Visual stories of identity, culture and community from the award-winning video team at KQED Arts & Culture.
If Cities Could DanceIf Cities Could Dance
Sep 07
Follow a Capoeirista’s Journey From the Bay Area to Brazil
Aug 24
Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira
Behind the LensBehind the Lens
Dec 11
Music, Cars and Don't Forget the Hair: Eugene Kim's 'Cherry' Channels 90s Daly City
Dec 05
Scars Become Badges of Honor in Talibah Newman’s Children-Centered Films
RepresentRepresent
Oct 23
‘We Are Here’: Cece Carpio Paints Indigenous Stories Around the World
Oct 08
Jonathan Calm Revisits 'Green Book' Locations in Search of America's Past and Present
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community in the Bay Area through KQED's capitaving art & culture narratives.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Archive of Art & Culture Videos in the Bay Area | KQED","socialDescription":"Watch visual stories of identity culture, and community in the Bay Area through KQED's capitaving art & culture narratives.","imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","width":1200,"height":630},"twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"twitterCard":"summary_large_image"}},"labelTerm":{"site":""},"publishDate":1580926501,"content":"\u003cp>Visual stories of identity, culture and community from the award-winning video team at KQED Arts & Culture.\u003c/p>\n\n\n\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[{"blockName":"core/paragraph","attrs":[],"innerBlocks":[],"innerHTML":"\n\u003cp>Visual stories of identity, culture and community from the award-winning video team at KQED Arts & Culture.\u003c/p>\n","innerContent":["\n\u003cp>Visual stories of identity, culture and community from the award-winning video team at KQED Arts & Culture.\u003c/p>\n"]},{"blockName":"kqed/post-list","attrs":{"layout":"cardVideo2","query":"posts/arts?tag=if-cities-could-dance,if-cities-could-dance2&queryId=1436bbeaa21","title":"If Cities Could Dance","seeMore":true},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardVideo2","query":"posts/arts?tag=behind-the-lens&queryId=15ca2c55c7f","title":"Behind the 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Capoeirista’s Journey From the Bay Area to Brazil | KQED","labelTerm":{"term":1725,"site":"arts"},"content":"\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When capoeirista Ricky Lawson II teaches new students in the Afro-Brazilian art form of capoeira, he often speaks about the deep spiritual energy in capoeira’s birthplace—Salvador, Bahia.\u003c/p>\n\u003cp>“It’s an ancestral energy, and it’s seen and felt and heard in the music, the songs that we sing, and in the movement. People who are more connected, when they move, they move from the soul,” says the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>, who has trained thousands of students in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13918829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg\" alt=\"A group of capoeiristas are playing in the circle on a beach in Salvador, Brazil.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Capoeiristas play in the roda at the Ribeira Beach in Salvador, Brazil. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson, better known as Malandro in the Bay Area capoeira community, has traveled to Bahia nearly a dozen times since he began training more than 20 years ago in the art form that combines elements of martial arts, dance, music, philosophy and history. Each trip has deepened his practice and relationships with some of capoeira’s most important tradition bearers, including Mestre Nenel, the son of the late Mestre Bimba, who is considered the king of capoeira and helped bring it back from near extinction.\u003c/p>\n\u003cfigure id=\"attachment_13918827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg\" alt=\"A group of people are playing capoeira in a small room indoors.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malandro plays in the roda with Mestra Preguiça (right), the first and only woman to earn the white scarf — the highest level of achievement in Capoeira Regional. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enslaved Africans in Brazil developed capoeira, and the art form has evolved and survived through the generations, despite attempts over the years to outlaw and eliminate the practice after the abolition of slavery in 1888. Today one of the main lineages practiced is called Capoeira Regional, created by Mestre Bimba.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch Malandro on a recent trip to the mecca of capoeira and experience what’s considered the most African city outside of the continent, including scenes from one of Salvador’s historic districts, the Pelourinho, and a roda (circle) of capoeiristas playing at the idyllic Ribeira Beach. Learn more about the origins of the art form from the direct descendants of Mestre Bimba, culture keepers who continue to protect both his legacy and the art form he championed.\u003c/p>\n\u003cp>\u003cem>Check out part one of this special two-part installment exploring how the Bay Area became a West Coast hub for capoeira and why If Cities Could Dance Producer Chinwe Oniah thinks more Black Americans should try it.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why More Black Americans Should Try Capoeira | If Cities Could Dance\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XFkbU9iGwUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"Travel to Salvador, Bahia, the most African city outside of the continent, where capoeira was born.","status":"publish","parent":0,"modified":1705006404,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":461},"headData":{"title":"Follow a Capoeirista’s Journey From the Bay Area to Brazil | KQED","description":"Travel to Salvador, Bahia, the most African city outside of the continent, where capoeira was born.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"pbsMediaId":"3071665318","sticky":false,"nprByline":"Chinwe Oniah","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13918796/if-cities-could-dance-capoeira-brazil","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When capoeirista Ricky Lawson II teaches new students in the Afro-Brazilian art form of capoeira, he often speaks about the deep spiritual energy in capoeira’s birthplace—Salvador, Bahia.\u003c/p>\n\u003cp>“It’s an ancestral energy, and it’s seen and felt and heard in the music, the songs that we sing, and in the movement. People who are more connected, when they move, they move from the soul,” says the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>, who has trained thousands of students in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13918829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg\" alt=\"A group of capoeiristas are playing in the circle on a beach in Salvador, Brazil.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Capoeiristas play in the roda at the Ribeira Beach in Salvador, Brazil. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson, better known as Malandro in the Bay Area capoeira community, has traveled to Bahia nearly a dozen times since he began training more than 20 years ago in the art form that combines elements of martial arts, dance, music, philosophy and history. Each trip has deepened his practice and relationships with some of capoeira’s most important tradition bearers, including Mestre Nenel, the son of the late Mestre Bimba, who is considered the king of capoeira and helped bring it back from near extinction.\u003c/p>\n\u003cfigure id=\"attachment_13918827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg\" alt=\"A group of people are playing capoeira in a small room indoors.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malandro plays in the roda with Mestra Preguiça (right), the first and only woman to earn the white scarf — the highest level of achievement in Capoeira Regional. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enslaved Africans in Brazil developed capoeira, and the art form has evolved and survived through the generations, despite attempts over the years to outlaw and eliminate the practice after the abolition of slavery in 1888. Today one of the main lineages practiced is called Capoeira Regional, created by Mestre Bimba.