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AKLB's founder, and a recent inductee into the California Hall of Fame, Alonzo King joins us in the studio to discuss exploration and expression through the soul language of movement.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When war erupted in Eastern Europe one year ago, communities in the Bay Area rallied together for Ukraine and against Russian President Vladimir Putin. This week's Something Beautiful looks back at shows of support from last year. \u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1677528153,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":138},"headData":{"title":"Ukraine War | Alonzo King | KQED","description":"Ukraine War One-Year Anniversary On the one-year anniversary of the war in Ukraine, we speak with the Ukrainian Consul General Dmytro Kushneruk about how Californians have supported Ukrainians and what the war-torn country still needs. Alonzo King Alonzo King Lines Ballet company in San Francisco has a mission to nurture artistry and the development","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Ukraine War | Alonzo King","datePublished":"2023-02-25T00:28:48.000Z","dateModified":"2023-02-27T20:02:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"videoEmbed":"https://youtu.be/dZkg9gINOxw","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11941842/ukraine-war-alonzo-king","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Ukraine War One-Year Anniversary\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the one-year anniversary of the war in Ukraine, we speak with the Ukrainian Consul General Dmytro Kushneruk about how Californians have supported Ukrainians and what the war-torn country still needs.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Alonzo King\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alonzo King Lines Ballet company in San Francisco has a mission to nurture artistry and the development of creative expression in dance. AKLB's founder, and a recent inductee into the California Hall of Fame, Alonzo King joins us in the studio to discuss exploration and expression through the soul language of movement.\u003c/span>\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>\u003cb>Something Beautiful\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When war erupted in Eastern Europe one year ago, communities in the Bay Area rallied together for Ukraine and against Russian President Vladimir Putin. This week's Something Beautiful looks back at shows of support from last year. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11941842/ukraine-war-alonzo-king","authors":["236"],"programs":["news_7052"],"categories":["news_223","news_31795","news_8","news_13"],"tags":["news_20622","news_32441","news_22973","news_18192","news_26723","news_32440","news_30818"],"featImg":"news_11941845","label":"news_7052"},"news_11789818":{"type":"posts","id":"news_11789818","meta":{"index":"posts_1591205157","site":"news","id":"11789818","score":null,"sort":[1576005202000]},"guestAuthors":[],"slug":"oakland-dancers-present-nutcracker-with-an-african-diaspora-twist","title":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist","publishDate":1576005202,"format":"audio","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>A new production of Tchaikovsky's \"The Nutcracker\" called \"\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>\" is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like \"The Nutcracker\" at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People's Conservatory called 'Kola: An Afro Diasporic Remix of The Nutcracker.' \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. \"How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students' household and families?\" We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"There's no mouse king and no Clara, but there's break-dancing, flamenco, and an Oakland remix of Tchaikovsky. ","status":"publish","parent":0,"modified":1576029593,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":720},"headData":{"title":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist | KQED","description":"There's no mouse king and no Clara, but there's break-dancing, flamenco, and an Oakland remix of Tchaikovsky. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist","datePublished":"2019-12-10T19:13:22.000Z","dateModified":"2019-12-11T01:59:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11789818 https://ww2.kqed.org/news/?p=11789818","disqusUrl":"https://ww2.kqed.org/news/2019/12/10/oakland-dancers-present-nutcracker-with-an-african-diaspora-twist/","disqusTitle":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/12/NashKOLAKhokhaNutcracker.mp3","audioTrackLength":408,"path":"/news/11789818/oakland-dancers-present-nutcracker-with-an-african-diaspora-twist","audioDuration":427000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new production of Tchaikovsky's \"The Nutcracker\" called \"\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>\" is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like \"The Nutcracker\" at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People's Conservatory called 'Kola: An Afro Diasporic Remix of The Nutcracker.' \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. \"How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students' household and families?\" We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11789818/oakland-dancers-present-nutcracker-with-an-african-diaspora-twist","authors":["254"],"programs":["news_26731"],"categories":["news_223","news_8"],"tags":["news_5241","news_20622","news_18192","news_18"],"featImg":"news_11790394","label":"news_26731"},"news_11750060":{"type":"posts","id":"news_11750060","meta":{"index":"posts_1591205157","site":"news","id":"11750060","score":null,"sort":[1558925868000]},"guestAuthors":[],"slug":"photos-mission-districts-41st-carnaval-explores-healing-through-culture","title":"PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture","publishDate":1558925868,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city's Mission District over the weekend with dance performances, music and food. This year's theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group's ten-year anniversary at Carnaval with a performance titled, \"Evolution to Epicness.\" \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D'Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>\"The best thing about Carnaval is just seeing everybody that doesn't live here anymore but they come back to celebrate,\" said Jackie Ruiz, an attendee on Saturday. \"That's really awesome, I love that.\"\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D'Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event's executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>\"It's sad because I know currently there are millions of Latinos in this country that go from work and go to home,\" he said. \"They don't go to movies, they don't go to clubs, they don't go to outings, they don't go to picnics.\"\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED's Sara Hossaini contributed to the report.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Carnaval's executive producer said this year's theme was a reaction to the hostility the Latino community feels under the Trump administration.","status":"publish","parent":0,"modified":1558975790,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":518},"headData":{"title":"PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture | KQED","description":"Carnaval's executive producer said this year's theme was a reaction to the hostility the Latino community feels under the Trump administration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture","datePublished":"2019-05-27T02:57:48.000Z","dateModified":"2019-05-27T16:49:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11750060 https://ww2.kqed.org/news/?p=11750060","disqusUrl":"https://ww2.kqed.org/news/2019/05/26/photos-mission-districts-41st-carnaval-explores-healing-through-culture/","disqusTitle":"PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture","path":"/news/11750060/photos-mission-districts-41st-carnaval-explores-healing-through-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city's Mission District over the weekend with dance performances, music and food. This year's theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group's ten-year anniversary at Carnaval with a performance titled, \"Evolution to Epicness.