese and Irish descent.\u003c/p>\n\u003cp>With an affinity for dynamic places and partners, her creations through \u003ca href=\"https://www.meganlowedances.com/\">Megan Lowe Dances\u003c/a> tackle unusual physical situations and invent solutions to open up the imagination to what’s possible. “My artistic process thrives off of collaboration,” she says, “prioritizing creating relationships of respect, generosity, inspiration, gratitude, trust, and whole-hearted support.”\u003c/p>\n\u003cfigure id=\"attachment_13915089\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915089 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/03-Megan-Lowe-and-Johnny-Huy-Nguyen-HOMEinSTEAD-Photo-by-Henrik-Kam-800x1217.jpg\" alt=\"Megan Lowe and Johnny Huy Nguyen posing in doorway\" width=\"600\" height=\"915\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe and Johnny Huy Nguyen in ‘HOMEinSTEAD’ (Henrik Kam.) \u003ccite>(Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amidst a rise in anti-Asian violence and discrimination, Lowe recently shifted her attention to sharing free and accessible outdoor public art in solidarity with API communities. In 2021 she created the dance film \u003cem>Maw Jaw\u003c/em> in partnership with Asian Pacific Islander Cultural Center, which was presented as a free outdoor event as part of the 24th annual United States of Asian America Festival.\u003c/p>\n\u003cp>The rehearsals activated structures in public spaces around San Francisco’s Chinatown. Lowe invited community members, many of whom were elders, to be part of the creative process. “The work fostered intergenerational connections,” she recalls, “and these connections used dance as a tool to engage with the environment.”\u003c/p>\n\u003cfigure id=\"attachment_13915094\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13915094 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg\" alt=\"Woman dancing in urban outdoor setting\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/13-Megan-Lowe-Dances-Maw-Jaw-Photo-by-Maurice-Ramirez-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Lowe in ‘Maw Jaw.’ \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe’s dance process is ultimately couched in curiosity and self-discovery. Her practice urges students and collaborators to discover themselves, the people around them and intersections with the world of human experiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Megan Lowe and Johnny Huy Nguyen’s HOME(in)STEAD,’ a site-specific performance investigating the meaning of home, runs Friday–Sunday, June 24–26 and July 1-3, at \u003ca href=\"https://500cappstreet.org/events/homeinstead/\">The David Ireland House\u003c/a>. Megan Lowe Dances also partners with the de Young Museum for ‘\u003ca href=\"https://www.meganlowedances.com/upcoming-performances\">No Way You Can Encompass All the Things You Might,\u003c/a>‘ a site-specific dance, live public process, and performance celebration for the closing of the ‘Hung Liu: Golden Gate (金門)’ exhibit, on Saturday, Aug. 6. Learn more at \u003ca href=\"http://meganlowedances.com\">meganlowedances.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915067/megan-lowe-imagines-new-dance-connections","authors":["11771"],"programs":["arts_17807"],"categories":["arts_1","arts_966"],"tags":["arts_2654","arts_879","arts_1210","arts_17806","arts_10278","arts_3371"],"featImg":"arts_13915070","label":"arts_17807"},"arts_13901890":{"type":"posts","id":"arts_13901890","meta":{"index":"posts_1591205157","site":"arts","id":"13901890","score":null,"sort":[1629939644000]},"guestAuthors":[],"slug":"how-hip-hop-dance-legend-rennie-harris-came-to-pioneer-street-dance-theater","title":"How Hip-Hop Dance Legend Rennie Harris Came to Pioneer Street Dance Theater","publishDate":1629939644,"format":"video","headTitle":"How Hip-Hop Dance Legend Rennie Harris Came to Pioneer Street Dance Theater | KQED","labelTerm":{"term":1725,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ICCD404C_Philadelphia_Rennie_Harris_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Download English transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before \u003cem>Hamilton\u003c/em> and hip-hop theater became mainstream, there was dancer and choreographer Lorenzo “Rennie” Harris, who helped pioneer the artform.\u003c/p>\n\u003cp>In 1992, Harris founded the country’s first and longest running street dance theater company, \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a> (RHPM). As choreographer and artistic director, he’s created celebrated works like “Rome and Jewels,” a recasting of \u003cem>Romeo and Juliet\u003c/em> with rival gangs in his hometown of Philadelphia; “Facing Mekka,” an exploration of the global face of Islam; and “Funkedified,” a tribute to the funk music he came up dancing to in the 1970s.\u003c/p>\n\u003cfigure id=\"attachment_13901908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg\" alt=\"Black and white photo of Rennie Harris captured mid-jump.\" width=\"800\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1020x1306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-768x984.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1199x1536.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer, choreographer, artistic director Rennie Harris. \u003ccite>(Bob Emmott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, funk morphed into hip-hop, and Harris became a well-known popper and danced with the crew The Scanner Boys. He performed on the country’s first hip-hop tour, The Fresh Festival, with Run DMC, Fat Boys, Kurtis Blow, and Whodini. He also hosted the popular TV show \u003cem>One House Street\u003c/em>, which rivaled \u003cem>Club MTV\u003c/em> in ratings.\u003c/p>\n\u003cfigure id=\"attachment_13901906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg\" alt=\"A hip-hop dance and dj crew in the 1980s featuring young male dancers performing on stage while the djs in the back get ready to play a record.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Scanner Boys, featuring Rennie Harris on the top left. \u003ccite>(Courtesy Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of seven kids raised by a single mom in North Philadelphia, Harris bounced around between life at home and the houses of his aunties and family friends. In his early solo work, he references experiences of being molested and growing up under the constant threat of violence. His approach to dance, even when creating work for concert stages, has always been about his own healing—a way for him “to see and feel God,” says Harris. With a through line in his work of spiritual enlightenment, he’s been dubbed the “High Priest of Hip-Hop” by \u003cem>Dance Magazine\u003c/em>, who recognized Harris with a \u003ca href=\"https://www.dancemagazine.com/rennie-harris-2508392306.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Living Legends” award\u003c/a> in 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Audiences and critics weren’t always so accepting, says Harris. In the early days of his company, “You had people picketing, and they would send police to our shows. They’d show up, verbatim, ‘I hear there’s some hip-hop here,’” he says. Officers would arrive prepared to break up fights. Instead, Harris’ stage manager would offer them seats to watch the show. “Their faces were like, ‘What?’ They didn’t get it.”\u003c/p>\n\u003cfigure id=\"attachment_13901916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg\" alt=\"A still from a hip-hop theater production featuring several dancers on a stage of a theater with a big projection screen showing childhood photos of Rennie Harris.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg 1586w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “Funkedified,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy New Victory Theater, powered by New 42)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before long, Harris would become a highly sought-after choreographer and artistic director, and RHPM toured globally after Harris was appointed a cultural ambassador for President Obama’s Dance Motion USA program. “For the first 20 years of the company, people had never seen anything like it—they’ve seen hip-hop in theater, the acrobatic entertainment part of it, but they hadn’t seen street dance used in an expressive way, with a narrative, abstractly,” he says. “We shifted their concept of what hip-hop or street dance was.”\u003c/p>\n\u003cfigure id=\"attachment_13901913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg\" alt=\"A still from a hip-hop theater performance that shows dancers and singers on a stage in front of an actor playing a priest.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1536x877.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “LIFTED,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy Bates Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, San Francisco has proven to be a loyal audience for Harris and RHPM productions, with performances at Stern Grove Festival, the San Francisco International Hip-Hop Festival and YBCA. Bay Area audiences were first introduced to him in 1999 at Theater Artaud with “Rome and Jewels.” The story centers on rival street gangs battling for control of the city, and integrates the East and West Coast hip-hop wars that claimed the lives of Notorious B.I.G. and Tupac Shakur. “The title is a dig at the hip-hop community. ‘Rome’ is short for roaming. ‘Jewels’ is short for jewelry—roaming for jewelry,” says Harris of the show, which is being restaged for the 30th anniversary of RHMP.\u003c/p>\n\u003cp>Harris recites the opening lines, written and performed by dancer Ozzie Jones. “‘BIG and Pac roam for jewels, but don’t we all? / We ain’t nobody until we a mural on somebody’s wall.’ I love that. If you’re really listening to what is being said, it’s prophetic.”\u003c/p>\n\u003cp>In this If Cities Could Dance special release, Harris breaks down five major moments from his life.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>ICYMI, also check out our Philadelphia house dance episode, in which Harris makes a cameo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"Before founding the country’s first street dance theater company, Harris was a popper in the Philadelphia battle scene, toured with top rap artists, and hosted a TV show.","status":"publish","parent":0,"modified":1705007899,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":781},"headData":{"title":"How Hip-Hop Dance Legend Rennie Harris Came to Pioneer Street Dance Theater | KQED","description":"Before founding the country’s first street dance theater company, Harris was a popper in the Philadelphia battle scene, toured with top rap artists, and hosted a TV show.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/SCTOARX73tk","pbsMediaId":"3060188480","sticky":false,"nprByline":"Kelly Whalen, Manjula Varghese ","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13901890/how-hip-hop-dance-legend-rennie-harris-came-to-pioneer-street-dance-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ICCD404C_Philadelphia_Rennie_Harris_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Download English transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before \u003cem>Hamilton\u003c/em> and hip-hop theater became mainstream, there was dancer and choreographer Lorenzo “Rennie” Harris, who helped pioneer the artform.\u003c/p>\n\u003cp>In 1992, Harris founded the country’s first and longest running street dance theater company, \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a> (RHPM). As choreographer and artistic director, he’s created celebrated works like “Rome and Jewels,” a recasting of \u003cem>Romeo and Juliet\u003c/em> with rival gangs in his hometown of Philadelphia; “Facing Mekka,” an exploration of the global face of Islam; and “Funkedified,” a tribute to the funk music he came up dancing to in the 1970s.\u003c/p>\n\u003cfigure id=\"attachment_13901908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg\" alt=\"Black and white photo of Rennie Harris captured mid-jump.\" width=\"800\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1020x1306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-768x984.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1199x1536.