\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>Watch Malandro on a recent trip to the mecca of capoeira and experience what’s considered the most African city outside of the continent, including scenes from one of Salvador’s historic districts, the Pelourinho, and a roda (circle) of capoeiristas playing at the idyllic Ribeira Beach. Learn more about the origins of the art form from the direct descendants of Mestre Bimba, culture keepers who continue to protect both his legacy and the art form he championed.\u003c/p>\n\u003cp>\u003cem>Check out part one of this special two-part installment exploring how the Bay Area became a West Coast hub for capoeira and why If Cities Could Dance Producer Chinwe Oniah thinks more Black Americans should try it.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why More Black Americans Should Try Capoeira | If Cities Could Dance\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XFkbU9iGwUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918796/if-cities-could-dance-capoeira-brazil","authors":["byline_arts_13918796"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_11374","arts_1331","arts_8384","arts_18421","arts_10278","arts_4522","arts_4524","arts_18420","arts_4506"],"featImg":"arts_13918806","label":"arts_1725"},"arts_13917969":{"type":"posts","id":"arts_13917969","meta":{"index":"posts_1591205157","site":"arts","id":"13917969","score":null,"sort":[1661366109000]},"guestAuthors":[],"slug":"if-cities-could-dance-capoeira-berkeley","title":"Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira","publishDate":1661366109,"format":"video","headTitle":"Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira | KQED","labelTerm":{"term":1725,"site":"arts"},"content":"\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/XFkbU9iGwUQ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>I first became aware of capoeira at a young age, through Eddy Gordo in the video game \u003cem>Tekken\u003c/em>, and I instantly knew it was for me. Gordo’s maneuvers were like nothing I’d ever seen before, and his movement captivated me. A Black man with locs, wasting these other martial artists with this half-dance, half-fight? Little Nigerian me was in awe.\u003c/p>\n\u003cp>Decades later, I finally took a capoeira class at a friend’s invitation and was instantly hooked. It felt less like a fitness class, and more like reconnecting with a way of living that I’d become lost from.\u003c/p>\n\u003cp>Along my capoeira journey, two major things have stuck out to me. One, I’m usually the only Black girl in a class for an explicitly African-derived art form. And two, I can’t believe capoeira has been so close to me for so long, and that I never knew.\u003c/p>\n\u003cfigure id=\"attachment_13917998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg\" alt=\"A woman is practicing a capoeira move similar to breakdancing on a golden field in front of the bay in Berkeley, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Oniah at the César Chávez Park in Berkeley, CA on May 27, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often described as a dance-like fight—or a fight-like dance—capoeira is an Afro-Brazilian art form that combines several elements: dance, martial arts, music, spirituality, history and philosophy. Some elements of breakdancing are said to come from the acrobatic moves found in capoeira.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People have described capoeira to me as a martial art, and people have described capoeira to me as a dance. I think overall, capoeira changes on the necessity of the person,” says Ricky Lawson II, the Bay Area professor with whom I’ve trained for three years. Better known as Malandro, he’s the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>. A notable figure with over 20 years as a professor in the local capoeira scene, Malandro is part of a long line of capoeiristas from across the country and Brazil who’ve come to the Bay Area for capoeira.\u003c/p>\n\u003cfigure id=\"attachment_13917986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg\" alt=\"A group of men is standing on a field and is about to play capoeira.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Lawson II (pictured on the left), better known as Malandro, is the founder of Filhos de Bimba Escola de Capoeira, Bay Area. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Capoeira is all over the world, and its story in the United States begins in two places. One is New York. The other is the Bay Area, which became a major hub for capoeira due to the work of Ubirajara Almeida, better known as Mestre Acordeon. From Bahia, Brazil, the birthplace of the art form, he’s widely known to be the first capoeira master to bring capoeira to the States.\u003c/p>\n\u003cp>“When I came here, there was a lot of people that had ideas about capoeira,” said Mestre Acordeon. “I [had] a whole bunch of friends that [were] enchanted with capoeira, because it is the one art that is not only fight—it’s a fight, it’s a dance, it’s music, all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13917989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg\" alt=\"An older man with a white beard and mustache is looking into the camera while playing the berimbau.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ubirajara Almeida, better known as Mestre Acordeon, is widely known to be the first capoeira master to bring capoeira to the United States. \u003ccite>(Shaandiin Tome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was initially drawn to capoeira’s martial arts and self-defense elements, but it quickly developed into something greater. It was a return to form, a return to self. It surprises me that more Black people haven’t found interest in capoeira. To be clear, it’s a beautiful art form for everyone, no matter one’s age or walk of life. But capoeira is firmly part of Black people’s cultural legacy, and one that continues to thrive centuries after its beginnings.\u003c/p>\n\u003cp>As a producer for \u003cem>If Cities Could Dance\u003c/em>, I help others tell their stories. But for this episode, I’ve stepped in front of the camera to share my journey in capoeira. Along with Malandro, and featuring music from Mestre Acordeon, we hit some popular places around the East Bay to play capoeira, like Lake Merritt and Linden Park. You’ll even see some of the next generation of young Bay Area capoeira practitioners.\u003c/p>\n\u003cp>Be sure to \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">tune back in for a follow-up episode\u003c/a> on Wednesday, Sept. 7, when Malandro and I travel to Bahia to meet one of the original tradition-bearing Bahian families of capoeira.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\n","blocks":[],"excerpt":"For an Afro-Brazilian art form, capoeira has surprisingly few Black practitioners, like me. ","status":"publish","parent":0,"modified":1705006462,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":783},"headData":{"title":"Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira | KQED","description":"For an Afro-Brazilian art form, capoeira has surprisingly few Black practitioners, like me. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"pbsMediaId":"3071649216","sticky":false,"nprByline":"Chinwe Oniah","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13917969/if-cities-could-dance-capoeira-berkeley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/XFkbU9iGwUQ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>I first became aware of capoeira at a young age, through Eddy Gordo in the video game \u003cem>Tekken\u003c/em>, and I instantly knew it was for me. Gordo’s maneuvers were like nothing I’d ever seen before, and his movement captivated me. A Black man with locs, wasting these other martial artists with this half-dance, half-fight? Little Nigerian me was in awe.\u003c/p>\n\u003cp>Decades later, I finally took a capoeira class at a friend’s invitation and was instantly hooked. It felt less like a fitness class, and more like reconnecting with a way of living that I’d become lost from.\u003c/p>\n\u003cp>Along my capoeira journey, two major things have stuck out to me. One, I’m usually the only Black girl in a class for an explicitly African-derived art form. And two, I can’t believe capoeira has been so close to me for so long, and that I never knew.\u003c/p>\n\u003cfigure id=\"attachment_13917998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg\" alt=\"A woman is practicing a capoeira move similar to breakdancing on a golden field in front of the bay in Berkeley, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Oniah at the César Chávez Park in Berkeley, CA on May 27, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often described as a dance-like fight—or a fight-like dance—capoeira is an Afro-Brazilian art form that combines several elements: dance, martial arts, music, spirituality, history and philosophy. Some elements of breakdancing are said to come from the acrobatic moves found in capoeira.