\" \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D'Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>\"The best thing about Carnaval is just seeing everybody that doesn't live here anymore but they come back to celebrate,\" said Jackie Ruiz, an attendee on Saturday. \"That's really awesome, I love that.\"\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D'Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event's executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>\"It's sad because I know currently there are millions of Latinos in this country that go from work and go to home,\" he said. \"They don't go to movies, they don't go to clubs, they don't go to outings, they don't go to picnics.\"\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED's Sara Hossaini contributed to the report.\u003c/em>\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":"/news/11750060/photos-mission-districts-41st-carnaval-explores-healing-through-culture","authors":["11367"],"categories":["news_223","news_8"],"tags":["news_1500","news_18192","news_20605","news_5270","news_1425","news_25746"],"featImg":"news_11750072","label":"news"},"news_11663057":{"type":"posts","id":"news_11663057","meta":{"index":"posts_1591205157","site":"news","id":"11663057","score":null,"sort":[1524872722000]},"guestAuthors":[],"slug":"for-this-teen-dance-teaches-the-value-of-vulnerability","title":"For This Teen, Dance Teaches the Value of Vulnerability","publishDate":1524872722,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>\u003cem>Daisy Kwok, 18, joined her school’s hip-hop club and discovered a passion for dance. Over the years, her initial shyness transformed into self-assurance as she embraced the chance to learn new skills. For Kwok, dance is a way to express herself and come to terms with being vulnerable in front of an audience. Kwok now leads a hip-hop dance team at Abraham Lincoln High School in San Francisco and helps new dancers find their own passion for dance. She shared her story as part of \u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" rel=\"noopener\" target=\"_blank\">KQED's Youth Takeover Week\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The music starts.\u003c/p>\n\u003cp>I freeze, not for the first time. In five rounds, I'll be met with imploring eyes, begging me to take that first step.\u003c/p>\n\u003cp>But I can never seem to do it; my feet are cemented. When I’d joined my school’s Hip Hop Club all those years ago, how was I supposed to know that I would end up here? Shaping a budding dance team when I couldn't even freestyle without crying.\u003c/p>\n\u003cp>From a young age, I grew up unconsciously adhering to stereotypes. I was in student government, got straight \"A's\" and played volleyball. They aren’t necessarily bad things, but I felt tied down by obligations. I’d forgotten what it was like to be \u003cem>passionate\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then came high school, and with it, a fresh start.\u003c/p>\n\u003cfigure id=\"attachment_11664801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11664801\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kwok (middle) with her dance team, ADV. ADV stands for Ascension, Deviate, Vibe. \u003ccite>(Courtesy of Daisy Kwok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filled with a sudden surge of bravery and the revelation that I could be a new me, I started dancing.\u003c/p>\n\u003cp>Back then, my inexperience was obvious in the way I moved: full of tension and hesitation, hitting the right beat but not the right feeling. But that's what made it easy, at least for awhile. There were no expectations, so I chased improvement knowing I had nothing to prove, no one to impress. I moved with uncertainty, but I was certain in my new passion.\u003c/p>\n\u003cp>As dance grew from time killer to hobby to definition of me, I found myself growing too. Learning new choreography and styles became second nature, and I figured out how to move with intention and control. I became more comfortable with \u003cem>me\u003c/em>, from what I looked like and sounded like to how I carried myself around other people. But even as I gained self-awareness and self-assurance, even as I discovered how to teach with patience and lead with courage in and out of the dance room, something was missing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">Youth Takeover of KQED News\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">\u003cimg src=\"https://ww2.kqed.org/education/wp-content/uploads/sites/38/2018/04/Youth-Takeover-image-2.png\">\u003c/a>\u003c/figure>\n\u003cp>Youth are taking over KQED! From April 23 - 27, KQED programs will feature stories pitched, produced and reported by youth from Bay Area high schools. Participating programs include \u003ca href=\"https://www.kqed.org/news/program/the-california-report\" target=\"_blank\" rel=\"noopener\">The California Report\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UC4K10PNjqgGLKA3lo5V8KdQ\" target=\"_blank\" rel=\"noopener\">Above the Noise\u003c/a>, \u003ca href=\"https://www.kqed.org/perspectives\" target=\"_blank\" rel=\"noopener\">Perspectives\u003c/a> and \u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>.\u003c/p>\n\u003c/aside>\n\u003cp>I was never able to pin it down, but looking into [my dance students'] five pairs of questioning eyes, I found my answer.\u003c/p>\n\u003cp>Dance — among feelings and family — is one of the few things that makes me unsure of where I stand. If a choreography is a controlled showcase of self, then a freestyle is putting all your emotions and anxieties on the line, on the spot. \u003c/p>\n\u003cp>Dance makes me feel like I can fly, but it also translates into my biggest fear: vulnerability. And though it’s hard not to run away from it in my relationships, I can’t run away from myself. So I do what makes sense.\u003c/p>\n\u003cp>I take that step in.\u003c/p>\n\u003cp>The music continues.\u003c/p>\n\u003cp>And I have never been so thankful to be so afraid.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Daisy Kwok, an 18-year-old high school senior, went from a shy newcomer to a confident hip-hop dance troupe leader.","status":"publish","parent":0,"modified":1524874476,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":623},"headData":{"title":"For This Teen, Dance Teaches the Value of Vulnerability | KQED","description":"Daisy Kwok, an 18-year-old high school senior, went from a shy newcomer to a confident hip-hop dance troupe leader.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"For This Teen, Dance Teaches the Value of Vulnerability","datePublished":"2018-04-27T23:45:22.000Z","dateModified":"2018-04-28T00:14:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11663057 https://ww2.kqed.org/news/?p=11663057","disqusUrl":"https://ww2.kqed.org/news/2018/04/27/for-this-teen-dance-teaches-the-value-of-vulnerability/","disqusTitle":"For This Teen, Dance Teaches the Value of Vulnerability","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/04/HipHopDance.mp3","nprByline":"Daisy Kwok","path":"/news/11663057/for-this-teen-dance-teaches-the-value-of-vulnerability","audioDuration":311000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Daisy Kwok, 18, joined her school’s hip-hop club and discovered a passion for dance. Over the years, her initial shyness transformed into self-assurance as she embraced the chance to learn new skills. For Kwok, dance is a way to express herself and come to terms with being vulnerable in front of an audience. Kwok now leads a hip-hop dance team at Abraham Lincoln High School in San Francisco and helps new dancers find their own passion for dance. She shared her story as part of \u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" rel=\"noopener\" target=\"_blank\">KQED's Youth Takeover Week\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The music starts.