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer, choreographer, artistic director Rennie Harris. \u003ccite>(Bob Emmott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, funk morphed into hip-hop, and Harris became a well-known popper and danced with the crew The Scanner Boys. He performed on the country’s first hip-hop tour, The Fresh Festival, with Run DMC, Fat Boys, Kurtis Blow, and Whodini. He also hosted the popular TV show \u003cem>One House Street\u003c/em>, which rivaled \u003cem>Club MTV\u003c/em> in ratings.\u003c/p>\n\u003cfigure id=\"attachment_13901906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg\" alt=\"A hip-hop dance and dj crew in the 1980s featuring young male dancers performing on stage while the djs in the back get ready to play a record.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Scanner Boys, featuring Rennie Harris on the top left. \u003ccite>(Courtesy Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of seven kids raised by a single mom in North Philadelphia, Harris bounced around between life at home and the houses of his aunties and family friends. In his early solo work, he references experiences of being molested and growing up under the constant threat of violence. His approach to dance, even when creating work for concert stages, has always been about his own healing—a way for him “to see and feel God,” says Harris. With a through line in his work of spiritual enlightenment, he’s been dubbed the “High Priest of Hip-Hop” by \u003cem>Dance Magazine\u003c/em>, who recognized Harris with a \u003ca href=\"https://www.dancemagazine.com/rennie-harris-2508392306.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Living Legends” award\u003c/a> in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audiences and critics weren’t always so accepting, says Harris. In the early days of his company, “You had people picketing, and they would send police to our shows. They’d show up, verbatim, ‘I hear there’s some hip-hop here,’” he says. Officers would arrive prepared to break up fights. Instead, Harris’ stage manager would offer them seats to watch the show. “Their faces were like, ‘What?’ They didn’t get it.”\u003c/p>\n\u003cfigure id=\"attachment_13901916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg\" alt=\"A still from a hip-hop theater production featuring several dancers on a stage of a theater with a big projection screen showing childhood photos of Rennie Harris.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg 1586w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “Funkedified,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy New Victory Theater, powered by New 42)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before long, Harris would become a highly sought-after choreographer and artistic director, and RHPM toured globally after Harris was appointed a cultural ambassador for President Obama’s Dance Motion USA program. “For the first 20 years of the company, people had never seen anything like it—they’ve seen hip-hop in theater, the acrobatic entertainment part of it, but they hadn’t seen street dance used in an expressive way, with a narrative, abstractly,” he says. “We shifted their concept of what hip-hop or street dance was.”\u003c/p>\n\u003cfigure id=\"attachment_13901913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg\" alt=\"A still from a hip-hop theater performance that shows dancers and singers on a stage in front of an actor playing a priest.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1536x877.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “LIFTED,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy Bates Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, San Francisco has proven to be a loyal audience for Harris and RHPM productions, with performances at Stern Grove Festival, the San Francisco International Hip-Hop Festival and YBCA. Bay Area audiences were first introduced to him in 1999 at Theater Artaud with “Rome and Jewels.” The story centers on rival street gangs battling for control of the city, and integrates the East and West Coast hip-hop wars that claimed the lives of Notorious B.I.G. and Tupac Shakur. “The title is a dig at the hip-hop community. ‘Rome’ is short for roaming. ‘Jewels’ is short for jewelry—roaming for jewelry,” says Harris of the show, which is being restaged for the 30th anniversary of RHMP.\u003c/p>\n\u003cp>Harris recites the opening lines, written and performed by dancer Ozzie Jones. “‘BIG and Pac roam for jewels, but don’t we all? / We ain’t nobody until we a mural on somebody’s wall.’ I love that. If you’re really listening to what is being said, it’s prophetic.”\u003c/p>\n\u003cp>In this If Cities Could Dance special release, Harris breaks down five major moments from his life.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>ICYMI, also check out our Philadelphia house dance episode, in which Harris makes a cameo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901890/how-hip-hop-dance-legend-rennie-harris-came-to-pioneer-street-dance-theater","authors":["byline_arts_13901890"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_11374","arts_2944","arts_879","arts_11238","arts_10278","arts_831","arts_4522","arts_4524","arts_596","arts_3371","arts_15005","arts_7084","arts_4204","arts_5267","arts_1007"],"featImg":"arts_13901894","label":"arts_1725"},"arts_13900185":{"type":"posts","id":"arts_13900185","meta":{"index":"posts_1591205157","site":"arts","id":"13900185","score":null,"sort":[1627000641000]},"guestAuthors":[],"slug":"if-cities-could-dance-philadelphia-house","title":"Meet Philadelphia’s House Dancers Preserving the Soul of the Scene","publishDate":1627000641,"format":"video","headTitle":"Meet Philadelphia’s House Dancers Preserving the Soul of the Scene | KQED","labelTerm":{"term":1725,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A tight-knit, intergenerational community revives Philly’s soulful and inclusive house scene.","status":"publish","parent":0,"modified":1705008062,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1323},"headData":{"title":"Meet Philadelphia’s House Dancers Preserving the Soul of the Scene | KQED","description":"A tight-knit, intergenerational community revives Philly’s soulful and inclusive house scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/01dOePGSSw8","pbsMediaId":"3060188198","sticky":false,"WpOldSlug":"meet-philadelphias-house-dancers-preserving-the-soul-of-the-scene","excludeFromSiteSearch":"Include","path":"/arts/13900185/if-cities-could-dance-philadelphia-house","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13900185/if-cities-could-dance-philadelphia-house","authors":["3248","11261"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_10493","arts_8054","arts_11374","arts_2944","arts_7409","arts_879","arts_11238","arts_10278","arts_4522","arts_4524","arts_1737","arts_596","arts_3371","arts_14882","arts_4204","arts_1007"],"featImg":"arts_13900186","label":"arts_1725"},"arts_13889913":{"type":"posts","id":"arts_13889913","meta":{"index":"posts_1591205157","site":"arts","id":"13889913","score":null,"sort":[1607042473000]},"guestAuthors":[],"slug":"if-cities-could-dance-fremont","title":"Fremont Choreographer Amit Patel is Reinventing Bollywood Dance His Way","publishDate":1607042473,"format":"video","headTitle":"Fremont Choreographer Amit Patel is Reinventing Bollywood Dance His Way | KQED","labelTerm":{"term":4422,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. Safety parameters were followed to protect the health of the dancers and video production team.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308_Fremont_Content_Description.pdf\">Download Content Description.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD308_Fremont_Captions.pdf\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>When \u003ca href=\"https://www.amitpateldanceproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amit Patel\u003c/a> first danced in heels, he felt empowered. It was the first time he danced sensually. Everything clicked: the added height, the posture those heels required. It was liberating. “I knew that a lot of people in their entire lifetimes would never experience that,” he says.\u003c/p>\n\u003cp>He wanted more, specifically, to dance in heels to Bollywood music, but no one was offering that class. So he created his own. Now, when he teaches “Bollywood Heels,” a mixture of Kathak gestures (Indian classical dance) and jazz dance, Patel takes great care to create a welcoming learning space for all his students, regardless of their gender expression or sexuality.\u003c/p>\n\u003cp>“I was able to get to my sense of self through dance,” Patel says. Now he hopes to do the same for others.\u003c/p>\n\u003cfigure id=\"attachment_13889938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13889938 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-800x450.jpg\" alt=\"Indian American male dancer poses in high heels. His body is framed within a found art sculpture located at a hilly park in Fremont, CA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010.jpg 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amit Patel performs his signature Bollywood heels style in Fremont, CA. \u003ccite>(Photo by Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patel wasn’t always comfortable with his own voice. “I was very shy,” he says. “[I] would not be able to speak in complete sentences even at like 16.” During dance performances as a child, Patel says you’d likely find him on the edges, in the back. Over the years, as he studied more dance forms—jazz, hip-hop, contemporary ballet—it opened up a wider world of nonverbal expression. He has synthesized these influences into a genre of dance he calls Indian Contemporary. Today he has a \u003ca href=\"https://www.youtube.com/channel/UCQxMChJW9mTKmckqvqaLPrw\" target=\"_blank\" rel=\"noopener noreferrer\">massive social media following\u003c/a> and opportunities to teach around the world. That story of growth is rooted in Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13889931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889931\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-800x450.jpg\" alt=\"Young Indian boy looks straight into the camera while holding two light blue baloons that are larger than his head.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amit Patel as a young boy. \u003ccite>(Courtesy Amit Patel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patel’s parents were born in Gujarat, India and moved to the Bay Area to work in the tech industry of Silicon Valley. Patel describes the community he grew up in as a diverse mixture of different South Asian groups. As a first generation Indian American, Patel witnessed how ideas, values and traditions evolved over time within the diaspora. “You have the older generation, you know, my parents’ generation who all immigrated here and some of them will try to retain their culture as much as possible,” he says. “And then you’ll have the next generation who is going to change the game entirely.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helping to bridge the gap between generations, especially when it came to Patel’s future as a dancer, was fellow Fremont resident Mona Khan, founder of \u003ca href=\"https://www.monakhancompany.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mona Khan Company\u003c/a>, now one of the biggest platforms for Bollywood dance in North America. Khan was born in Mumbai, the heart of the Bollywood movie industry, and her interpretation of the dance form is expansive. “I personally just love it so much because there are no boundaries,” she says, explaining Bollywood dance is any dance set to Bollywood music. Drawing from Indian folk and classical styles, the choreography has changed over the decades to absorb different international dance trends. Most importantly, Khan says, “Anybody can do Bollywood dance.”\u003c/p>\n\u003cp>Patel was maybe 10 or 11 when he peeked into one of Khan’s dance classes at the \u003ca href=\"https://www.indiacc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">India Community Center in Milpitas\u003c/a>. “He was this shyest cutest little kid,” Khan remembers. He would go on to perform in Khan’s company for over a decade.\u003c/p>\n\u003cfigure id=\"attachment_13889933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13889933 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-800x1199.jpg\" alt=\"Two young male and female dancers of South Asian heritage are seen performing Bollywood and Indian contemporary dance styles on stage.