\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>“People have described capoeira to me as a martial art, and people have described capoeira to me as a dance. I think overall, capoeira changes on the necessity of the person,” says Ricky Lawson II, the Bay Area professor with whom I’ve trained for three years. Better known as Malandro, he’s the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>. A notable figure with over 20 years as a professor in the local capoeira scene, Malandro is part of a long line of capoeiristas from across the country and Brazil who’ve come to the Bay Area for capoeira.\u003c/p>\n\u003cfigure id=\"attachment_13917986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg\" alt=\"A group of men is standing on a field and is about to play capoeira.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Lawson II (pictured on the left), better known as Malandro, is the founder of Filhos de Bimba Escola de Capoeira, Bay Area. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Capoeira is all over the world, and its story in the United States begins in two places. One is New York. The other is the Bay Area, which became a major hub for capoeira due to the work of Ubirajara Almeida, better known as Mestre Acordeon. From Bahia, Brazil, the birthplace of the art form, he’s widely known to be the first capoeira master to bring capoeira to the States.\u003c/p>\n\u003cp>“When I came here, there was a lot of people that had ideas about capoeira,” said Mestre Acordeon. “I [had] a whole bunch of friends that [were] enchanted with capoeira, because it is the one art that is not only fight—it’s a fight, it’s a dance, it’s music, all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13917989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg\" alt=\"An older man with a white beard and mustache is looking into the camera while playing the berimbau.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ubirajara Almeida, better known as Mestre Acordeon, is widely known to be the first capoeira master to bring capoeira to the United States. \u003ccite>(Shaandiin Tome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was initially drawn to capoeira’s martial arts and self-defense elements, but it quickly developed into something greater. It was a return to form, a return to self. It surprises me that more Black people haven’t found interest in capoeira. To be clear, it’s a beautiful art form for everyone, no matter one’s age or walk of life. But capoeira is firmly part of Black people’s cultural legacy, and one that continues to thrive centuries after its beginnings.\u003c/p>\n\u003cp>As a producer for \u003cem>If Cities Could Dance\u003c/em>, I help others tell their stories. But for this episode, I’ve stepped in front of the camera to share my journey in capoeira. Along with Malandro, and featuring music from Mestre Acordeon, we hit some popular places around the East Bay to play capoeira, like Lake Merritt and Linden Park. You’ll even see some of the next generation of young Bay Area capoeira practitioners.\u003c/p>\n\u003cp>Be sure to \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">tune back in for a follow-up episode\u003c/a> on Wednesday, Sept. 7, when Malandro and I travel to Bahia to meet one of the original tradition-bearing Bahian families of capoeira.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917969/if-cities-could-dance-capoeira-berkeley","authors":["byline_arts_13917969"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1","arts_966"],"tags":["arts_1270","arts_8384","arts_18421","arts_10278","arts_4522","arts_4524","arts_18420","arts_4506"],"featImg":"arts_13917981","label":"arts_1725"},"arts_13846936":{"type":"posts","id":"arts_13846936","meta":{"index":"posts_1591205157","site":"arts","id":"13846936","score":null,"sort":[1544569248000]},"guestAuthors":[],"slug":"behind-the-lens-eugene-kim","title":"Music, Cars and Don't Forget the Hair: Eugene Kim's 'Cherry' Channels 90s Daly City","publishDate":1544569248,"format":"video","headTitle":"Music, Cars and Don’t Forget the Hair: Eugene Kim’s ‘Cherry’ Channels 90s Daly City | KQED","labelTerm":{"term":3500,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Eugene Kim put his filmmaking career on hold to help his parents achieve financial stability, he didn’t know if he’d ever make it back to the career of his dreams. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The dream kept getting further and further away,” he remembers. But eight years later, he owns three San Francisco coffee shops. And a little voice in his head told him it was time to get back into filmmaking.\u003c/span>\u003cspan style=\"font-weight: 400\"> (\u003ca href=\"https://www.hbovisionaries.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s Asian Pacific American Visionaries short film competition,\u003c/a> and its submission deadline, didn’t hurt his motivation either.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the help of a small crew of film school friends from San Jose State, Kim just wrapped shooting his short film, \u003ca href=\"https://www.instagram.com/cherrythemovie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cherry\u003c/em>\u003c/a>, the story of an R&B artist coming up in 1990s Daly City. It’s a script pulled from Kim’s own memories of growing up on the peninsula in that very scene, where \u003ca href=\"https://www.kqed.org/arts/13812554/how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever\" target=\"_blank\" rel=\"noopener noreferrer\">Filipino DJs were pioneering a new style\u003c/a>, B-Boys competed at car shows and everyone knew they were part of a historic moment in music history.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There were so many Asian kids involved with different subcultures,” Kim says. He channeled those memories of music, hair, style and romances into one day in the life of Christian Flores, a singer trying to find the money to get his car out of the impound lot, and a girl named Cherry he meets along the way. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The thing that I’m most proud of with \u003cem>Cherry\u003c/em> is just the fact that we got it done,” Kim says. “We all promised to take time off and prioritize this project, that in itself felt like a victory.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Kim on the set of ‘Cherry’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest lesson he learned getting back into the filmmaking game? “There’s no time limit or an expiration date on your creativity.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED sat down with Kim to talk about growing up with a supportive family, not holding yourself to outdated timelines and learning from small stories. — \u003cem>Introductory Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in filmmaking?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like I’ve always had an imagination ever since I was a kid, and it’s just fun to tell stories. My parents were so open to us being creative and artistic, they let me feel like it was OK to pursue something like that. We spent a lot of time watching movies. My dad always had a camera. He filmed us growing up, especially me because I was the first child. And then my friends growing up used to skateboard and rollerblade, [and] make weird goofy films together. Finally I thought, “You could do that as a major in college.” \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you are able to create something and you continue doing so and you grow with each project. Let’s say I put out a project, and the next project, something’s better. Maybe it’s just cinematography. Maybe it’s the sound, maybe it’s the writing or the acting. As long as you’re progressing and getting better with each project and learning something from your previous project, I feel like that’s success. Some projects you might not find any success [with], but being able to pick yourself up and say, “Hey, onto the next project.” We have to keep working towards becoming better storytellers or filmmakers. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What’s something you wish you could say to your younger self?