\u003c/p>\n\u003cp>I freeze, not for the first time. In five rounds, I'll be met with imploring eyes, begging me to take that first step.\u003c/p>\n\u003cp>But I can never seem to do it; my feet are cemented. When I’d joined my school’s Hip Hop Club all those years ago, how was I supposed to know that I would end up here? Shaping a budding dance team when I couldn't even freestyle without crying.\u003c/p>\n\u003cp>From a young age, I grew up unconsciously adhering to stereotypes. I was in student government, got straight \"A's\" and played volleyball. They aren’t necessarily bad things, but I felt tied down by obligations. I’d forgotten what it was like to be \u003cem>passionate\u003c/em>.\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>Then came high school, and with it, a fresh start.\u003c/p>\n\u003cfigure id=\"attachment_11664801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11664801\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30588_4-ADV-Dance-Team_2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kwok (middle) with her dance team, ADV. ADV stands for Ascension, Deviate, Vibe. \u003ccite>(Courtesy of Daisy Kwok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filled with a sudden surge of bravery and the revelation that I could be a new me, I started dancing.\u003c/p>\n\u003cp>Back then, my inexperience was obvious in the way I moved: full of tension and hesitation, hitting the right beat but not the right feeling. But that's what made it easy, at least for awhile. There were no expectations, so I chased improvement knowing I had nothing to prove, no one to impress. I moved with uncertainty, but I was certain in my new passion.\u003c/p>\n\u003cp>As dance grew from time killer to hobby to definition of me, I found myself growing too. Learning new choreography and styles became second nature, and I figured out how to move with intention and control. I became more comfortable with \u003cem>me\u003c/em>, from what I looked like and sounded like to how I carried myself around other people. But even as I gained self-awareness and self-assurance, even as I discovered how to teach with patience and lead with courage in and out of the dance room, something was missing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">Youth Takeover of KQED News\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">\u003cimg src=\"https://ww2.kqed.org/education/wp-content/uploads/sites/38/2018/04/Youth-Takeover-image-2.png\">\u003c/a>\u003c/figure>\n\u003cp>Youth are taking over KQED! From April 23 - 27, KQED programs will feature stories pitched, produced and reported by youth from Bay Area high schools. Participating programs include \u003ca href=\"https://www.kqed.org/news/program/the-california-report\" target=\"_blank\" rel=\"noopener\">The California Report\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UC4K10PNjqgGLKA3lo5V8KdQ\" target=\"_blank\" rel=\"noopener\">Above the Noise\u003c/a>, \u003ca href=\"https://www.kqed.org/perspectives\" target=\"_blank\" rel=\"noopener\">Perspectives\u003c/a> and \u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>.\u003c/p>\n\u003c/aside>\n\u003cp>I was never able to pin it down, but looking into [my dance students'] five pairs of questioning eyes, I found my answer.\u003c/p>\n\u003cp>Dance — among feelings and family — is one of the few things that makes me unsure of where I stand. If a choreography is a controlled showcase of self, then a freestyle is putting all your emotions and anxieties on the line, on the spot. \u003c/p>\n\u003cp>Dance makes me feel like I can fly, but it also translates into my biggest fear: vulnerability. And though it’s hard not to run away from it in my relationships, I can’t run away from myself. So I do what makes sense.\u003c/p>\n\u003cp>I take that step in.\u003c/p>\n\u003cp>The music continues.\u003c/p>\n\u003cp>And I have never been so thankful to be so afraid.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11663057/for-this-teen-dance-teaches-the-value-of-vulnerability","authors":["byline_news_11663057"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_18192","news_23013"],"featImg":"news_11663641","label":"news_72"},"news_11660626":{"type":"posts","id":"news_11660626","meta":{"index":"posts_1591205157","site":"news","id":"11660626","score":null,"sort":[1524266242000]},"guestAuthors":[],"slug":"finding-empowerment-through-pole-dancing","title":"Finding Empowerment Through Pole Dancing","publishDate":1524266242,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>MaKayla Keating, 22, emerges from the wings of the stage wearing a skintight halter top and skirt -- both almost blinding with sequins. She walks up to a vertical metal pole anchored to the ground, just like you’d see in a strip club.\u003c/p>\n\u003cp>But that’s not where we are.\u003c/p>\n\u003cp>“Next up in event 401,” an announcer exclaims, “please welcome Team SF Pole representing San Francisco Pole and Dance.”\u003c/p>\n\u003cp>This is a pole dancing competition. And it’s Keating’s first. When she approaches the pole, Keating starts with a staple move called “the dip spin.” In this move, Keating grabs the pole with one hand and then twirls around the pole with one leg extended.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pole dancing can be sensual, and for some, it’s hypersexualized. And that’s a bit tricky these days at a time when there’s so much discussion about sexual harassment and unwanted attention to women’s bodies.\u003c/p>\n\u003cp>But when Keating discovered pole dancing, she found power and confidence in herself despite the stigma.\u003c/p>\n\u003cfigure id=\"attachment_11661497\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11661497 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating in San Francisco. She started taking pole dancing classes seven months ago. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keating grew up in rural Indiana in a family of conservative Baptist Christians. Every Sunday, she was obligated to go to church with her family. “I’d just sit there,” she says, “and I was always the one getting in trouble for questioning the Bible.”\u003c/p>\n\u003cp>On Christmas Day, when Keating was 10 years old, her uncle asked her if she believed in Jesus. She said no. And her aunt, who overhead Keating’s response, told her she was going to hell. “That was pretty traumatizing,” she recalls. “I always felt kinda like the black sheep.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11661532/photos-an-inside-look-at-san-franciscos-pole-dancing-scene\">PHOTOS: An Inside Look at San Francisco's Pole Dancing Scene\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11661532/photos-an-inside-look-at-san-franciscos-pole-dancing-scene\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30412_pole-10-qut-1038x576.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>And things weren’t much better at school either. Keating was an artistic kid with a big imagination. “It would turn the other kids off from me,” she says, “so there was some isolation and a bit of bullying.”\u003c/p>\n\u003cp>Like many young teenagers, Keating also struggled with her self-image. “I was just an awkward chubby girl who was deemed weird from an early age.”