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amit Patel as a teenager in a Mona Khan Company showcase. \u003ccite>(Courtesy Amit Patel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Khan did more than provide him with training and a stage. “I think growing up there [was a] very specific idea of what the future was supposed to look like,” Patel says. “You go to high school, you go to college, you get a well-paying job. And that is usually in some sort of STEM field.” But Khan embodied a different path. “With Mona, it was really cool because she ended up coming to the U.S. for her MBA and then from there she started her own dance company and her own troupe,” he says. “I think that showed me that, OK, there is room out there.”\u003c/p>\n\u003cp>Performing Bollywood routines—dance sequences that required strength and energy and stereotypical “maleness”—also helped Patel understand his own desire for self expression as a gay man. “Naturally, being a lot more soft spoken [with] just a different kind of energy, I didn’t necessarily resonate with Bollywood after a time, especially after I started growing up into myself.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2FvIHhQwEtWiPrgwoK0DLD\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Patel describes moving between two different worlds, one dedicated to Indian music and folk style dancing, the other to ballet and contemporary dance. “Then I was like … I can’t constantly code switch and wear a different hat everywhere I go,” he remembers. “There has to be some happy medium.”\u003c/p>\n\u003cp>He taught his first Bollywood heels class in 2016, in part because no one else was offering something like it. Now, he says, students routinely come up to him to express their appreciation for the space he’s created in the South Asian community. “In class I try to make it a point to be like, if the choreography doesn’t resonate, if it’s too feminine, too masculine, change it. Interpret it for yourself,” he says.\u003c/p>\n\u003cp>It’s a radical and welcoming notion, one that seems to launch from Khan’s belief that Bollywood dance has no boundaries—both in terms of form and who can practice it. Patel’s Indian Contemporary movements, appreciative of tradition but open to new modes of expression, is, to her, the result of Patel being “unapologetically himself” and inspiring that same quality in others.\u003c/p>\n\u003cp>“I think that’s the best part about him,” she says. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-fremont/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"Watch how the dancer is creating space for queer expression in the South Asian community. ","status":"publish","parent":0,"modified":1705019772,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-fremont/draft.html"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1050},"headData":{"title":"Popular LGBTQ+ YouTuber Amit Patel is Reinventing Bollywood Dance His Way | KQED","description":"Watch how the dancer is creating space for queer expression in the South Asian community. ","ogTitle":"Popular LGBTQ+ YouTuber Amit Patel is Reinventing Bollywood Dance His Way","ogDescription":"","ogImgId":"","twTitle":"Popular LGBTQ+ YouTuber Amit Patel is Reinventing Bollywood Dance His Way","twDescription":"","twImgId":"","socialTitle":"Popular LGBTQ+ YouTuber Amit Patel is Reinventing Bollywood Dance His Way %%page%% %%sep%% KQED"},"videoEmbed":"https://youtu.be/kJ9d5L-VRLQ","pbsMediaId":"3050204165","sticky":false,"nprByline":"Charlotte Buchen Khadra","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13889913/if-cities-could-dance-fremont","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. Safety parameters were followed to protect the health of the dancers and video production team.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308_Fremont_Content_Description.pdf\">Download Content Description.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD308_Fremont_Captions.pdf\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>When \u003ca href=\"https://www.amitpateldanceproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amit Patel\u003c/a> first danced in heels, he felt empowered. It was the first time he danced sensually. Everything clicked: the added height, the posture those heels required. It was liberating. “I knew that a lot of people in their entire lifetimes would never experience that,” he says.\u003c/p>\n\u003cp>He wanted more, specifically, to dance in heels to Bollywood music, but no one was offering that class. So he created his own. Now, when he teaches “Bollywood Heels,” a mixture of Kathak gestures (Indian classical dance) and jazz dance, Patel takes great care to create a welcoming learning space for all his students, regardless of their gender expression or sexuality.\u003c/p>\n\u003cp>“I was able to get to my sense of self through dance,” Patel says. Now he hopes to do the same for others.\u003c/p>\n\u003cfigure id=\"attachment_13889938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13889938 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-800x450.jpg\" alt=\"Indian American male dancer poses in high heels. His body is framed within a found art sculpture located at a hilly park in Fremont, CA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_04_51_11.Still010.jpg 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amit Patel performs his signature Bollywood heels style in Fremont, CA. \u003ccite>(Photo by Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patel wasn’t always comfortable with his own voice. “I was very shy,” he says. “[I] would not be able to speak in complete sentences even at like 16.” During dance performances as a child, Patel says you’d likely find him on the edges, in the back. Over the years, as he studied more dance forms—jazz, hip-hop, contemporary ballet—it opened up a wider world of nonverbal expression. He has synthesized these influences into a genre of dance he calls Indian Contemporary. Today he has a \u003ca href=\"https://www.youtube.com/channel/UCQxMChJW9mTKmckqvqaLPrw\" target=\"_blank\" rel=\"noopener noreferrer\">massive social media following\u003c/a> and opportunities to teach around the world. That story of growth is rooted in Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13889931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889931\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-800x450.jpg\" alt=\"Young Indian boy looks straight into the camera while holding two light blue baloons that are larger than his head.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ICCD_308-audio-stringout-Charlotte-edit-Copy-06.00_02_47_22.Still011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amit Patel as a young boy. \u003ccite>(Courtesy Amit Patel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patel’s parents were born in Gujarat, India and moved to the Bay Area to work in the tech industry of Silicon Valley. Patel describes the community he grew up in as a diverse mixture of different South Asian groups. As a first generation Indian American, Patel witnessed how ideas, values and traditions evolved over time within the diaspora. “You have the older generation, you know, my parents’ generation who all immigrated here and some of them will try to retain their culture as much as possible,” he says. “And then you’ll have the next generation who is going to change the game entirely.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helping to bridge the gap between generations, especially when it came to Patel’s future as a dancer, was fellow Fremont resident Mona Khan, founder of \u003ca href=\"https://www.monakhancompany.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mona Khan Company\u003c/a>, now one of the biggest platforms for Bollywood dance in North America. Khan was born in Mumbai, the heart of the Bollywood movie industry, and her interpretation of the dance form is expansive. “I personally just love it so much because there are no boundaries,” she says, explaining Bollywood dance is any dance set to Bollywood music. Drawing from Indian folk and classical styles, the choreography has changed over the decades to absorb different international dance trends. Most importantly, Khan says, “Anybody can do Bollywood dance.”\u003c/p>\n\u003cp>Patel was maybe 10 or 11 when he peeked into one of Khan’s dance classes at the \u003ca href=\"https://www.indiacc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">India Community Center in Milpitas\u003c/a>. “He was this shyest cutest little kid,” Khan remembers. He would go on to perform in Khan’s company for over a decade.\u003c/p>\n\u003cfigure id=\"attachment_13889933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13889933 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-800x1199.jpg\" alt=\"Two young male and female dancers of South Asian heritage are seen performing Bollywood and Indian contemporary dance styles on stage.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/981750_484226271648967_1743459356_o.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amit Patel as a teenager in a Mona Khan Company showcase. \u003ccite>(Courtesy Amit Patel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Khan did more than provide him with training and a stage. “I think growing up there [was a] very specific idea of what the future was supposed to look like,” Patel says. “You go to high school, you go to college, you get a well-paying job. And that is usually in some sort of STEM field.” But Khan embodied a different path. “With Mona, it was really cool because she ended up coming to the U.S. for her MBA and then from there she started her own dance company and her own troupe,” he says. “I think that showed me that, OK, there is room out there.”\u003c/p>\n\u003cp>Performing Bollywood routines—dance sequences that required strength and energy and stereotypical “maleness”—also helped Patel understand his own desire for self expression as a gay man. “Naturally, being a lot more soft spoken [with] just a different kind of energy, I didn’t necessarily resonate with Bollywood after a time, especially after I started growing up into myself.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2FvIHhQwEtWiPrgwoK0DLD\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Patel describes moving between two different worlds, one dedicated to Indian music and folk style dancing, the other to ballet and contemporary dance. “Then I was like … I can’t constantly code switch and wear a different hat everywhere I go,” he remembers. “There has to be some happy medium.”\u003c/p>\n\u003cp>He taught his first Bollywood heels class in 2016, in part because no one else was offering something like it. Now, he says, students routinely come up to him to express their appreciation for the space he’s created in the South Asian community. “In class I try to make it a point to be like, if the choreography doesn’t resonate, if it’s too feminine, too masculine, change it. Interpret it for yourself,” he says.\u003c/p>\n\u003cp>It’s a radical and welcoming notion, one that seems to launch from Khan’s belief that Bollywood dance has no boundaries—both in terms of form and who can practice it. Patel’s Indian Contemporary movements, appreciative of tradition but open to new modes of expression, is, to her, the result of Patel being “unapologetically himself” and inspiring that same quality in others.\u003c/p>\n\u003cp>“I think that’s the best part about him,” she says. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-fremont/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889913/if-cities-could-dance-fremont","authors":["byline_arts_13889913"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_11374","arts_2944","arts_1331","arts_7409","arts_879","arts_11238","arts_10278","arts_977","arts_7496","arts_12910","arts_4522","arts_4524","arts_596","arts_3371","arts_4204","arts_1007"],"featImg":"arts_13889956","label":"arts_4422"},"arts_13886478":{"type":"posts","id":"arts_13886478","meta":{"index":"posts_1591205157","site":"arts","id":"13886478","score":null,"sort":[1601564417000]},"guestAuthors":[],"slug":"heres-how-performing-artists-stay-afloat-six-months-into-the-pandemic","title":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic","publishDate":1601564417,"format":"standard","headTitle":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. [aside postid='arts_13886812']\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Some artists in the precarious industry are adapting to online work while others are searching for an out.","status":"publish","parent":0,"modified":1705020056,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1164},"headData":{"title":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic | KQED","description":"Some artists in the precarious industry are adapting to online work while others are searching for an out.