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s no need to rush. There’s no time limit or an expiration date on when your creativity stops. When I was younger, I felt like I put all these limitations on myself. As long as you’re creating something that you’re happy with there’s no point to stopping. If you’re in it because you like to create stuff with your friends and just put out cool stuff, there’s really no limit to [creativity].\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising to other people?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like a source of inspiration for me is my friends and family. The older I get, the more I realize how important it is to have people that surround me, that support me. Building a strong support system has been huge for me. Overall I’m just inspired by real people—the stories that I’ve heard from the people in my life. [It’s the] little things that you learn through life that inspire you and give you ideas for stories and characters.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What does the future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’d like to see more stories about different people, different ethnicities, different races. I feel like we’re going to start realizing that lead male or female doesn’t have to look like a supermodel. I feel like we’re going to see more and more stories that we can all relate to as people—at least that’s what I’d like to see. And I feel like it’s starting to happen. But, I think we’re going to start seeing a lot more from people in terms of small stories, small things that we can all grow from, the stories that are going to educate us a little more and teach us about different types of people [from] different backgrounds.\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Eugene Kim took an eight-year hiatus from filmmaking, but learned there's no time limit on creativity.","status":"publish","parent":0,"modified":1705026877,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1011},"headData":{"title":"Music, Cars and Don't Forget the Hair: Eugene Kim's 'Cherry' Channels 90s Daly City | KQED","description":"Eugene Kim took an eight-year hiatus from filmmaking, but learned there's no time limit on creativity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://www.youtube.com/watch?v=Xws01rjwwG4","pbsMediaId":"3019559371","sticky":false,"nprByline":"Rachel Boyoung Kim","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13846936/behind-the-lens-eugene-kim","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Eugene Kim put his filmmaking career on hold to help his parents achieve financial stability, he didn’t know if he’d ever make it back to the career of his dreams. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The dream kept getting further and further away,” he remembers. But eight years later, he owns three San Francisco coffee shops. And a little voice in his head told him it was time to get back into filmmaking.\u003c/span>\u003cspan style=\"font-weight: 400\"> (\u003ca href=\"https://www.hbovisionaries.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s Asian Pacific American Visionaries short film competition,\u003c/a> and its submission deadline, didn’t hurt his motivation either.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the help of a small crew of film school friends from San Jose State, Kim just wrapped shooting his short film, \u003ca href=\"https://www.instagram.com/cherrythemovie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cherry\u003c/em>\u003c/a>, the story of an R&B artist coming up in 1990s Daly City. It’s a script pulled from Kim’s own memories of growing up on the peninsula in that very scene, where \u003ca href=\"https://www.kqed.org/arts/13812554/how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever\" target=\"_blank\" rel=\"noopener noreferrer\">Filipino DJs were pioneering a new style\u003c/a>, B-Boys competed at car shows and everyone knew they were part of a historic moment in music history.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/in-the-car_2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There were so many Asian kids involved with different subcultures,” Kim says. He channeled those memories of music, hair, style and romances into one day in the life of Christian Flores, a singer trying to find the money to get his car out of the impound lot, and a girl named Cherry he meets along the way. \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>\u003cspan style=\"font-weight: 400\">“The thing that I’m most proud of with \u003cem>Cherry\u003c/em> is just the fact that we got it done,” Kim says. “We all promised to take time off and prioritize this project, that in itself felt like a victory.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/BTS_4.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Kim on the set of ‘Cherry’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest lesson he learned getting back into the filmmaking game? “There’s no time limit or an expiration date on your creativity.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED sat down with Kim to talk about growing up with a supportive family, not holding yourself to outdated timelines and learning from small stories. — \u003cem>Introductory Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in filmmaking?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like I’ve always had an imagination ever since I was a kid, and it’s just fun to tell stories. My parents were so open to us being creative and artistic, they let me feel like it was OK to pursue something like that. We spent a lot of time watching movies. My dad always had a camera. He filmed us growing up, especially me because I was the first child. And then my friends growing up used to skateboard and rollerblade, [and] make weird goofy films together. Finally I thought, “You could do that as a major in college.” \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you are able to create something and you continue doing so and you grow with each project. Let’s say I put out a project, and the next project, something’s better. Maybe it’s just cinematography. Maybe it’s the sound, maybe it’s the writing or the acting. As long as you’re progressing and getting better with each project and learning something from your previous project, I feel like that’s success. Some projects you might not find any success [with], but being able to pick yourself up and say, “Hey, onto the next project.” We have to keep working towards becoming better storytellers or filmmakers. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What’s something you wish you could say to your younger self?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s no need to rush. There’s no time limit or an expiration date on when your creativity stops. When I was younger, I felt like I put all these limitations on myself. As long as you’re creating something that you’re happy with there’s no point to stopping. If you’re in it because you like to create stuff with your friends and just put out cool stuff, there’s really no limit to [creativity].\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13847007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Cherry-3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cherry’, courtesy of Eugene Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising to other people?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like a source of inspiration for me is my friends and family. The older I get, the more I realize how important it is to have people that surround me, that support me. Building a strong support system has been huge for me. Overall I’m just inspired by real people—the stories that I’ve heard from the people in my life. [It’s the] little things that you learn through life that inspire you and give you ideas for stories and characters.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What does the future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’d like to see more stories about different people, different ethnicities, different races. I feel like we’re going to start realizing that lead male or female doesn’t have to look like a supermodel. I feel like we’re going to see more and more stories that we can all relate to as people—at least that’s what I’d like to see. And I feel like it’s starting to happen. But, I think we’re going to start seeing a lot more from people in terms of small stories, small things that we can all grow from, the stories that are going to educate us a little more and teach us about different types of people [from] different backgrounds.