\u003c/p>\n\u003cp>After getting into an argument with her family, Keating decided she was done with Indiana. She moved to San Francisco and started going to college. She saw San Francisco as a place where everyone was free to be themselves. \u003c/p>\n\u003cp>But during her freshman year, Keating’s insecurities about herself -- both physically and mentally -- began to creep up on her. One day, she went to a doctor who wrote in his chart that she was overweight. It devastated her.\u003c/p>\n\u003cp>“Self confidence-wise, I just didn’t want to go out,” Keating says. “I didn’t want to do anything.”\u003c/p>\n\u003cp>Keating struggled with what she was going to do. So she started going to the gym every day -- sometimes twice a day -- and within a year lost 70 pounds. But something was missing. “I lost all the weight but still mentally I did not feel great about myself.”\u003c/p>\n\u003cfigure id=\"attachment_11660632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660632\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating showing a before-and-after photo of herself after she lost 70 pounds. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About seven months ago, one of her classmates started raving about a pole dancing class she’d taken. Like a lot of people, Keating thought pole dancing was mostly just for strippers. But she was curious, so she checked it out.\u003c/p>\n\u003cp>And it was a revelation. \u003c/p>\n\u003cp>“When you’re up in the air,” Keating says, “it’s kinda like flying.” On the pole, she discovered she was stronger than she ever knew. Keating says she remembers when doing a pullup seemed impossible. “Now I can just pull myself up no problem.”\u003c/p>\n\u003cp>Keating ditched her gym membership and now devotes most of her free time to pole dancing at a studio in San Francisco. One of the most challenging tricks she has learned is called the “Hey Girl.”\u003c/p>\n\u003cp>To start, MaKayla climbs the pole. She then sandwiches the pole into her bicep and squeezes as hard as she can. “I usually get a big bruise after this one,” she says. Then using her arm and abdominal muscles, Keating swings her hips around the pole and spreads her legs open into a straddle.\u003c/p>\n\u003cp>“It hurts so bad,” she says, “but it looks really cool so it’s worth it.”\u003c/p>\n\u003cp>Keating is using her skin as a kind of friction brake on the pole. It’s why pole dancers always wear a minimal amount of clothing. It’s not just about sexuality. It’s about technique and safety. A pole dancer’s body is in a constant battle with gravity. You want to climb up. Gravity pushes you down. You want to flip yourself upside-down? Gravity wants to keep you right-side-up.\u003c/p>\n\u003cfigure id=\"attachment_11660633\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660633\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating (R) and her dance partner practice their routine at San Francisco Pole and Dance. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when Keating calls her family back in Indiana, she doesn’t talk about pole dancing. “If you were in my shoes, would you tell your mother?\" she asks. \"If I were just to say, ‘Oh, I’m pole dancing,’ she’s thinking stripper in the club, booty twerking, dollar bills being thrown.”\u003c/p>\n\u003cp>Pole dancing didn’t become synonymous with sensuality until the 1920s. Dancing with, on or around a pole has been part of many cultures. It actually began hundreds of years earlier, and has roots in 12th century Chinese acrobatics. Poles were covered with rubber instead of metal and performers would do tricks fully clothed.\u003c/p>\n\u003cp>Now, pole dancing is just one more growing fitness trend -- like yoga or pilates -- with over 70 studios in California alone. And yes, you can take a \"sensual\" or \"exotic\" pole dancing class in a studio. Or you can dance to Broadway show tunes and Disney songs. One San Francisco teacher has even built a routine around a poem about sexual assault.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MSAYPVCupuc\u003c/p>\n\u003cp>Keating’s first competition is at a small college in San Bruno. She and her dance partner, Cynthia Younes, practice in front of the mirror. Men and women of all sizes and different levels of pole dancing experience are stretching, putting on their costumes and laughing with their pole mates on the couch. \u003c/p>\n\u003cp>It’s a welcoming environment, despite the anxiety and tension of the competition.\u003c/p>\n\u003cfigure id=\"attachment_11660635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660635\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating (R) and her dance partner Cynthia Younes rehearse their routine backstage at Skyline College in San Bruno. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After they stretch and warm up, Keating and Younes head backstage. “We’re just going to go out there and do our best,\" she says. \"I’m sure it’ll be great.”\u003c/p>\n\u003cp>The women begin the routine away from the pole with their backs to the crowd. The song “Slice of Heaven” by Melody Sweets begins as the dancers raise their arm over their heads, one at a time, and then they turn to the audience. After a sensual floor sequence, they move to the pole.\u003c/p>\n\u003cp>Keating says the routine is about the power of sisterhood. They begin the routine together, but eventually each dancer lets the other have the spotlight. So Keating will do her “Hey Girl” spin while Younes does some basic twirls around them both. At the end, the dancers come together. \u003c/p>\n\u003cp>“Two girls. One pole,” Keating says. “It’s a super combination.”\u003c/p>\n\u003cp>The performance ends with big applause. The duo doesn’t win anything, but Keating doesn’t care. “We didn’t really know what to expect going out there,” she says, “but we just had fun.”\u003c/p>\n\u003cfigure id=\"attachment_11660636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660636\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating (L) and her dance partner Cynthia Younes walk on stage for their first pole dancing competition at Skyline College in San Bruno. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of weeks later, MaKayla Keating came out to her mother. As a pole dancer. And it wasn’t as bad as she feared. \u003c/p>\n\u003cp>Her mother was initially concerned about its association with strip clubs. But Keating showed her pole dancing videos from class and her mother accepted her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is just the happiest I’ve been in like so long because of the confidence that pole gives you,\" MaKayla says. She added that she’s definitely going to compete again. But next time, she’ll tell her mother about it.\u003c/p>\n\n","blocks":[],"excerpt":"When 22-year-old MaKayla Keating discovered pole dancing — which has roots in ancient Chinese acrobatics — she found power and self confidence despite the hyper-sexualized stigma.","status":"publish","parent":0,"modified":1524362429,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1496},"headData":{"title":"Finding Empowerment Through Pole Dancing | KQED","description":"When 22-year-old MaKayla Keating discovered pole dancing — which has roots in ancient Chinese acrobatics — she found power and self confidence despite the hyper-sexualized stigma.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Finding Empowerment Through Pole Dancing","datePublished":"2018-04-20T23:17:22.000Z","dateModified":"2018-04-22T02:00:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11660626 https://ww2.kqed.org/news/?p=11660626","disqusUrl":"https://ww2.kqed.org/news/2018/04/20/finding-empowerment-through-pole-dancing/","disqusTitle":"Finding Empowerment Through Pole Dancing","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/04/SebaiPoleDancing.mp3","path":"/news/11660626/finding-empowerment-through-pole-dancing","audioDuration":319000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>MaKayla Keating, 22, emerges from the wings of the stage wearing a skintight halter top and skirt -- both almost blinding with sequins. She walks up to a vertical metal pole anchored to the ground, just like you’d see in a strip club.