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13886478/heres-how-performing-artists-stay-afloat-six-months-into-the-pandemic","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13886812","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886478/heres-how-performing-artists-stay-afloat-six-months-into-the-pandemic","authors":["11387"],"categories":["arts_1"],"tags":["arts_1707","arts_10126","arts_10127","arts_10278","arts_3371","arts_10416","arts_1072"],"featImg":"arts_13887135","label":"arts"},"arts_13885940":{"type":"posts","id":"arts_13885940","meta":{"index":"posts_1591205157","site":"arts","id":"13885940","score":null,"sort":[1599608473000]},"guestAuthors":[],"slug":"if-cities-could-dance-atlanta","title":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage","publishDate":1599608473,"format":"video","headTitle":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage | KQED","labelTerm":{"term":4422,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. A trained COVID-19 safety specialist was on-set and careful parameters were followed with the dancers, who are in a “quarantine pod” together, practicing recommended guidelines including regular testing, temperature checks, constant communication and group accountability. Atlanta is currently experiencing a surge in COVID-19 cases and we hope the community remains safe at home until it’s time to dance together again.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ICCD_307_Atlanta_ContentDescription.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>If there’s one comfort the 11 members of Dance Champz of Atlanta have found during the coronavirus pandemic, it’s that they can still dance together. “The pandemic has affected the LGBTQ community and the J-Setting community tremendously because we’re kind of left in limbo,” team founder and captain \u003ca href=\"https://www.instagram.com/live_w_lee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Leland Thorpe\u003c/a> says. “So when COVID came about, we decided we were going to form a quarantine pod.”\u003c/p>\n\u003cp>“We all love to dance and we all wanted to survive this,” he explains.\u003c/p>\n\u003cp>This practical adaptation in the midst of a global health crisis is emblematic of the group’s approach to J-Setting. “My team is very hard core,” Thorpe says. When they compete on the dance floor with their sharp, synchronized movements set to the beats of Baltimore club-style music, the battles are intense.\u003c/p>\n\u003cfigure id=\"attachment_13885968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885968 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz-800x450.jpg\" alt='Three Black dancers who are members of Dance Champz of Atlanta pose in matching black velvet outfits in front a mosaic art piece title \"The Fiddler\" that sits on a wall behing them.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Darrius Stephens, Leland Thorpe and Ter’Schard Harris of Dance Champs of Atlanta pose in front of Steve Seaberg’s mosaic titled “The Fiddler” in Cabbagetown neighborhood in Atlanta, GA. During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put in a lot of work,” team member \u003ca href=\"http://voyageatl.com/interview/meet-darrius-stephens-dance-champz-atlanta-college-park/\" target=\"_blank\" rel=\"noopener noreferrer\">Darrius Stephens\u003c/a> confirms. The Dance Champz rehearse four days a week, sometimes up to four or five hours a day. When a performance is coming up, Stephens says, “We rehearse almost every day up into that performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of their intensity comes from a desire to share their take on J-Setting—one influenced by jazz, modern dance, hip-hop and ballet—with ever-wider audiences. From its very start, J-Setting was a dance born out of resistance to the status quo, and a need for modern flair. Dance Champz are simply carrying that spirit out into the streets of Atlanta.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1jPRmzJQ2247lWRXoWl8q6\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The story of J-Setting starts on the campus of Jackson State University in 1970. Shirley Middleton, a former majorette with JSU’s marching band (now known as \u003ca href=\"http://www.sonicboomofthesouth.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Sonic Boom of the South\u003c/a>) met with the university president and requested the majorettes be permitted to “put down their batons” and start dancing to more contemporary music. (At the time, that meant James Brown’s “Make it Funky” and “Hot Pants.”) Middleton established the Prancing Jaycettes, who later became the Prancing J-Settes, and the danceline thrives to this day, known for their marching steps, explosive moves and tightly executed routines. Their signature style has even entered mainstream choreography, most notably \u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé’s “Single Ladies”\u003c/a> music video.\u003c/p>\n\u003cfigure id=\"attachment_13885960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445-800x533.jpg\" alt=\"The Prancing J-Settes, the majorettes of the Jackson State University, pose in matching silver bodysuits on a football field.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Prancing J-Settes is the official name of the Jackson State University majorettes, who dance alongside the Jackson State University marching band, the Sonic Boom of the South. \u003ccite>(Courtesy of Deontae Williams/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time it was filling stadiums, J-Setting was going underground. “Wherever there was a marching band,” Thorpe explains, “there were gay men who wanted to do this—not just their moves but their costumes.” J-Setting became a fixture in the LGBTQ+ clubs that surrounded the HBCUs where J-Setting was performed; routines seen at football games would get repeated on the dance floor that same weekend. The “Super Bowl” of the underground J-Setting scene was in competitions at Atlanta’s now-closed \u003ca href=\"https://thegavoice.com/news/atlanta/catching-phillip-boone-owner-founder-traxx/\" target=\"_blank\" rel=\"noopener noreferrer\">Traxx Nightclub\u003c/a>, Thorpe remembers.\u003c/p>\n\u003cfigure id=\"attachment_13885966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466-800x1200.jpg\" alt=\"A close-up of a Prancing J-Settes dancer posing in a silver bodysuit with a fringe, nude fishnet stcokings and silver sequin cuffs on her wrists.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A member of the Prancing J-Settes. \u003ccite>(Courtesy of Charles A. Smith/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance style requires militaristic precision, but it’s also about joy—about knowing oneself and expressing that self-knowledge through dance. (And shiny, sparkly, modified majorette outfits.) Another freeing element of J-Setting comes from its ability to brush away gender binaries with one buck of the body. “Being able to go in and out of femininity and masculinity” is one of the key elements, Stephens says. And for Stephens personally, the dance allows him to defy outside expectations about what his own body can and can’t do.\u003c/p>\n\u003cp>J-Setting is still emerging as an art form, and Thorpe wants to push its boundaries to incorporate other dance styles he grew up performing on the sly in Detroit. He’s interested in challenging some of the relatively new conventions of the male J-Setting scene, both in terms of team size and its membership (Dance Champz has two female dancers in its lineup). Beyond the J-Setting community, the team also hopes for wider acceptance of LGBTQ+ people within the Black community. While Dance Champz have participated in recent Black Lives Matter marches and rallies, Thorpe says he still feels the ostracization that characterized the early days of the underground scene. “I’m considered gay before I’m Black,” Thorpe says. “We don’t always feel part of our Black community.”\u003c/p>\n\u003cp>All their hard work is paying off in terms of local recognition. Dance Champz are the only J-Sette team that performs as part of Atlanta’s Pride celebrations. Maintaining their training regimen during the pandemic, Dance Champz are working towards the day when they can gather once again, to share their skills with both fellow J-Setters and the city of Atlanta. More conservative than many in the name of COVID-19 safety, they’re skipping the club scene for now, forgoing the J-Sette battles at Pride over Labor day weekend, and mainly practicing outdoors.\u003c/p>\n\u003cfigure id=\"attachment_13885986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg\" alt='Members of Dance Champz of Atlanta pose in red customized jerseys that read \"Champz Atlanta\". They are wearing fabric masks that cover the lower half of their faces. This photo is taken at sunset in Piedmont Park in Atlanta, GA.' width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-2048x1080.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1920x1013.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have something to prove,” Thorpe says. “We’re taking advantage of this time to ourselves to get ourselves on the up and up. So when everything opens up, we’re ready to perform. We’re ready to be out there. We’re ready to show our faces.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"The Dance Champz of Atlanta are evolving this dance beyond its roots in HBCUs and LGBTQ+ club battles.","status":"publish","parent":0,"modified":1705020168,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1158},"headData":{"title":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage | KQED","description":"The acrobatic dance has origins with HBCU marching bands, and now is popular in LGBTQ+ clubs, but these dancers don’t want to be pigeonholed under any label.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"The acrobatic dance has origins with HBCU marching bands, and now is popular in LGBTQ+ clubs, but these dancers don’t want to be pigeonholed under any label."},"videoEmbed":"https://youtu.be/sc8DeElgwGw","pbsMediaId":"3046904064","sticky":false,"nprByline":"Frederick Taylor, Charlotte Buchen Khadra","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13885940/if-cities-could-dance-atlanta","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. A trained COVID-19 safety specialist was on-set and careful parameters were followed with the dancers, who are in a “quarantine pod” together, practicing recommended guidelines including regular testing, temperature checks, constant communication and group accountability. Atlanta is currently experiencing a surge in COVID-19 cases and we hope the community remains safe at home until it’s time to dance together again.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ICCD_307_Atlanta_ContentDescription.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>If there’s one comfort the 11 members of Dance Champz of Atlanta have found during the coronavirus pandemic, it’s that they can still dance together. “The pandemic has affected the LGBTQ community and the J-Setting community tremendously because we’re kind of left in limbo,” team founder and captain \u003ca href=\"https://www.instagram.com/live_w_lee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Leland Thorpe\u003c/a> says. “So when COVID came about, we decided we were going to form a quarantine pod.”\u003c/p>\n\u003cp>“We all love to dance and we all wanted to survive this,” he explains.\u003c/p>\n\u003cp>This practical adaptation in the midst of a global health crisis is emblematic of the group’s approach to J-Setting. “My team is very hard core,” Thorpe says. When they compete on the dance floor with their sharp, synchronized movements set to the beats of Baltimore club-style music, the battles are intense.\u003c/p>\n\u003cfigure id=\"attachment_13885968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885968 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz-800x450.jpg\" alt='Three Black dancers who are members of Dance Champz of Atlanta pose in matching black velvet outfits in front a mosaic art piece title \"The Fiddler\" that sits on a wall behing them.