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846936/behind-the-lens-eugene-kim","authors":["byline_arts_13846936"],"series":["arts_3500"],"categories":["arts_74"],"tags":["arts_6222","arts_2771","arts_2854","arts_1118","arts_2855","arts_977","arts_5266","arts_596","arts_1007"],"featImg":"arts_13846974","label":"arts_3500"},"arts_13846310":{"type":"posts","id":"arts_13846310","meta":{"index":"posts_1591205157","site":"arts","id":"13846310","score":null,"sort":[1543971001000]},"guestAuthors":[],"slug":"behind-the-lens-talibah-newman","title":"Scars Become Badges of Honor in Talibah Newman’s Children-Centered Films","publishDate":1543971001,"format":"video","headTitle":"Scars Become Badges of Honor in Talibah Newman’s Children-Centered Films | KQED","labelTerm":{"term":3500,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Talibah Newman doesn’t back down from a challenge. In her 14-year career as a writer, director and producer, she’s worked predominantly with children (no easy task), to tell stories about their innocence and resilience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m trying to be Peter Pan, in a way,” says \u003ca href=\"http://talibahnewman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Oakland-based filmmaker\u003c/a>, “trying to recreate children who are fierce no matter what they’ve experienced in life.” Instead of Neverland, those efforts have landed her films at American Black Film Festival and Los Angeles Film Festival, and with distribution by HBO and \u003c/span>\u003ca href=\"https://ww2.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Film School Shorts\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The oldest of five, Newman grew up in South Dallas and often draws from her family’s experiences in the stories she creates. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://ww2.kqed.org/filmschoolshorts/films/busted-on-brigham-lane-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Busted on Brigham Lane\u003c/a>,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> two sisters have very different relationships with their estranged father. (While Newman is close with her father, she watched her half-siblings struggle with their father’s absence at birthdays and school recitals.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In her 18-minute short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sweet Honey Chile’\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a boy explores his gender identity while searching for meaning after his gay grandfather’s death. It’s Newman’s way of honoring her own brother, who experienced hardship when he came out as a teenager. “I want to show how that which you feel might have been a permanent scar, can be your own blessing or your own badge of honor,” she says.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More recently, Newman directed an episode of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Greenwood Avenue: A Virtual Reality Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, revisiting the destruction of a thriving black community in 1921 Tulsa, Oklahoma, through the eyes of a young girl. The series, created by Ayana Baraka, will be distributed on Youtube’s VR180 platform next year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Newman believes filmmaking provides her with a space to share a sense of hope—in the possibility of growth, understanding and healing—for the black community, for women and within families.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED sat down with Newman to talk about the value of film school, balancing filmmaking with motherhood, and the gap between creative talent and financiers she hopes will one day be bridged. — \u003cem>Introductory Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13846376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1.jpg 1433w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sweet Honey Chile, courtesy of Talibah Newman\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in writing and directing film?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I come from a family of artists. \u003c/span>\u003cspan style=\"font-weight: 400\">So I think my intuitive desire to be a filmmaker comes from being raised in a family that sees the world through art. \u003c/span>\u003cspan style=\"font-weight: 400\">Growing up, I was always the child in the corner writing a poem or my own plays. Then in high school, I had a teacher who introduced me to screenwriting as a profession, and I ended up going to Columbia University to study film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I also interned for a lot of different production companies, and through a friend of my late grandfather, I connected with Malcolm Lee, who hired me as a post-production assistant on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Welcome Home, Roscoe Jenkins\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, then on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Soul Men\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, as Malcolm’s assistant. Working on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Soul Men\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> from start to finish was a great way for me to be able to see all of the moving parts involved in making a feature-length film. Afterwards, I knew I wanted to follow the same path as Malcolm and ended up choosing Columbia for graduate school. The price tag for an M.F.A. in film is exorbitant, but that traditional route, studying the craft of filmmaking, being amongst a class of only 60 people, and the structure, where we were constantly creating, was really beneficial for me. I wouldn’t trade it for the world. \u003c/span>\u003c/p>\n\u003cp>\u003cb>After studying and working in New York for 15 years, how are you adjusting to life in Oakland? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When moving to Oakland, I didn’t know what creative community I would encounter. To my surprise, \u003c/span>\u003cspan style=\"font-weight: 400\">I’ve found that there is a thriving creative community here, rooted in activism and around community work. I’m very grateful for the spirit of Oakland. The people are extremely strong and driven, and they’re proud of their community and their city, and that’s been something that’s really beautiful to witness. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I define success by being able to work on projects I’m passionate about, and also by contributing something to my community, and to the people that I’m working with at this stage in my career. I can’t offer a lot of money, but it’s important to me to help teach others some of the things that I might have learned in film school. So I consider mentorship a huge part of what it is that I do as a filmmaker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Initially when wanting to become a filmmaker I had thought that becoming a parent would inhibit some of the things that I was trying to do creatively. But now that I’m a mother, success for me is finding the balance of flow, and integrating all of those things, because I think that every piece of my life, every facet, should inform each other.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13846336\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846336\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talibah Newman with daughter Samba \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Don’t be hard on yourself for making mistakes. Mistakes are important to learn from and grow. Also, never shrink yourself to accommodate those around you. In grad school, I was one of maybe three or four black people in a class of 60. And it was majority male. Sometimes, to be a female filmmaker of color in this atmosphere can be daunting–enough to make you give up. I remind myself that there aren’t necessarily only a few slots for women of color filmmakers. But it’s important to take action and create your own agency and create these spaces where you can make your own work, without having to be chosen by someone to make work. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Water–whether it’s in a shower or going to the ocean to say a small prayer, or just sitting, allowing nature to unfold around me–helps to inspire my flow of ideas as a filmmaker. I think it’s something my mother instilled in me. My mother is \u003c/span>\u003cspan style=\"font-weight: 400\">an Ifa priestess, part of a West African tradition, and water rituals, water cleansings, have been a huge part of my life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think about the significance of ancestors traversing water, and the numerous rituals that those ancestors held onto when they got to America. There are so many ways that water can be transformed. And I think that, as a filmmaker, it’s important to be malleable like water. Sometimes you need to move fast, like boiling water, and sometimes you need to be still in certain parts of your process. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would be a space where women and people of color, in particular, had direct access to the network of people financing films. \u003c/span>\u003cspan style=\"font-weight: 400\">There are a lot of programs that promote the craft, but there aren’t a lot of programs that promote how to finance your films. So there are tons of wonderful, talented filmmakers out there that just don’t have the access to the means to make larger budget films. Every story probably has someone who wants to make it and wants to finance it–you just have to find that match. Tinder for filmmakers and financiers. I think it will make it a lot easier for us to be able to see the talent that is out there and for it to not just to be on the shoulders of five people who the industry has selected to make everything. \u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland filmmaker creates stories of children’s innocence and resilience to inspire growth and healing for the black community and within families.\r\n","status":"publish","parent":0,"modified":1705026920,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1378},"headData":{"title":"Scars Become Badges of Honor in Talibah Newman’s Children-Centered Films | KQED","description":"The Oakland filmmaker creates stories of children’s innocence and resilience to inspire growth and healing for the black community and within families.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://vimeo.com/304491380","pbsMediaId":"3019558893","sticky":false,"WpOldSlug":"scars-become-badges-of-honor-in-talibah-newmans-children-centered-films","excludeFromSiteSearch":"Include","path":"/arts/13846310/behind-the-lens-talibah-newman","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Talibah Newman doesn’t back down from a challenge. In her 14-year career as a writer, director and producer, she’s worked predominantly with children (no easy task), to tell stories about their innocence and resilience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m trying to be Peter Pan, in a way,” says \u003ca href=\"http://talibahnewman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Oakland-based filmmaker\u003c/a>, “trying to recreate children who are fierce no matter what they’ve experienced in life.” Instead of Neverland, those efforts have landed her films at American Black Film Festival and Los Angeles Film Festival, and with distribution by HBO and \u003c/span>\u003ca href=\"https://ww2.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Film School Shorts\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The oldest of five, Newman grew up in South Dallas and often draws from her family’s experiences in the stories she creates. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://ww2.kqed.org/filmschoolshorts/films/busted-on-brigham-lane-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Busted on Brigham Lane\u003c/a>,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> two sisters have very different relationships with their estranged father. (While Newman is close with her father, she watched her half-siblings struggle with their father’s absence at birthdays and school recitals.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In her 18-minute short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sweet Honey Chile’\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a boy explores his gender identity while searching for meaning after his gay grandfather’s death. It’s Newman’s way of honoring her own brother, who experienced hardship when he came out as a teenager. “I want to show how that which you feel might have been a permanent scar, can be your own blessing or your own badge of honor,” she says.\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>\u003cspan style=\"font-weight: 400\">More recently, Newman directed an episode of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Greenwood Avenue: A Virtual Reality Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, revisiting the destruction of a thriving black community in 1921 Tulsa, Oklahoma, through the eyes of a young girl. The series, created by Ayana Baraka, will be distributed on Youtube’s VR180 platform next year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Newman believes filmmaking provides her with a space to share a sense of hope—in the possibility of growth, understanding and healing—for the black community, for women and within families.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED sat down with Newman to talk about the value of film school, balancing filmmaking with motherhood, and the gap between creative talent and financiers she hopes will one day be bridged. — \u003cem>Introductory Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13846376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibah_SweetHoneyChile-1.jpg 1433w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sweet Honey Chile, courtesy of Talibah Newman\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in writing and directing film?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I come from a family of artists. \u003c/span>\u003cspan style=\"font-weight: 400\">So I think my intuitive desire to be a filmmaker comes from being raised in a family that sees the world through art. \u003c/span>\u003cspan style=\"font-weight: 400\">Growing up, I was always the child in the corner writing a poem or my own plays. Then in high school, I had a teacher who introduced me to screenwriting as a profession, and I ended up going to Columbia University to study film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I also interned for a lot of different production companies, and through a friend of my late grandfather, I connected with Malcolm Lee, who hired me as a post-production assistant on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Welcome Home, Roscoe Jenkins\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, then on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Soul Men\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, as Malcolm’s assistant. Working on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Soul Men\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> from start to finish was a great way for me to be able to see all of the moving parts involved in making a feature-length film. Afterwards, I knew I wanted to follow the same path as Malcolm and ended up choosing Columbia for graduate school. The price tag for an M.F.A. in film is exorbitant, but that traditional route, studying the craft of filmmaking, being amongst a class of only 60 people, and the structure, where we were constantly creating, was really beneficial for me. I wouldn’t trade it for the world. \u003c/span>\u003c/p>\n\u003cp>\u003cb>After studying and working in New York for 15 years, how are you adjusting to life in Oakland? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When moving to Oakland, I didn’t know what creative community I would encounter. To my surprise, \u003c/span>\u003cspan style=\"font-weight: 400\">I’ve found that there is a thriving creative community here, rooted in activism and around community work. I’m very grateful for the spirit of Oakland. The people are extremely strong and driven, and they’re proud of their community and their city, and that’s been something that’s really beautiful to witness. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I define success by being able to work on projects I’m passionate about, and also by contributing something to my community, and to the people that I’m working with at this stage in my career. I can’t offer a lot of money, but it’s important to me to help teach others some of the things that I might have learned in film school. So I consider mentorship a huge part of what it is that I do as a filmmaker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Initially when wanting to become a filmmaker I had thought that becoming a parent would inhibit some of the things that I was trying to do creatively. But now that I’m a mother, success for me is finding the balance of flow, and integrating all of those things, because I think that every piece of my life, every facet, should inform each other.