\u003c/p>\n\u003cp>But that’s not where we are.\u003c/p>\n\u003cp>“Next up in event 401,” an announcer exclaims, “please welcome Team SF Pole representing San Francisco Pole and Dance.”\u003c/p>\n\u003cp>This is a pole dancing competition. And it’s Keating’s first. When she approaches the pole, Keating starts with a staple move called “the dip spin.” In this move, Keating grabs the pole with one hand and then twirls around the pole with one leg extended.\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>Pole dancing can be sensual, and for some, it’s hypersexualized. And that’s a bit tricky these days at a time when there’s so much discussion about sexual harassment and unwanted attention to women’s bodies.\u003c/p>\n\u003cp>But when Keating discovered pole dancing, she found power and confidence in herself despite the stigma.\u003c/p>\n\u003cfigure id=\"attachment_11661497\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11661497 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/FEATURE_RS30337_000-pole_firstedit-4-qut-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating in San Francisco. She started taking pole dancing classes seven months ago. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keating grew up in rural Indiana in a family of conservative Baptist Christians. Every Sunday, she was obligated to go to church with her family. “I’d just sit there,” she says, “and I was always the one getting in trouble for questioning the Bible.”\u003c/p>\n\u003cp>On Christmas Day, when Keating was 10 years old, her uncle asked her if she believed in Jesus. She said no. And her aunt, who overhead Keating’s response, told her she was going to hell. “That was pretty traumatizing,” she recalls. “I always felt kinda like the black sheep.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11661532/photos-an-inside-look-at-san-franciscos-pole-dancing-scene\">PHOTOS: An Inside Look at San Francisco's Pole Dancing Scene\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11661532/photos-an-inside-look-at-san-franciscos-pole-dancing-scene\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30412_pole-10-qut-1038x576.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>And things weren’t much better at school either. Keating was an artistic kid with a big imagination. “It would turn the other kids off from me,” she says, “so there was some isolation and a bit of bullying.”\u003c/p>\n\u003cp>Like many young teenagers, Keating also struggled with her self-image. “I was just an awkward chubby girl who was deemed weird from an early age.”\u003c/p>\n\u003cp>After getting into an argument with her family, Keating decided she was done with Indiana. She moved to San Francisco and started going to college. She saw San Francisco as a place where everyone was free to be themselves. \u003c/p>\n\u003cp>But during her freshman year, Keating’s insecurities about herself -- both physically and mentally -- began to creep up on her. One day, she went to a doctor who wrote in his chart that she was overweight. It devastated her.\u003c/p>\n\u003cp>“Self confidence-wise, I just didn’t want to go out,” Keating says. “I didn’t want to do anything.”\u003c/p>\n\u003cp>Keating struggled with what she was going to do. So she started going to the gym every day -- sometimes twice a day -- and within a year lost 70 pounds. But something was missing. “I lost all the weight but still mentally I did not feel great about myself.”\u003c/p>\n\u003cfigure id=\"attachment_11660632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660632\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/BEFOREAFTER_RS30338_000-pole_firstedit-2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating showing a before-and-after photo of herself after she lost 70 pounds. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About seven months ago, one of her classmates started raving about a pole dancing class she’d taken. Like a lot of people, Keating thought pole dancing was mostly just for strippers. But she was curious, so she checked it out.\u003c/p>\n\u003cp>And it was a revelation. \u003c/p>\n\u003cp>“When you’re up in the air,” Keating says, “it’s kinda like flying.” On the pole, she discovered she was stronger than she ever knew. Keating says she remembers when doing a pullup seemed impossible. “Now I can just pull myself up no problem.”\u003c/p>\n\u003cp>Keating ditched her gym membership and now devotes most of her free time to pole dancing at a studio in San Francisco. One of the most challenging tricks she has learned is called the “Hey Girl.”\u003c/p>\n\u003cp>To start, MaKayla climbs the pole. She then sandwiches the pole into her bicep and squeezes as hard as she can. “I usually get a big bruise after this one,” she says. Then using her arm and abdominal muscles, Keating swings her hips around the pole and spreads her legs open into a straddle.\u003c/p>\n\u003cp>“It hurts so bad,” she says, “but it looks really cool so it’s worth it.”\u003c/p>\n\u003cp>Keating is using her skin as a kind of friction brake on the pole. It’s why pole dancers always wear a minimal amount of clothing. It’s not just about sexuality. It’s about technique and safety. A pole dancer’s body is in a constant battle with gravity. You want to climb up. Gravity pushes you down. You want to flip yourself upside-down? Gravity wants to keep you right-side-up.\u003c/p>\n\u003cfigure id=\"attachment_11660633\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660633\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/ROUTINE_RS30340_000-pole_firstedit-47-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating (R) and her dance partner practice their routine at San Francisco Pole and Dance. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when Keating calls her family back in Indiana, she doesn’t talk about pole dancing. “If you were in my shoes, would you tell your mother?\" she asks. \"If I were just to say, ‘Oh, I’m pole dancing,’ she’s thinking stripper in the club, booty twerking, dollar bills being thrown.”\u003c/p>\n\u003cp>Pole dancing didn’t become synonymous with sensuality until the 1920s. Dancing with, on or around a pole has been part of many cultures. It actually began hundreds of years earlier, and has roots in 12th century Chinese acrobatics. Poles were covered with rubber instead of metal and performers would do tricks fully clothed.\u003c/p>\n\u003cp>Now, pole dancing is just one more growing fitness trend -- like yoga or pilates -- with over 70 studios in California alone. And yes, you can take a \"sensual\" or \"exotic\" pole dancing class in a studio. Or you can dance to Broadway show tunes and Disney songs. One San Francisco teacher has even built a routine around a poem about sexual assault.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MSAYPVCupuc'\n title='//www.youtube.com/embed/MSAYPVCupuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Keating’s first competition is at a small college in San Bruno. She and her dance partner, Cynthia Younes, practice in front of the mirror. Men and women of all sizes and different levels of pole dancing experience are stretching, putting on their costumes and laughing with their pole mates on the couch. \u003c/p>\n\u003cp>It’s a welcoming environment, despite the anxiety and tension of the competition.\u003c/p>\n\u003cfigure id=\"attachment_11660635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660635\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/REHEARSE_RS30339_000-pole_firstedit-28-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating (R) and her dance partner Cynthia Younes rehearse their routine backstage at Skyline College in San Bruno. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After they stretch and warm up, Keating and Younes head backstage. “We’re just going to go out there and do our best,\" she says. \"I’m sure it’ll be great.”