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Darrius Stephens, Leland Thorpe and Ter’Schard Harris of Dance Champs of Atlanta pose in front of Steve Seaberg’s mosaic titled “The Fiddler” in Cabbagetown neighborhood in Atlanta, GA. During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put in a lot of work,” team member \u003ca href=\"http://voyageatl.com/interview/meet-darrius-stephens-dance-champz-atlanta-college-park/\" target=\"_blank\" rel=\"noopener noreferrer\">Darrius Stephens\u003c/a> confirms. The Dance Champz rehearse four days a week, sometimes up to four or five hours a day. When a performance is coming up, Stephens says, “We rehearse almost every day up into that performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of their intensity comes from a desire to share their take on J-Setting—one influenced by jazz, modern dance, hip-hop and ballet—with ever-wider audiences. From its very start, J-Setting was a dance born out of resistance to the status quo, and a need for modern flair. Dance Champz are simply carrying that spirit out into the streets of Atlanta.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1jPRmzJQ2247lWRXoWl8q6\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The story of J-Setting starts on the campus of Jackson State University in 1970. Shirley Middleton, a former majorette with JSU’s marching band (now known as \u003ca href=\"http://www.sonicboomofthesouth.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Sonic Boom of the South\u003c/a>) met with the university president and requested the majorettes be permitted to “put down their batons” and start dancing to more contemporary music. (At the time, that meant James Brown’s “Make it Funky” and “Hot Pants.”) Middleton established the Prancing Jaycettes, who later became the Prancing J-Settes, and the danceline thrives to this day, known for their marching steps, explosive moves and tightly executed routines. Their signature style has even entered mainstream choreography, most notably \u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé’s “Single Ladies”\u003c/a> music video.\u003c/p>\n\u003cfigure id=\"attachment_13885960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445-800x533.jpg\" alt=\"The Prancing J-Settes, the majorettes of the Jackson State University, pose in matching silver bodysuits on a football field.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Prancing J-Settes is the official name of the Jackson State University majorettes, who dance alongside the Jackson State University marching band, the Sonic Boom of the South. \u003ccite>(Courtesy of Deontae Williams/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time it was filling stadiums, J-Setting was going underground. “Wherever there was a marching band,” Thorpe explains, “there were gay men who wanted to do this—not just their moves but their costumes.” J-Setting became a fixture in the LGBTQ+ clubs that surrounded the HBCUs where J-Setting was performed; routines seen at football games would get repeated on the dance floor that same weekend. The “Super Bowl” of the underground J-Setting scene was in competitions at Atlanta’s now-closed \u003ca href=\"https://thegavoice.com/news/atlanta/catching-phillip-boone-owner-founder-traxx/\" target=\"_blank\" rel=\"noopener noreferrer\">Traxx Nightclub\u003c/a>, Thorpe remembers.\u003c/p>\n\u003cfigure id=\"attachment_13885966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466-800x1200.jpg\" alt=\"A close-up of a Prancing J-Settes dancer posing in a silver bodysuit with a fringe, nude fishnet stcokings and silver sequin cuffs on her wrists.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A member of the Prancing J-Settes. \u003ccite>(Courtesy of Charles A. Smith/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance style requires militaristic precision, but it’s also about joy—about knowing oneself and expressing that self-knowledge through dance. (And shiny, sparkly, modified majorette outfits.) Another freeing element of J-Setting comes from its ability to brush away gender binaries with one buck of the body. “Being able to go in and out of femininity and masculinity” is one of the key elements, Stephens says. And for Stephens personally, the dance allows him to defy outside expectations about what his own body can and can’t do.\u003c/p>\n\u003cp>J-Setting is still emerging as an art form, and Thorpe wants to push its boundaries to incorporate other dance styles he grew up performing on the sly in Detroit. He’s interested in challenging some of the relatively new conventions of the male J-Setting scene, both in terms of team size and its membership (Dance Champz has two female dancers in its lineup). Beyond the J-Setting community, the team also hopes for wider acceptance of LGBTQ+ people within the Black community. While Dance Champz have participated in recent Black Lives Matter marches and rallies, Thorpe says he still feels the ostracization that characterized the early days of the underground scene. “I’m considered gay before I’m Black,” Thorpe says. “We don’t always feel part of our Black community.”\u003c/p>\n\u003cp>All their hard work is paying off in terms of local recognition. Dance Champz are the only J-Sette team that performs as part of Atlanta’s Pride celebrations. Maintaining their training regimen during the pandemic, Dance Champz are working towards the day when they can gather once again, to share their skills with both fellow J-Setters and the city of Atlanta. More conservative than many in the name of COVID-19 safety, they’re skipping the club scene for now, forgoing the J-Sette battles at Pride over Labor day weekend, and mainly practicing outdoors.\u003c/p>\n\u003cfigure id=\"attachment_13885986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg\" alt='Members of Dance Champz of Atlanta pose in red customized jerseys that read \"Champz Atlanta\". They are wearing fabric masks that cover the lower half of their faces. This photo is taken at sunset in Piedmont Park in Atlanta, GA.' width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-2048x1080.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1920x1013.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have something to prove,” Thorpe says. “We’re taking advantage of this time to ourselves to get ourselves on the up and up. So when everything opens up, we’re ready to perform. We’re ready to be out there. We’re ready to show our faces.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885940/if-cities-could-dance-atlanta","authors":["byline_arts_13885940"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_888","arts_11640","arts_11374","arts_2944","arts_3156","arts_7409","arts_879","arts_11238","arts_10278","arts_4522","arts_10882","arts_4524","arts_3226","arts_3152","arts_12081","arts_11333","arts_596","arts_3371","arts_5158","arts_12080","arts_12088","arts_4204","arts_1007"],"featImg":"arts_13893818","label":"arts_4422"},"arts_13882337":{"type":"posts","id":"arts_13882337","meta":{"index":"posts_1591205157","site":"arts","id":"13882337","score":null,"sort":[1592931631000]},"guestAuthors":[],"slug":"if-cities-could-dance-albuquerque","title":"Dancing an Indigenous Future: Native American Hip-Hop and Freestyle in Albuquerque","publishDate":1592931631,"format":"video","headTitle":"Dancing an Indigenous Future: Native American Hip-Hop and Freestyle in Albuquerque | KQED","labelTerm":{"term":4422,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD-Albuquerque-304-Content-Description.pdf\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>“Never trust a spiritual leader who cannot dance,” says Randy L. Barton, a.k.a. \u003ca href=\"https://www.instagram.com/randy_boogie/\" target=\"_blank\" rel=\"noopener noreferrer\">Randy Boogie\u003c/a> (Diné), a multidisciplinary artist, dancer, DJ and early figure in the Southwestern hip-hop scene. It’s simultaneously a joke and a serious statement: dance is a time-honored expression of community. And over time, hip-hop has become another reason to gather, the music and dance forms intimately entwined—for performers like \u003ca href=\"https://www.instagram.com/aunsica/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Pesata\u003c/a> and \u003ca href=\"https://www.instagram.com/raven_paven_11/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Raven Bright\u003c/a>—with their Indigenous identity.\u003c/p>\n\u003cp>“There’s all these different styles within this community [of people] who are all expressing their love for hip-hop within the same environment as is in powwow,” says Pesata (Jicarilla Apache), who describes the scene as inter-tribal.\u003c/p>\n\u003cp>The city of Albuquerque, on occupied Tewa lands, figures prominently in creating this inter-tribal dynamic. It’s a place where Indigenous people of different backgrounds—the state is home to 19 Pueblos, three Apache tribes and the Navajo Nation—gather to share their cultures and experiences.\u003c/p>\n\u003cfigure id=\"attachment_13882354\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers Raven Bright and Anne Pesata. Photo by Shaandiin Tome.\u003c/figcaption>\u003c/figure>\n\u003cp>Albuquerque is also where Pesata met Raven Bright (Diné) at \u003ca href=\"https://elreylive.com/event/353463/18th-Annual-Breakin-Hearts-All-Ages-Hip-Hop-Event\">Breakin’ Hearts\u003c/a>, an annual dance battle, their dance partnership later becoming a relationship. Both dancers are shy by nature, but the warmth of Albuquerque’s dance community brought them out of their shells. “I didn’t want to be judged,” says Pesata of her tendency to keep her dancing private. “Learning that other people did the same thing, but in front of others, was shocking to me. To see so many people sharing it and being creative with one another so openly—it was really inspiring.”\u003c/p>\n\u003cp>Their stories start in different places. Pesata, who grew up on the Jicarilla Apache reservation in Dulce, participated in traditional dance ceremonies and powwows from a young age. Hip-hop always spoke to her, she says, in a way pop music never did. “Hip-hop is made by the people, for the people,” she says. “Hip-hop is definitely its own culture and it definitely comes from specific places, inner city experiences. But there’s something about the things that they talk about, the struggles that they go through…being from the rez, I experienced similar things.”\u003c/p>\n\u003cp>Meanwhile, Bright grew up 200 miles away, in the border town of Gallup, and didn’t connect to his Indigenous heritage (his father is Diné, or Navajo, and his mother is white) until later, when he began to spend more time on the Navajo reservation. “There were two separate worlds,” Bright says of Gallup and the reservation, “and being able to be a part of hip-hop culture helped me connect those worlds together.”\u003c/p>\n\u003cfigure id=\"attachment_13882371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dj Randy L. Barton aka Randy Boogie at the Breakin’ Hearts event in Albuquerque. Photo by Austin Madrid. \u003ccite>(Austin Madrid)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randy Boogie is part of Bright’s story—the two met in Gallup when Randy was doing hip-hop workshops with his Indigenous dance crew Foundations of Freedom, which he started in 2002. Bright is part of the crew’s second generation. At gatherings like The Sacred Cypher, an event where ceremony, hip-hop and powwow cultures unite. For Randy, the connections between Indigenous traditions and hip-hop are obvious: “The DJ is the drumming. The emcee is the chanting. The graffiti art is the petroglyphs.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2MuCoT4Zj1UNnbCvUZk20j\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13882355\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome-160x120.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director/DP Shaandiin Tome with dancers Anne Pesata and Raven Bright. Photo by Forrest Goodluck. \u003ccite>(Forrest Goodluck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This expansion on what Indigenous dance is and can be is at the heart of Pesata and Bright’s freestyle movements, which are informed by hip-hop as much as they are by contemporary Indigenous dance. Both are members of \u003ca href=\"https://dancingearth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing Earth\u003c/a>, a dance company founded by Rulan Tangen that brings performers together from many Indigenous communities. \u003ca href=\"https://dancingearth.org/btw-us-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Recent productions\u003c/a> have explored renewable energy and Indigenous ecological knowledge with movements decolonized from Western forms.