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13846336\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846336\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Talibahdaughterrunning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talibah Newman with daughter Samba \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Don’t be hard on yourself for making mistakes. Mistakes are important to learn from and grow. Also, never shrink yourself to accommodate those around you. In grad school, I was one of maybe three or four black people in a class of 60. And it was majority male. Sometimes, to be a female filmmaker of color in this atmosphere can be daunting–enough to make you give up. I remind myself that there aren’t necessarily only a few slots for women of color filmmakers. But it’s important to take action and create your own agency and create these spaces where you can make your own work, without having to be chosen by someone to make work. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Water–whether it’s in a shower or going to the ocean to say a small prayer, or just sitting, allowing nature to unfold around me–helps to inspire my flow of ideas as a filmmaker. I think it’s something my mother instilled in me. My mother is \u003c/span>\u003cspan style=\"font-weight: 400\">an Ifa priestess, part of a West African tradition, and water rituals, water cleansings, have been a huge part of my life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think about the significance of ancestors traversing water, and the numerous rituals that those ancestors held onto when they got to America. There are so many ways that water can be transformed. And I think that, as a filmmaker, it’s important to be malleable like water. Sometimes you need to move fast, like boiling water, and sometimes you need to be still in certain parts of your process. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\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>\u003cspan style=\"font-weight: 400\">It would be a space where women and people of color, in particular, had direct access to the network of people financing films. \u003c/span>\u003cspan style=\"font-weight: 400\">There are a lot of programs that promote the craft, but there aren’t a lot of programs that promote how to finance your films. So there are tons of wonderful, talented filmmakers out there that just don’t have the access to the means to make larger budget films. Every story probably has someone who wants to make it and wants to finance it–you just have to find that match. Tinder for filmmakers and financiers. I think it will make it a lot easier for us to be able to see the talent that is out there and for it to not just to be on the shoulders of five people who the industry has selected to make everything. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846310/behind-the-lens-talibah-newman","authors":["3248"],"series":["arts_3500"],"categories":["arts_74"],"tags":["arts_2771","arts_1118","arts_977","arts_596","arts_1007"],"featImg":"arts_13846341","label":"arts_3500"},"arts_13868732":{"type":"posts","id":"arts_13868732","meta":{"index":"posts_1591205157","site":"arts","id":"13868732","score":null,"sort":[1571869103000]},"guestAuthors":[],"slug":"cece-carpio","title":"‘We Are Here’: Cece Carpio Paints Indigenous Stories Around the World","publishDate":1571869103,"format":"video","headTitle":"‘We Are Here’: Cece Carpio Paints Indigenous Stories Around the World | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"http://cececarpio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> credits her great grandmother, who raised her for the first 12 years of her life, with giving her the desire to draw and create art. Then, it was a means of communication—Carpio’s great grandmother, a midwife, herbalist and “fierce matriarch,” could not read or write. So Carpio would make drawings to illustrate what she’d learned each day in school in the barangay (or barrio) of San Ildefonso in the Philippine province of Laguna.\u003c/p>\n\u003cp>Today, Oakland-based Carpio uses her art to tell other people’s stories. In her words, “I paint everyday people fighting for a more dignified existence.” Carpio’s practice is rooted in documenting and elevating the lives of contemporary indigenous people—emphasizing their stories are not just a history lesson about a bygone age. This goal is especially relevant, she says, “in this nation in this time when there’s people out there who want to erase our existence and disappear our story.”\u003c/p>\n\u003cfigure id=\"attachment_13868737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/whang-od-800x800.jpg\" alt=\"A portrait of Whang-od Oggay from the Butbut community in the Philippines and the world's last mambabatok (hand-tap tattoo artist) from her generation. (courtesy of Cece Carpio)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Whang-od Oggay from the Butbut community in the Philippines and the world’s last mambabatok (hand-tap tattoo artist) from her generation. (courtesy of Cece Carpio)\u003c/figcaption>\u003c/figure>\n\u003cp>After moving to the United States and experiencing her own sense of displacement from the indigenous community of her youth (her great grandmother is Igorot from the Cordillera region), Carpio found the \u003ca href=\"https://slack-redir.net/link?url=http%3A%2F%2Fwww.trustyourstruggle.com%2Fa%2F\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle collective\u003c/a> and a new sense of belonging. Dedicated to social justice, environmental sustainability and community activism, TYS members work with communities on public art projects to realize the images and messages that will resonate on their walls for years to come.\u003c/p>\n\u003cfigure id=\"attachment_13868738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-800x430.jpg\" alt=\"Tuloy Po Kayo (Filipino for 'welcome'), South of Market, San Francisco, CA. (courtesy of Trust Your Struggle)\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO.jpg 1721w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuloy Po Kayo (Filipino for ‘welcome’), South of Market, San Francisco, CA. (courtesy of Trust Your Struggle)\u003c/figcaption>\u003c/figure>\n\u003cp>Carpio’s practice now takes her all over the world—she’s produced and exhibited work in the Philippines, the Fiji Islands, Cuba, Mexico, Guatemala, Nicaragua, Italy, Norway, Ireland, United Kingdom, India and Guam. Closer to home, she’s painted murals at the Filipino Education Center in San Francisco and received commissions from the City of Oakland, Yerba Buena Center for the Arts, UC Berkeley and the Oakland Museum of California.\u003c/p>\n\u003cp>Recently, Carpio had the opportunity to work with Lumad communities in Davao City in the Philippines. Displaced by large-scale mining, logging, agribusiness plantations, militarization and human rights violations, these communities, many from the Talaingod Manobo tribe, are trying to rebuild their homes and schools within an evacuation center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The struggles of my people back home, and our reasons for migrating, are connected,” she says. “This is our story and my story. If we’re not telling them, someone else will and who knows what they’re going to tell?” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Watch the artist use her paint brush to document and elevate the experiences of contemporary indigenous people.","status":"publish","parent":0,"modified":1705021926,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":479},"headData":{"title":"‘We Are Here’: Cece Carpio Paints Indigenous Stories Around the World | KQED","description":"Watch the artist use her paint brush to document and elevate the experiences of contemporary indigenous people.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/DiH-vdjwUbw","pbsMediaId":"3071166247","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13868732/cece-carpio","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://cececarpio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> credits her great grandmother, who raised her for the first 12 years of her life, with giving her the desire to draw and create art. Then, it was a means of communication—Carpio’s great grandmother, a midwife, herbalist and “fierce matriarch,” could not read or write. So Carpio would make drawings to illustrate what she’d learned each day in school in the barangay (or barrio) of San Ildefonso in the Philippine province of Laguna.