\u003c/p>\n\u003cp>The women begin the routine away from the pole with their backs to the crowd. The song “Slice of Heaven” by Melody Sweets begins as the dancers raise their arm over their heads, one at a time, and then they turn to the audience. After a sensual floor sequence, they move to the pole.\u003c/p>\n\u003cp>Keating says the routine is about the power of sisterhood. They begin the routine together, but eventually each dancer lets the other have the spotlight. So Keating will do her “Hey Girl” spin while Younes does some basic twirls around them both. At the end, the dancers come together. \u003c/p>\n\u003cp>“Two girls. One pole,” Keating says. “It’s a super combination.”\u003c/p>\n\u003cp>The performance ends with big applause. The duo doesn’t win anything, but Keating doesn’t care. “We didn’t really know what to expect going out there,” she says, “but we just had fun.”\u003c/p>\n\u003cfigure id=\"attachment_11660636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11660636\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/STAGE_RS30342_000-pole_firstedit-135-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaKayla Keating (L) and her dance partner Cynthia Younes walk on stage for their first pole dancing competition at Skyline College in San Bruno. \u003ccite>(Samantha Shanahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of weeks later, MaKayla Keating came out to her mother. As a pole dancer. And it wasn’t as bad as she feared. \u003c/p>\n\u003cp>Her mother was initially concerned about its association with strip clubs. But Keating showed her pole dancing videos from class and her mother accepted her.\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>“This is just the happiest I’ve been in like so long because of the confidence that pole gives you,\" MaKayla says. She added that she’s definitely going to compete again. But next time, she’ll tell her mother about it.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11660626/finding-empowerment-through-pole-dancing","authors":["11412"],"programs":["news_72"],"categories":["news_223","news_8","news_10"],"tags":["news_22938","news_18192","news_22936","news_38","news_17041"],"featImg":"news_11661423","label":"news_72"},"news_11648165":{"type":"posts","id":"news_11648165","meta":{"index":"posts_1591205157","site":"news","id":"11648165","score":null,"sort":[1518288980000]},"guestAuthors":[],"slug":"no-one-under-60-allowed-at-this-l-a-dance-party","title":"No One Under 60 Allowed At This L.A. Dance Party","publishDate":1518288980,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>The Lincoln Heights Senior Center is a one-story, brick-and-cement building located a few minutes’ drive from downtown Los Angeles. It opens its doors at 8 a.m. every weekday, welcoming a largely Mexican and Central American community from throughout East LA.\u003c/p>\n\u003cp>It offers all the activities that draw older adults to most senior centers: bingo, computer classes and subsidized meals. But there’s one weekly event that packs the house and gets everyone on their feet: the Thursday dance. So much so, the Center has gotten the reputation of being one of the liveliest places in the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11648178\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11648178\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut.jpg\" alt=\"The entrance to the recreation room at the Lincoln Heights Senior Center, where a weekly dance party takes place every Thursday.\" width=\"1500\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to the recreation room at the Lincoln Heights Senior Center, where a weekly dance party takes place every Thursday. \u003ccite>(Roberto (Bear) Guerra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But you must be 60 years or older to be allowed inside. Starting at noon, a four-person live band starts playing in the big recreation room, and the tables are pushed out of the way to make room for the dancers.\u003c/p>\n\u003cp>For $5 a pop, men and women come every week to dance for four hours straight to \u003cem>bachata\u003c/em>, \u003cem>cumbia\u003c/em>, \u003cem>merengue\u003c/em> and \u003cem>norteño\u003c/em> music. The music is loud. And the dance floor fills up quickly, especially when the band plays Spanish-language oldies.\u003c/p>\n\u003cp>A few of the dancers come as part of a couple; others come alone, eager to meet strangers and possible future dates. But Blanca Acosta and Erga Cruz, two longtime female friends, have been coming to the Thursday dance for over five years, and they have no interest in meeting anybody new.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They love to gossip about some of the regulars: the ladies who come to the senior center looking for husbands; the men who go to the dances to pick up women.\u003c/p>\n\u003cp>“At least I don’t go there looking for men,” says 80-year-old Cruz. “You know what one of the guys told me last week? That he was going to go to the dance with you next time. And I told him, 'I doubt it, no way!' He’s a womanizer, a big womanizer.”\u003c/p>\n\u003cfigure id=\"attachment_11648180\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11648180\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut.jpg\" alt=\"Bernabé Diaz, 65, is a native of El Salvador who’s been coming to the dance at the Lincoln Heights Senior Center for almost a decade.\" width=\"1500\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Bernabé Diaz, 65, is a native of El Salvador who’s been coming to the dance at the Lincoln Heights Senior Center for almost a decade. \u003ccite>(Roberto (Bear) Guerra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acosta, who is 65, says she and Cruz love to go to the dance to get out of the house, to move a bit, and to see their large group of friends.\u003c/p>\n\u003cp>“Sometimes I think about older people who don’t even have the desire to go out,” Acosta says. “Maybe they think they can’t do it, but they don’t even have to dance. The whole point is to go, and to listen to music.”\u003c/p>\n\u003cp>But when the band stops playing at 4 p.m., the dancers must clear the room quickly. Within minutes, Acosta and Cruz are out the door, heading to a diner for dinner. The following Thursday, they’ll be back on the dance floor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was made possible with support from the Eisner Foundation and KCRW.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"These seniors prefer merengue and cumbia over bingo and computer classes.","status":"publish","parent":0,"modified":1518288980,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":533},"headData":{"title":"No One Under 60 Allowed At This L.A. Dance Party | KQED","description":"These seniors prefer merengue and cumbia over bingo and computer classes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"No One Under 60 Allowed At This L.A. Dance Party","datePublished":"2018-02-10T18:56:20.000Z","dateModified":"2018-02-10T18:56:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11648165 https://ww2.kqed.org/news/?p=11648165","disqusUrl":"https://ww2.kqed.org/news/2018/02/10/no-one-under-60-allowed-at-this-l-a-dance-party/","disqusTitle":"No One Under 60 Allowed At This L.A. Dance Party","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/02/GuidiDanceParty.mp3","nprByline":"\u003cstrong>Ruxandra Guidi \u003c/strong>","path":"/news/11648165/no-one-under-60-allowed-at-this-l-a-dance-party","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Lincoln Heights Senior Center is a one-story, brick-and-cement building located a few minutes’ drive from downtown Los Angeles. It opens its doors at 8 a.m. every weekday, welcoming a largely Mexican and Central American community from throughout East LA.