\u003c/p>\n\u003cp>To Pesata and Bright, the dance style they’ve developed isn’t just about honoring the past, but creating a base for the future, one that doesn’t rely on narrow definitions and stereotypes—for art forms or people. “When I dance I am experiencing the relationship with the music,” Pesata says. “So putting a label and a name on something that’s that personal and that spiritual is kind of a disservice.”\u003c/p>\n\u003cp>In the end, Bright agrees, it’s about finding oneself through movement and music: “When you go out into a circle and move your body, that’s the truest form of yourself that you’re giving off.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of If Cities Could Dance. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Anne Pesata and Raven Bright weave together Indigenous dance forms with hip-hop in New Mexico’s urban center, part of a thriving inter-tribal dance community.","status":"publish","parent":0,"modified":1705020537,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":878},"headData":{"title":"Dancing an Indigenous Future: Native American Hip-Hop and Freestyle in Albuquerque | KQED","description":"Anne Pesata (Jicarilla Apache) and Raven Bright (Diné) weave together Indigenous dance forms with hip-hop in New Mexico’s urban center, part of a thriving inter-tribal dance community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Anne Pesata (Jicarilla Apache) and Raven Bright (Diné) weave together Indigenous dance forms with hip-hop in New Mexico’s urban center, part of a thriving inter-tribal dance community."},"videoEmbed":"https://youtu.be/4TzgHfELJ2s","pbsMediaId":"3044577905","sticky":false,"nprByline":"Shaandiin Tome, Charlotte Buchen Khadra","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13882337/if-cities-could-dance-albuquerque","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD-Albuquerque-304-Content-Description.pdf\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>“Never trust a spiritual leader who cannot dance,” says Randy L. Barton, a.k.a. \u003ca href=\"https://www.instagram.com/randy_boogie/\" target=\"_blank\" rel=\"noopener noreferrer\">Randy Boogie\u003c/a> (Diné), a multidisciplinary artist, dancer, DJ and early figure in the Southwestern hip-hop scene. It’s simultaneously a joke and a serious statement: dance is a time-honored expression of community. And over time, hip-hop has become another reason to gather, the music and dance forms intimately entwined—for performers like \u003ca href=\"https://www.instagram.com/aunsica/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Pesata\u003c/a> and \u003ca href=\"https://www.instagram.com/raven_paven_11/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Raven Bright\u003c/a>—with their Indigenous identity.\u003c/p>\n\u003cp>“There’s all these different styles within this community [of people] who are all expressing their love for hip-hop within the same environment as is in powwow,” says Pesata (Jicarilla Apache), who describes the scene as inter-tribal.\u003c/p>\n\u003cp>The city of Albuquerque, on occupied Tewa lands, figures prominently in creating this inter-tribal dynamic. It’s a place where Indigenous people of different backgrounds—the state is home to 19 Pueblos, three Apache tribes and the Navajo Nation—gather to share their cultures and experiences.\u003c/p>\n\u003cfigure id=\"attachment_13882354\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers Raven Bright and Anne Pesata. Photo by Shaandiin Tome.\u003c/figcaption>\u003c/figure>\n\u003cp>Albuquerque is also where Pesata met Raven Bright (Diné) at \u003ca href=\"https://elreylive.com/event/353463/18th-Annual-Breakin-Hearts-All-Ages-Hip-Hop-Event\">Breakin’ Hearts\u003c/a>, an annual dance battle, their dance partnership later becoming a relationship. Both dancers are shy by nature, but the warmth of Albuquerque’s dance community brought them out of their shells. “I didn’t want to be judged,” says Pesata of her tendency to keep her dancing private. “Learning that other people did the same thing, but in front of others, was shocking to me. To see so many people sharing it and being creative with one another so openly—it was really inspiring.”\u003c/p>\n\u003cp>Their stories start in different places. Pesata, who grew up on the Jicarilla Apache reservation in Dulce, participated in traditional dance ceremonies and powwows from a young age. Hip-hop always spoke to her, she says, in a way pop music never did. “Hip-hop is made by the people, for the people,” she says. “Hip-hop is definitely its own culture and it definitely comes from specific places, inner city experiences. But there’s something about the things that they talk about, the struggles that they go through…being from the rez, I experienced similar things.”\u003c/p>\n\u003cp>Meanwhile, Bright grew up 200 miles away, in the border town of Gallup, and didn’t connect to his Indigenous heritage (his father is Diné, or Navajo, and his mother is white) until later, when he began to spend more time on the Navajo reservation. “There were two separate worlds,” Bright says of Gallup and the reservation, “and being able to be a part of hip-hop culture helped me connect those worlds together.”\u003c/p>\n\u003cfigure id=\"attachment_13882371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dj Randy L. Barton aka Randy Boogie at the Breakin’ Hearts event in Albuquerque. Photo by Austin Madrid. \u003ccite>(Austin Madrid)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randy Boogie is part of Bright’s story—the two met in Gallup when Randy was doing hip-hop workshops with his Indigenous dance crew Foundations of Freedom, which he started in 2002. Bright is part of the crew’s second generation. At gatherings like The Sacred Cypher, an event where ceremony, hip-hop and powwow cultures unite. For Randy, the connections between Indigenous traditions and hip-hop are obvious: “The DJ is the drumming. The emcee is the chanting. The graffiti art is the petroglyphs.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2MuCoT4Zj1UNnbCvUZk20j\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13882355\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome-160x120.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director/DP Shaandiin Tome with dancers Anne Pesata and Raven Bright. Photo by Forrest Goodluck. \u003ccite>(Forrest Goodluck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This expansion on what Indigenous dance is and can be is at the heart of Pesata and Bright’s freestyle movements, which are informed by hip-hop as much as they are by contemporary Indigenous dance. Both are members of \u003ca href=\"https://dancingearth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing Earth\u003c/a>, a dance company founded by Rulan Tangen that brings performers together from many Indigenous communities. \u003ca href=\"https://dancingearth.org/btw-us-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Recent productions\u003c/a> have explored renewable energy and Indigenous ecological knowledge with movements decolonized from Western forms.\u003c/p>\n\u003cp>To Pesata and Bright, the dance style they’ve developed isn’t just about honoring the past, but creating a base for the future, one that doesn’t rely on narrow definitions and stereotypes—for art forms or people. “When I dance I am experiencing the relationship with the music,” Pesata says. “So putting a label and a name on something that’s that personal and that spiritual is kind of a disservice.”\u003c/p>\n\u003cp>In the end, Bright agrees, it’s about finding oneself through movement and music: “When you go out into a circle and move your body, that’s the truest form of yourself that you’re giving off.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of If Cities Could Dance. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13882337/if-cities-could-dance-albuquerque","authors":["byline_arts_13882337"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_11374","arts_2944","arts_7409","arts_4523","arts_879","arts_11238","arts_1118","arts_10278","arts_831","arts_11439","arts_4522","arts_10882","arts_4524","arts_7005","arts_1737","arts_3178","arts_11420","arts_596","arts_3371","arts_11428","arts_3180","arts_7084"],"featImg":"arts_13882370","label":"arts_4422"},"arts_13880766":{"type":"posts","id":"arts_13880766","meta":{"index":"posts_1591205157","site":"arts","id":"13880766","score":null,"sort":[1590066019000]},"guestAuthors":[],"slug":"if-cities-could-dance-dear-dancer","title":"Dear Dancer: A Video Chain Letter to Move You","publishDate":1590066019,"format":"video","headTitle":"Dear Dancer: A Video Chain Letter to Move You | KQED","labelTerm":{"term":4422,"site":"arts"},"content":"\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCD306_Dear_Dancer_Content_Description.pdf\">Download Content Description.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCD306_Dear_Dancer_Downloadable_Transcript.pdf\">Download English Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>There’s no doubt that this is the era with the least amount of human connection in modern history.\u003c/p>\n\u003cp>Sheltering in place, removed from our communities, we can’t help but feel isolated. And yet as we stay distanced, we still worry the same. We still love the same. We still improvise, and adapt, and laugh the same. Never before has a single thread run through so many sequestered people, all over the country.\u003c/p>\n\u003cp>That’s the theme of “Dear Dancer,” a short film by KQED, which draws on crowd-sourced video clips from 16 dancers across the country. In it, you’ll find the dancers moving as if a single being, with each dancer’s actions flowing naturally into the next. In the moving poetry of Chinaka Hodge that narrates the seamless expression of dancers from all corners of the United States, suddenly, you’re not so alone. Suddenly, the sacrifices you’ve been making seem smaller.\u003c/p>\n\u003cp>That realization is important at a time when inequities and polarization have only gotten stronger. As Antoine Hunter, an Oakland dancer featured in “Dear Dancer,” says, “We need to find a way to move together—not try to selfishly move within ourselves as individuals, but together as a country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dear Dancer” is inspired by \u003ca href=\"http://www.mitchellrose.com\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell Rose’s\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=B3pFxsYPLgU\" target=\"_blank\" rel=\"noopener noreferrer\">Exquisite Corps, \u003c/a>which experimented with capturing dance choreography over time and space long before COVID-19. In envisioning a dance chain letter of these times, we already had a readymade cast for the film: dancers from our series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">“If Cities Could Dance.”\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13880780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCDgrid_2-800x450.jpg\" alt=\"Four rows of four dancers from cities across the country, representing different dance styles appear \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sixteen dancers from across the country participated in a video chain letter started by the producers of “If Cities Could Dance.”\u003c/figcaption>\u003c/figure>\n\u003cp>We asked dancers to film themselves on their rooftops, patios, stoops, front yards, sidewalks and parks of their city. For many, it meant the first time returning to their art in weeks—and for those like Albuquerque dancer Anne Pesata, that reunion with creativity became freeing. “There’s no space for logic, thought, it’s pure feeling,” Pesata said. “That practice is super helpful when your brain wants to be tied up in a pandemic.”\u003c/p>\n\u003cp>Whether you’re a dancer yourself, or a singer, writer, actor, painter—we hope Dear Dancer inspires you to tap into your pure feeling as well, and offers a reminder of our shared existence. – \u003cem>Text by Gabe Meline\u003c/em>\u003c/p>\n\u003cp>Featured Dancers and Cities: Drew Dollaz, Brooklyn, New York; Jerron Herman, Harlem, New York; Marissa Alma Nick, Miami; Erika Stowall, Detroit; Anne Pesata, Albuquerque; Alex “Prince Ali” Flores, San Jose; Antoine Hunter, Oakland; Samsoche Sampson and Lumhe Sampson, Minneapolis; Angel “’Moonyeka” Alviar-Langley, Seattle; Jalaiah Harmon, Atlanta; Jocquese “Sir Joq” Whitfield, San Francisco; Alice Sheppard, Silicon Valley; Mar Cruz, San Juan; Terrance “G-Nerd” Smith, Memphis; John “Crazy Legs” Pearson, Washington, D.C.; and Donnetta Jackson, Chicago\u003c/p>\n\u003cp>\u003cstrong>Content description:\u003c/strong>\u003cbr>\nA four-minute dance chain letter. Text on screen: “Dear Dancer. From If Cities Could Dance. Spoken word by Chinaka Hodge.” In videos all made outdoors, each dancer has placed a camera low to the ground to capture a moment of dance in 16 different cities. Each 10–20 second shot centers one to two dancers dancing in a park, on a front stoop, on the sidewalk, by a lake, on a basketball court, or on a rooftop. Each dancer begins in the last pose of the dancer before, passing movements across time and space. Dancers appear in the following order as Chinaka’s voice recites the words. Personal descriptions are worded to reflect how each dancer identifies.