\u003c/p>\n\u003cp>It offers all the activities that draw older adults to most senior centers: bingo, computer classes and subsidized meals. But there’s one weekly event that packs the house and gets everyone on their feet: the Thursday dance. So much so, the Center has gotten the reputation of being one of the liveliest places in the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11648178\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11648178\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut.jpg\" alt=\"The entrance to the recreation room at the Lincoln Heights Senior Center, where a weekly dance party takes place every Thursday.\" width=\"1500\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29250_dance-1-GUERRA-qut-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to the recreation room at the Lincoln Heights Senior Center, where a weekly dance party takes place every Thursday. \u003ccite>(Roberto (Bear) Guerra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But you must be 60 years or older to be allowed inside. Starting at noon, a four-person live band starts playing in the big recreation room, and the tables are pushed out of the way to make room for the dancers.\u003c/p>\n\u003cp>For $5 a pop, men and women come every week to dance for four hours straight to \u003cem>bachata\u003c/em>, \u003cem>cumbia\u003c/em>, \u003cem>merengue\u003c/em> and \u003cem>norteño\u003c/em> music. The music is loud. And the dance floor fills up quickly, especially when the band plays Spanish-language oldies.\u003c/p>\n\u003cp>A few of the dancers come as part of a couple; others come alone, eager to meet strangers and possible future dates. But Blanca Acosta and Erga Cruz, two longtime female friends, have been coming to the Thursday dance for over five years, and they have no interest in meeting anybody new.\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>They love to gossip about some of the regulars: the ladies who come to the senior center looking for husbands; the men who go to the dances to pick up women.\u003c/p>\n\u003cp>“At least I don’t go there looking for men,” says 80-year-old Cruz. “You know what one of the guys told me last week? That he was going to go to the dance with you next time. And I told him, 'I doubt it, no way!' He’s a womanizer, a big womanizer.”\u003c/p>\n\u003cfigure id=\"attachment_11648180\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11648180\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut.jpg\" alt=\"Bernabé Diaz, 65, is a native of El Salvador who’s been coming to the dance at the Lincoln Heights Senior Center for almost a decade.\" width=\"1500\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29252_dance-3-GUERRA-qut-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Bernabé Diaz, 65, is a native of El Salvador who’s been coming to the dance at the Lincoln Heights Senior Center for almost a decade. \u003ccite>(Roberto (Bear) Guerra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acosta, who is 65, says she and Cruz love to go to the dance to get out of the house, to move a bit, and to see their large group of friends.\u003c/p>\n\u003cp>“Sometimes I think about older people who don’t even have the desire to go out,” Acosta says. “Maybe they think they can’t do it, but they don’t even have to dance. The whole point is to go, and to listen to music.”\u003c/p>\n\u003cp>But when the band stops playing at 4 p.m., the dancers must clear the room quickly. Within minutes, Acosta and Cruz are out the door, heading to a diner for dinner. The following Thursday, they’ll be back on the dance floor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was made possible with support from the Eisner Foundation and KCRW.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11648165/no-one-under-60-allowed-at-this-l-a-dance-party","authors":["byline_news_11648165"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_18192","news_2081","news_17286"],"featImg":"news_11648177","label":"news_72"},"news_11081510":{"type":"posts","id":"news_11081510","meta":{"index":"posts_1591205157","site":"news","id":"11081510","score":null,"sort":[1473710721000]},"guestAuthors":[],"slug":"sequins-sweat-and-tears-bay-area-ballroom-dancing-couple-makes-it-big","title":"Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big","publishDate":1473710721,"format":"image","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282596322\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>[contextly_sidebar id=\"NPpjN80NLp1II4W4eKPTHelQoJDUWime\"]\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"large\" ids=\"11085204,11085327\"]\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Inside the competitive world of teen ballroom dancing, choosing the right partner is everything.","status":"publish","parent":0,"modified":1473711641,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1069},"headData":{"title":"Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big | KQED","description":"Inside the competitive world of teen ballroom dancing, choosing the right partner is everything.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big","datePublished":"2016-09-12T20:05:21.000Z","dateModified":"2016-09-12T20:20:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11081510 http://ww2.kqed.org/news/?p=11081510","disqusUrl":"https://ww2.kqed.org/news/2016/09/12/sequins-sweat-and-tears-bay-area-ballroom-dancing-couple-makes-it-big/","disqusTitle":"Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big","nprByline":"Eli Wirtschafter","nprStoryId":"493657976","path":"/news/11081510/sequins-sweat-and-tears-bay-area-ballroom-dancing-couple-makes-it-big","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\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>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/282596322&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/282596322'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"rectangular","size":"large","ids":"11085204,11085327","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\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>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11081510/sequins-sweat-and-tears-bay-area-ballroom-dancing-couple-makes-it-big","authors":["byline_news_11081510"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_18192","news_17286"],"featImg":"news_11085206","label":"news_72"},"news_10881844":{"type":"posts","id":"news_10881844","meta":{"index":"posts_1591205157","site":"news","id":"10881844","score":null,"sort":[1460876715000]},"guestAuthors":[],"slug":"my-spot-salsa-dancing-in-san-franciscos-mission-district","title":"My Spot: Salsa Dancing in San Francisco's Mission District","publishDate":1460876715,"format":"standard","headTitle":"My Spot | The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>For 66-year-old Irma Iñiguez, dancing salsa is like a drug. “It’s very addictive,” she says. You can find her every second and fourth Sunday of the month at a San Francisco club called \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> for “Salsa Sunday.”\u003c/p>\n\u003cp>The Mission District bar opened in 1978 and its website describes itself as a “Leather Brazilian Gay Bar.” As for Salsa Sundays, a live band plays salsa music as the patio swells with dancers, young and old.\u003c/p>\n\u003cp>Iñiguez, an El Rio regular for the last 30 years, has witnessed firsthand the transformation of the club and the neighborhood. Nowadays, she says, salsa music isn’t geared mainly toward Latinos. She says it crosses over to mix with different genres -- like reggae and rumba -- to attract different folks.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/259318406\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“People of all ages come here,” Iñiguez explains. “Transplants come here. People that are trying to figure out if they want to live here come here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says she has adapted to these changes with the help of life-long friends.