\u003c/p>\n\u003cp>\u003cstrong>Brooklyn, NY:\u003c/strong> An African American man on a white-painted city rooftop wears a striped t-shirt, black cap, jeans and high-top sneakers, dancing in a street dance style called flexing. Thick clouds above mirror the texture of the painted surface behind him. Arms flex and fold in and out from his body. With one arm up and one behind, one foot crosses in front of the other to propel him; he passes the dance mid-spin.\u003c/p>\n\u003cp>\u003cstrong>Harlem, NY:\u003c/strong> A black man with kinky high top hair and a mustache wearing a black sweat outfit and shoes with a tuft of blue shirt peeking out, continues the spin against a low, thick stone wall and trees with new spring growth behind. One hand is held still by his chest as he dances modern style, undulating and swooping. Balanced on the ball of one foot, the other raised and kicked back behind him, one arm long, head tilted back, he passes the dance, back arched.\u003cbr>\n\u003cstrong>Miami, FL:\u003c/strong> A multiracial femme woman in shorts and a tank top, hair in a high bun, moves in contemporary, modern dance on a stone patio with potted plants. “A dream within a dream” is written on a muralled wall. She rounds in, and lengthens. Perched on one foot and leaning down into two hands, she passes the dance with one leg extended back and toward the sun.\u003c/p>\n\u003cp>\u003cstrong>Detroit, MI:\u003c/strong> A black womyn dressed for cool weather in a knit hat and all black, with “Michigan” in yellow lettering on the front of her sweatshirt, moves in contemporary, modern dance across the length of a small cement stoop at a tan stone house. Feet and torso face one direction as she looks back over her right shoulder, left arm raised in the air. She is on the balls of her feet, eyes closed, and as she plants her feet firm, she passes the dance.\u003c/p>\n\u003cp>\u003cstrong>Albuquerque, NM:\u003c/strong> A Jicarilla Apache woman hip hop and freestyle dances in front of a red adobe house with a front yard of stones and low plants. She wears flowing blue pants, a copper shirt and long beaded earrings. She travels the full front walk in her dance; she leaps, kicks, slices through space. In a deep lunge, arms raised, she looks over her left hip and pulls her right hand back toward her face to pass the dance.\u003cbr>\n\u003cstrong>San Jose, CA\u003c/strong>: A Chicano man is poppin in a black shirt with an orange embroidered letter “B,” tan pants and a black cap. He’s on a small stone front stoop to a light stucco house, slowly traveling from one end to the other. Calla lilies tower up from the ground by the house. His body leans to the right, his right knee bends in toward the left, his right elbow raised in the air, he pops into position to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Oakland, CA:\u003c/strong> An African American contemporary dancer is on an apartment complex basketball court. He has a full ebony beard and long hair beneath a black cap. He wears a T-shirt and jeans with a shirt tied around his waist. He incorporates sign language into his dance, translated onscreen: “My heart, our heart, we dream together America. Express.” Leaning his weight into one hip, he extends both arms in front of him, hands rounded as if holding his heart, and he offers it to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Minneapolis, MN:\u003c/strong> Two Native American (Seneca and Muscogee Creek) men and brothers dance on a trim lawn by tan brick buildings and weeping willows, branches still nearly bear. They wear T-shirts and have long hair pulled back. They practice a traditional dance called hoop dancing and are dancing in sync. One dancer with earrings and a beaded necklace sinks low to the ground on his right foot and left hand. Hoop held up in his right hand, he kicks his left leg straight out, passes the hoop over his foot to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Seattle, WA:\u003c/strong> A nonbinary Filipinx femme similarly extends their left leg straight out on the banks of a lake with park and city stretching out in the distance. There is a carpet of cherry blossoms below their feet. They wear a frilly-sleeved mint top that shows their midriff, track pants, and a homemade colorful mask covering their mouth and nose as they move in street style dance. Their white socks have black text embroidered on them that reads, “Venmo me.” They lean into their right hip, weight on both feet, their left arm stretched in front to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Atlanta, GA\u003c/strong>: A young black female in a sweatshirt with wide stripes, black jeans with tears, hot pink sneakers and long braids styled into a high bun picks up the dance on a pebble trail that winds past a pond. Behind her are lush green trees and brick buildings. She is a hip hop dancer, her shadow sharp and directly beneath her. In profile to the camera, she wraps her right arm up and around her head, takes a deep step backward and pushes her arm forward to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>San Francisco, CA:\u003c/strong> A queer black man is dressed in all black, at the edge of grass and a paved park path. Behind him is a row of ornate houses, the downtown cityscape just beyond. His head is shaved on the underside, long braids wrapped into a bun atop his head. As he vogues, his braids come loose and swing and flow. He dips, right leg bent beneath him, left extended to the sky, arms out, back arched and head on the ground to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley, CA:\u003c/strong> A multiracial woman with light brown skin and short curly hair wears a hot pink sweatshirt in her manual wheelchair on a thick, nearly horizontal branch of an oak tree. She curves her arms and upper body in contemporary dance moves. Balanced on her chair and with her left hand extended behind her, she sweeps her right arm up and around her head to pass the dance.\u003cbr>\nSan Juan, PR: An Afro-Puerto Rican woman dances bomba and is dressed in a long white dress and leggings with a white scarf tying back her hair. She is on a stone platform by banana trees and lobster claw flowers, and two tall wooden barrel drums stand beside her. She swiftly steps and turns in profile to the camera, right leg straight, left bent deeply, arms raised with her right elbow forward and left hand behind and above her head to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Memphis, TN:\u003c/strong> An African American man on a backyard patio surrounded by trees wears a red, black and white track suit, black cap and dark red sneakers. He is jookin near a small area of shrubs in red bark dust. He glides and hops to his body in profile, his face forward. He balances weight on his left heel and right toes, arms raised at sharp angles, elbows bent, hands pointing down to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Washington, D.C.:\u003c/strong> An African American man dancing in the beat ya feet style wears tan pants and a gray shirt. His hair in long, full twists, he is in a parking lot at a salmon-colored brick building. His shadow reaches long on the asphalt to his side. Eyes cast down, he steps and twists his feet and legs wide and narrow, wide and narrow to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Chicago, IL:\u003c/strong> A black queen with short curly black, blonde and pale blue hair wears an open red and black letter jacket with “Creation Global” on the back, a black sports bra underneath. She dances Chicago footwork on the rain-darkened sidewalk in front of a house, a purple-leafed tree behind her. She makes a final turn, crosses one foot in front of the other, raises her hands to her forehead and bows to end the dance.\u003c/p>\n\u003cp>The film ends with all 16 dancers on screen, each in their own tile, four rows of four stacked atop each other.\u003cbr>\nCredits On Screen: Featured Dancers In Order of Appearance: Drew Dollaz, Brooklyn, New York; Jerron Herman, Harlem, New York; Marissa Alma Nick, Miami; Erika Stowall, Detroit; Anne Pesata, Albuquerque;Alex “Prince Ali” Flores, San Jose; Antoine Hunter, Oakland; Samsoche Sampson and Lumhe Sampson, Minneapolis; Angel “’Moonyeka” Alviar-Langley,\u003cbr>\nSeattle; Jalaiah Harmon, Atlanta; Jocquese “Sir Joq” Whitfield, San Francisco; Alice Sheppard, Silicon Valley; Mar Cruz, San Juan; Terrance “G-Nerd” Smith, Memphis; John “Crazy Legs” Pearson; Washington, D.C.; and Donnetta Jackson; Chicago\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Producer, Editor: Kelly Whalen; Additional Producer: Charlotte Khadra, Elie Khadra; Associate Producer: Vivian Morales, Masha Pershay; Production Assistant: Chinwe Oniah; Special Thanks: Amy Miller, Mariclare Hulbert, Melissa Higgins, Ichun Yen; Support is provided by the Osher Production Fund. Support of KQED Arts is provided by the William and Flora Hewlett Foundation. Support is also provided by the members of KQED. A production of KQED Arts © 2020 KQED – Content description written by Cheryl Green\u003c/p>\n\n","blocks":[],"excerpt":"From New York to the Bay, 16 artists dance seamlessly as one during shelter-in-place.\r\n","status":"publish","parent":0,"modified":1705020701,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":2170},"headData":{"title":"Dear Dancer: A Video Chain Letter to Move You | KQED","description":"From New York to the Bay, 16 artists dance seamlessly as one during shelter-in-place.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/JkWSSGQ82aY","pbsMediaId":"3044575651","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13880766/if-cities-could-dance-dear-dancer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCD306_Dear_Dancer_Content_Description.pdf\">Download Content Description.\u003c/a> \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCD306_Dear_Dancer_Downloadable_Transcript.pdf\">Download English Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>There’s no doubt that this is the era with the least amount of human connection in modern history.\u003c/p>\n\u003cp>Sheltering in place, removed from our communities, we can’t help but feel isolated. And yet as we stay distanced, we still worry the same. We still love the same. We still improvise, and adapt, and laugh the same. Never before has a single thread run through so many sequestered people, all over the country.\u003c/p>\n\u003cp>That’s the theme of “Dear Dancer,” a short film by KQED, which draws on crowd-sourced video clips from 16 dancers across the country. In it, you’ll find the dancers moving as if a single being, with each dancer’s actions flowing naturally into the next. In the moving poetry of Chinaka Hodge that narrates the seamless expression of dancers from all corners of the United States, suddenly, you’re not so alone. Suddenly, the sacrifices you’ve been making seem smaller.\u003c/p>\n\u003cp>That realization is important at a time when inequities and polarization have only gotten stronger. As Antoine Hunter, an Oakland dancer featured in “Dear Dancer,” says, “We need to find a way to move together—not try to selfishly move within ourselves as individuals, but together as a country.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dear Dancer” is inspired by \u003ca href=\"http://www.mitchellrose.com\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell Rose’s\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=B3pFxsYPLgU\" target=\"_blank\" rel=\"noopener noreferrer\">Exquisite Corps, \u003c/a>which experimented with capturing dance choreography over time and space long before COVID-19. In envisioning a dance chain letter of these times, we already had a readymade cast for the film: dancers from our series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">“If Cities Could Dance.”\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13880780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCDgrid_2-800x450.jpg\" alt=\"Four rows of four dancers from cities across the country, representing different dance styles appear \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCDgrid_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sixteen dancers from across the country participated in a video chain letter started by the producers of “If Cities Could Dance.”\u003c/figcaption>\u003c/figure>\n\u003cp>We asked dancers to film themselves on their rooftops, patios, stoops, front yards, sidewalks and parks of their city. For many, it meant the first time returning to their art in weeks—and for those like Albuquerque dancer Anne Pesata, that reunion with creativity became freeing. “There’s no space for logic, thought, it’s pure feeling,” Pesata said. “That practice is super helpful when your brain wants to be tied up in a pandemic.”\u003c/p>\n\u003cp>Whether you’re a dancer yourself, or a singer, writer, actor, painter—we hope Dear Dancer inspires you to tap into your pure feeling as well, and offers a reminder of our shared existence. – \u003cem>Text by Gabe Meline\u003c/em>\u003c/p>\n\u003cp>Featured Dancers and Cities: Drew Dollaz, Brooklyn, New York; Jerron Herman, Harlem, New York; Marissa Alma Nick, Miami; Erika Stowall, Detroit; Anne Pesata, Albuquerque; Alex “Prince Ali” Flores, San Jose; Antoine Hunter, Oakland; Samsoche Sampson and Lumhe Sampson, Minneapolis; Angel “’Moonyeka” Alviar-Langley, Seattle; Jalaiah Harmon, Atlanta; Jocquese “Sir Joq” Whitfield, San Francisco; Alice Sheppard, Silicon Valley; Mar Cruz, San Juan; Terrance “G-Nerd” Smith, Memphis; John “Crazy Legs” Pearson, Washington, D.C.; and Donnetta Jackson, Chicago\u003c/p>\n\u003cp>\u003cstrong>Content description:\u003c/strong>\u003cbr>\nA four-minute dance chain letter. Text on screen: “Dear Dancer. From If Cities Could Dance. Spoken word by Chinaka Hodge.” In videos all made outdoors, each dancer has placed a camera low to the ground to capture a moment of dance in 16 different cities. Each 10–20 second shot centers one to two dancers dancing in a park, on a front stoop, on the sidewalk, by a lake, on a basketball court, or on a rooftop. Each dancer begins in the last pose of the dancer before, passing movements across time and space. Dancers appear in the following order as Chinaka’s voice recites the words. Personal descriptions are worded to reflect how each dancer identifies.\u003c/p>\n\u003cp>\u003cstrong>Brooklyn, NY:\u003c/strong> An African American man on a white-painted city rooftop wears a striped t-shirt, black cap, jeans and high-top sneakers, dancing in a street dance style called flexing. Thick clouds above mirror the texture of the painted surface behind him. Arms flex and fold in and out from his body. With one arm up and one behind, one foot crosses in front of the other to propel him; he passes the dance mid-spin.\u003c/p>\n\u003cp>\u003cstrong>Harlem, NY:\u003c/strong> A black man with kinky high top hair and a mustache wearing a black sweat outfit and shoes with a tuft of blue shirt peeking out, continues the spin against a low, thick stone wall and trees with new spring growth behind. One hand is held still by his chest as he dances modern style, undulating and swooping. Balanced on the ball of one foot, the other raised and kicked back behind him, one arm long, head tilted back, he passes the dance, back arched.\u003cbr>\n\u003cstrong>Miami, FL:\u003c/strong> A multiracial femme woman in shorts and a tank top, hair in a high bun, moves in contemporary, modern dance on a stone patio with potted plants. “A dream within a dream” is written on a muralled wall. She rounds in, and lengthens. Perched on one foot and leaning down into two hands, she passes the dance with one leg extended back and toward the sun.\u003c/p>\n\u003cp>\u003cstrong>Detroit, MI:\u003c/strong> A black womyn dressed for cool weather in a knit hat and all black, with “Michigan” in yellow lettering on the front of her sweatshirt, moves in contemporary, modern dance across the length of a small cement stoop at a tan stone house. Feet and torso face one direction as she looks back over her right shoulder, left arm raised in the air. She is on the balls of her feet, eyes closed, and as she plants her feet firm, she passes the dance.\u003c/p>\n\u003cp>\u003cstrong>Albuquerque, NM:\u003c/strong> A Jicarilla Apache woman hip hop and freestyle dances in front of a red adobe house with a front yard of stones and low plants. She wears flowing blue pants, a copper shirt and long beaded earrings. She travels the full front walk in her dance; she leaps, kicks, slices through space. In a deep lunge, arms raised, she looks over her left hip and pulls her right hand back toward her face to pass the dance.\u003cbr>\n\u003cstrong>San Jose, CA\u003c/strong>: A Chicano man is poppin in a black shirt with an orange embroidered letter “B,” tan pants and a black cap. He’s on a small stone front stoop to a light stucco house, slowly traveling from one end to the other. Calla lilies tower up from the ground by the house. His body leans to the right, his right knee bends in toward the left, his right elbow raised in the air, he pops into position to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Oakland, CA:\u003c/strong> An African American contemporary dancer is on an apartment complex basketball court. He has a full ebony beard and long hair beneath a black cap. He wears a T-shirt and jeans with a shirt tied around his waist. He incorporates sign language into his dance, translated onscreen: “My heart, our heart, we dream together America. Express.” Leaning his weight into one hip, he extends both arms in front of him, hands rounded as if holding his heart, and he offers it to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Minneapolis, MN:\u003c/strong> Two Native American (Seneca and Muscogee Creek) men and brothers dance on a trim lawn by tan brick buildings and weeping willows, branches still nearly bear. They wear T-shirts and have long hair pulled back. They practice a traditional dance called hoop dancing and are dancing in sync. One dancer with earrings and a beaded necklace sinks low to the ground on his right foot and left hand. Hoop held up in his right hand, he kicks his left leg straight out, passes the hoop over his foot to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Seattle, WA:\u003c/strong> A nonbinary Filipinx femme similarly extends their left leg straight out on the banks of a lake with park and city stretching out in the distance. There is a carpet of cherry blossoms below their feet. They wear a frilly-sleeved mint top that shows their midriff, track pants, and a homemade colorful mask covering their mouth and nose as they move in street style dance. Their white socks have black text embroidered on them that reads, “Venmo me.” They lean into their right hip, weight on both feet, their left arm stretched in front to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Atlanta, GA\u003c/strong>: A young black female in a sweatshirt with wide stripes, black jeans with tears, hot pink sneakers and long braids styled into a high bun picks up the dance on a pebble trail that winds past a pond. Behind her are lush green trees and brick buildings. She is a hip hop dancer, her shadow sharp and directly beneath her. In profile to the camera, she wraps her right arm up and around her head, takes a deep step backward and pushes her arm forward to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>San Francisco, CA:\u003c/strong> A queer black man is dressed in all black, at the edge of grass and a paved park path. Behind him is a row of ornate houses, the downtown cityscape just beyond. His head is shaved on the underside, long braids wrapped into a bun atop his head. As he vogues, his braids come loose and swing and flow. He dips, right leg bent beneath him, left extended to the sky, arms out, back arched and head on the ground to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley, CA:\u003c/strong> A multiracial woman with light brown skin and short curly hair wears a hot pink sweatshirt in her manual wheelchair on a thick, nearly horizontal branch of an oak tree. She curves her arms and upper body in contemporary dance moves. Balanced on her chair and with her left hand extended behind her, she sweeps her right arm up and around her head to pass the dance.\u003cbr>\nSan Juan, PR: An Afro-Puerto Rican woman dances bomba and is dressed in a long white dress and leggings with a white scarf tying back her hair. She is on a stone platform by banana trees and lobster claw flowers, and two tall wooden barrel drums stand beside her. She swiftly steps and turns in profile to the camera, right leg straight, left bent deeply, arms raised with her right elbow forward and left hand behind and above her head to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Memphis, TN:\u003c/strong> An African American man on a backyard patio surrounded by trees wears a red, black and white track suit, black cap and dark red sneakers. He is jookin near a small area of shrubs in red bark dust. He glides and hops to his body in profile, his face forward. He balances weight on his left heel and right toes, arms raised at sharp angles, elbows bent, hands pointing down to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Washington, D.C.:\u003c/strong> An African American man dancing in the beat ya feet style wears tan pants and a gray shirt. His hair in long, full twists, he is in a parking lot at a salmon-colored brick building. His shadow reaches long on the asphalt to his side. Eyes cast down, he steps and twists his feet and legs wide and narrow, wide and narrow to pass the dance.\u003c/p>\n\u003cp>\u003cstrong>Chicago, IL:\u003c/strong> A black queen with short curly black, blonde and pale blue hair wears an open red and black letter jacket with “Creation Global” on the back, a black sports bra underneath. She dances Chicago footwork on the rain-darkened sidewalk in front of a house, a purple-leafed tree behind her. She makes a final turn, crosses one foot in front of the other, raises her hands to her forehead and bows to end the dance.\u003c/p>\n\u003cp>The film ends with all 16 dancers on screen, each in their own tile, four rows of four stacked atop each other.\u003cbr>\nCredits On Screen: Featured Dancers In Order of Appearance: Drew Dollaz, Brooklyn, New York; Jerron Herman, Harlem, New York; Marissa Alma Nick, Miami; Erika Stowall, Detroit; Anne Pesata, Albuquerque;Alex “Prince Ali” Flores, San Jose; Antoine Hunter, Oakland; Samsoche Sampson and Lumhe Sampson, Minneapolis; Angel “’Moonyeka” Alviar-Langley,\u003cbr>\nSeattle; Jalaiah Harmon, Atlanta; Jocquese “Sir Joq” Whitfield, San Francisco; Alice Sheppard, Silicon Valley; Mar Cruz, San Juan; Terrance “G-Nerd” Smith, Memphis; John “Crazy Legs” Pearson; Washington, D.C.; and Donnetta Jackson; Chicago\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Producer, Editor: Kelly Whalen; Additional Producer: Charlotte Khadra, Elie Khadra; Associate Producer: Vivian Morales, Masha Pershay; Production Assistant: Chinwe Oniah; Special Thanks: Amy Miller, Mariclare Hulbert, Melissa Higgins, Ichun Yen; Support is provided by the Osher Production Fund. Support of KQED Arts is provided by the William and Flora Hewlett Foundation. Support is also provided by the members of KQED. A production of KQED Arts © 2020 KQED – Content description written by Cheryl Green\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880766/if-cities-could-dance-dear-dancer","authors":["3248"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_2944","arts_7409","arts_879","arts_11115","arts_1118","arts_10278","arts_4522","arts_10882","arts_4524","arts_5266","arts_11110","arts_7408","arts_596","arts_3371","arts_1496","arts_10416","arts_2728","arts_14152"],"featImg":"arts_13880770","label":"arts_4422"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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":{"site":"news","source":"kqed","order":"2"},"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","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"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. 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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":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","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. 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