\u003c/p>\n\u003cp>“There’s a group of us that I call the ‘Q-Tip heads,’ ” she says. “Of course, there’s those that dye their hair. But I know underneath that, they’re the Q-tip heads. And we all come here together. We dance together.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"M5FVkNaGqFAK6lKVCGtNmcfItPbe5ho4\"]\u003c/p>\n\u003cp>She even reconnected with high school friends at the bar and became Facebook friends.\u003c/p>\n\u003cp>Iñiguez, a Mexico City native, moved to the Mission with her family when she was 5 years old. As a child, she learned to dance from her father, who was also a dancer.\u003c/p>\n\u003cp>As a young adult, Iñiguez started going to dance clubs. She says the dancing was different from what she was used to.\u003c/p>\n\u003cp>“You know, everybody counted,” she recalls, “and they would ask me, ‘Do you dance on the eighth or the fourth?' and I was like, ‘I don’t know.’”\u003c/p>\n\u003cp>When she was in her 30s, she discovered El Rio and its “free spirit” atmosphere. She says you don’t have to worry about how you dance, “and everybody improvises and nobody cares if you stumble and fall.”\u003c/p>\n\u003cp>Around the time she discovered El Rio, Iñiguez became a salsa performer and was even the group’s personal makeup artist. Today she’s no longer performing in a salsa group, but you can still find her every “Salsa Sunday” on the El Rio dance floor sliding and swinging in the arms of other salsa dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And who cares if you’re a Q-tip head or a brown head or, you know, a black head or a red head, you know, nobody cares,” she says. “You know, it’s just everybody enjoying the rhythm of El Rio, the music, the people, the environment. I love it.”\u003c/p>\n\n","blocks":[],"excerpt":"Irma Iñiguez, 66, discovered El Rio in her 30s and has been going there ever since.","status":"publish","parent":0,"modified":1460771863,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":548},"headData":{"title":"My Spot: Salsa Dancing in San Francisco's Mission District | KQED","description":"Irma Iñiguez, 66, discovered El Rio in her 30s and has been going there ever since.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"My Spot: Salsa Dancing in San Francisco's Mission District","datePublished":"2016-04-17T07:05:15.000Z","dateModified":"2016-04-16T01:57:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"10881844 http://ww2.kqed.org/news/?p=10881844","disqusUrl":"https://ww2.kqed.org/news/2016/04/17/my-spot-salsa-dancing-in-san-franciscos-mission-district/","disqusTitle":"My Spot: Salsa Dancing in San Francisco's Mission District","nprByline":"Nicole West","path":"/news/10881844/my-spot-salsa-dancing-in-san-franciscos-mission-district","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 66-year-old Irma Iñiguez, dancing salsa is like a drug. “It’s very addictive,” she says. You can find her every second and fourth Sunday of the month at a San Francisco club called \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> for “Salsa Sunday.”\u003c/p>\n\u003cp>The Mission District bar opened in 1978 and its website describes itself as a “Leather Brazilian Gay Bar.” As for Salsa Sundays, a live band plays salsa music as the patio swells with dancers, young and old.\u003c/p>\n\u003cp>Iñiguez, an El Rio regular for the last 30 years, has witnessed firsthand the transformation of the club and the neighborhood. Nowadays, she says, salsa music isn’t geared mainly toward Latinos. She says it crosses over to mix with different genres -- like reggae and rumba -- to attract different folks.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/259318406&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/259318406'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People of all ages come here,” Iñiguez explains. “Transplants come here. People that are trying to figure out if they want to live here come here.”\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>She says she has adapted to these changes with the help of life-long friends.\u003c/p>\n\u003cp>“There’s a group of us that I call the ‘Q-Tip heads,’ ” she says. “Of course, there’s those that dye their hair. But I know underneath that, they’re the Q-tip heads. And we all come here together. We dance together.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She even reconnected with high school friends at the bar and became Facebook friends.\u003c/p>\n\u003cp>Iñiguez, a Mexico City native, moved to the Mission with her family when she was 5 years old. As a child, she learned to dance from her father, who was also a dancer.\u003c/p>\n\u003cp>As a young adult, Iñiguez started going to dance clubs. She says the dancing was different from what she was used to.\u003c/p>\n\u003cp>“You know, everybody counted,” she recalls, “and they would ask me, ‘Do you dance on the eighth or the fourth?' and I was like, ‘I don’t know.’”\u003c/p>\n\u003cp>When she was in her 30s, she discovered El Rio and its “free spirit” atmosphere. She says you don’t have to worry about how you dance, “and everybody improvises and nobody cares if you stumble and fall.”\u003c/p>\n\u003cp>Around the time she discovered El Rio, Iñiguez became a salsa performer and was even the group’s personal makeup artist. Today she’s no longer performing in a salsa group, but you can still find her every “Salsa Sunday” on the El Rio dance floor sliding and swinging in the arms of other salsa dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And who cares if you’re a Q-tip head or a brown head or, you know, a black head or a red head, you know, nobody cares,” she says. “You know, it’s just everybody enjoying the rhythm of El Rio, the music, the people, the environment. I love it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10881844/my-spot-salsa-dancing-in-san-franciscos-mission-district","authors":["byline_news_10881844"],"programs":["news_72"],"series":["news_17120"],"categories":["news_223"],"tags":["news_18192","news_5270","news_17286"],"featImg":"news_10930493","label":"news_72"},"arts_10840187":{"type":"posts","id":"arts_10840187","meta":{"index":"posts_1591205157","site":"arts","id":"10840187","score":null,"sort":[1437318007000]},"guestAuthors":[],"slug":"making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier","title":"Making Sense of Nudity at Halprin Hyde Street Pier Event","publishDate":1437318007,"format":"standard","headTitle":"Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n","blocks":[],"excerpt":"The final performance of a piece in honor of the famous choreographer's 95th birthday, '95 Rituals,' was cancelled last Saturday after a surprise moment of rule-breaking. But breaking rules is what Halprin does best. ","status":"publish","parent":0,"modified":1705046745,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":906},"headData":{"title":"Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED","description":"The final performance of a piece in honor of the famous choreographer's 95th birthday, '95 Rituals,' was cancelled last Saturday after a surprise moment of rule-breaking. But breaking rules is what Halprin does best. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Making Sense of Nudity at Halprin Hyde Street Pier Event","datePublished":"2015-07-19T15:00:07.000Z","dateModified":"2024-01-12T08:05:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10840187/making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\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>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10840187/making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier","authors":["235"],"categories":["arts_966","arts_235"],"tags":["arts_1310","arts_1119","arts_596"],"featImg":"arts_10840195","label":"arts"}},"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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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