\u003c/p>\n\u003cp>Today, Oakland-based Carpio uses her art to tell other people’s stories. In her words, “I paint everyday people fighting for a more dignified existence.” Carpio’s practice is rooted in documenting and elevating the lives of contemporary indigenous people—emphasizing their stories are not just a history lesson about a bygone age. This goal is especially relevant, she says, “in this nation in this time when there’s people out there who want to erase our existence and disappear our story.”\u003c/p>\n\u003cfigure id=\"attachment_13868737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/whang-od-800x800.jpg\" alt=\"A portrait of Whang-od Oggay from the Butbut community in the Philippines and the world's last mambabatok (hand-tap tattoo artist) from her generation. (courtesy of Cece Carpio)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Whang-od Oggay from the Butbut community in the Philippines and the world’s last mambabatok (hand-tap tattoo artist) from her generation. (courtesy of Cece Carpio)\u003c/figcaption>\u003c/figure>\n\u003cp>After moving to the United States and experiencing her own sense of displacement from the indigenous community of her youth (her great grandmother is Igorot from the Cordillera region), Carpio found the \u003ca href=\"https://slack-redir.net/link?url=http%3A%2F%2Fwww.trustyourstruggle.com%2Fa%2F\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle collective\u003c/a> and a new sense of belonging. Dedicated to social justice, environmental sustainability and community activism, TYS members work with communities on public art projects to realize the images and messages that will resonate on their walls for years to come.\u003c/p>\n\u003cfigure id=\"attachment_13868738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-800x430.jpg\" alt=\"Tuloy Po Kayo (Filipino for 'welcome'), South of Market, San Francisco, CA. (courtesy of Trust Your Struggle)\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO.jpg 1721w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuloy Po Kayo (Filipino for ‘welcome’), South of Market, San Francisco, CA. (courtesy of Trust Your Struggle)\u003c/figcaption>\u003c/figure>\n\u003cp>Carpio’s practice now takes her all over the world—she’s produced and exhibited work in the Philippines, the Fiji Islands, Cuba, Mexico, Guatemala, Nicaragua, Italy, Norway, Ireland, United Kingdom, India and Guam. Closer to home, she’s painted murals at the Filipino Education Center in San Francisco and received commissions from the City of Oakland, Yerba Buena Center for the Arts, UC Berkeley and the Oakland Museum of California.\u003c/p>\n\u003cp>Recently, Carpio had the opportunity to work with Lumad communities in Davao City in the Philippines. Displaced by large-scale mining, logging, agribusiness plantations, militarization and human rights violations, these communities, many from the Talaingod Manobo tribe, are trying to rebuild their homes and schools within an evacuation center.\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>“The struggles of my people back home, and our reasons for migrating, are connected,” she says. “This is our story and my story. If we’re not telling them, someone else will and who knows what they’re going to tell?” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868732/cece-carpio","authors":["11241"],"categories":["arts_70"],"tags":["arts_1118","arts_2855","arts_9011","arts_3178","arts_596","arts_9013","arts_3126","arts_4204","arts_1007","arts_901"],"featImg":"arts_13918871","label":"arts"},"arts_13867857":{"type":"posts","id":"arts_13867857","meta":{"index":"posts_1591205157","site":"arts","id":"13867857","score":null,"sort":[1570571864000]},"guestAuthors":[],"slug":"jonathan-calm","title":"Jonathan Calm Revisits 'Green Book' Locations in Search of America's Past and Present","publishDate":1570571864,"format":"video","headTitle":"Jonathan Calm Revisits ‘Green Book’ Locations in Search of America’s Past and Present | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When African-American travelers wanted to drive across the U.S. in the Jim Crow era, they consulted a guidebook specially made and marketed to the growing Black middle class. \u003ci>The Negro Motorist Green Book\u003c/i>, published between 1936 and 1966, told them where it was safe to stop for gas, where to eat and where to sleep, where they wouldn’t be refused service because of racial discrimination. “Vacation without aggravation” reads one volume’s cover.\u003c/p>\n\u003cfigure id=\"attachment_13867885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg\" alt=\"'The Negro Motorist Green-Book' in 1940\" width=\"800\" height=\"1083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-768x1039.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-1020x1380.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-887x1200.jpg 887w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped.jpg 1478w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Negro Motorist Green-Book’ in 1940\u003c/figcaption>\u003c/figure>\n\u003cp>Over half a century later, Palo Alto artist and Stanford University Assistant Professor of Photography \u003ca href=\"https://www.jonathancalm.com/projects\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Calm\u003c/a> revisits the sites listed in the \u003ci>Green Book\u003c/i>, photographing them in black and white as part of a growing archive, and exploring the myth of the road trip as a quintessential American freedom.\u003c/p>\n\u003cp>“There were definitely more dangerous times to be a black motorist,” Calm says, “even though it doesn’t feel like that today.” He is acutely aware of the number of Black men and women who have been pulled from their cars and become victims of police violence. In his series \u003ci>\u003ca href=\"https://www.jonathancalm.com/prejudice\" target=\"_blank\" rel=\"noopener noreferrer\">Travel is Fatal to Prejudice\u003c/a>\u003c/i>, Calm superimposes a target symbol on aerial views of cities; names like Sandra Bland and Philando Castille run across the bottom of each print.\u003c/p>\n\u003cp>Driving, stopping, eating, drinking and staying at hotels along the way, Calm enacts a contemporary version of the 20th-century African-American road trip, often finding the places listed in the \u003ci>Green Book\u003c/i> long gone, converted into other businesses, or simply rubble.\u003c/p>\n\u003cfigure id=\"attachment_13867864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg\" alt=\"\" width=\"800\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1158x1200.jpg 1158w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I.jpg 1853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lorraine Motel in Memphis, photographed by Calm in 2016. The site of Martin Luther King, Jr.’s 1968 assassination was once listed in the ‘Green Book.’\u003c/figcaption>\u003c/figure>\n\u003cp>As a New Yorker, Calm’s journey has also been personally educational—until he drove through the Southern states when he started the project three years ago, his only conception of the region was what he’d learned in school growing up. Visiting sites of Black hospitality in areas marked by past racist violence, there was a constant dissonance with his 2016 present. “I saw a lot of emptiness,” Calm says, “towns and cities that were hollowed out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Calm’s project isn’t just about photographing historical locations (or their absence); the experience of being a Black man driving on American highways is part of the art-making. “That fear that I have,” he says, “that fear that other people have for me is a very similar fear that people would have had back when the \u003ci>Green Book\u003c/i> was published.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to be free, and this drive is investigating that level of freedom.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Watch the Palo Alto artist document sites that once offered safe havens for Black travelers, questioning just how much has changed over half a century later.","status":"publish","parent":0,"modified":1705022021,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":471},"headData":{"title":"Jonathan Calm Revisits 'Green Book' Locations in Search of America's Past and Present | KQED","description":"Watch the Palo Alto artist document sites that once offered safe havens for Black travelers, questioning just how much has changed over half a century later.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/EBw98YDoQkU","pbsMediaId":"3071163481","sticky":false,"WpOldSlug":"jonathan-calm-revisits-green-book-locations-in-search-of-americas-past-and-present","nprByline":"Serginho Roosblad","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13867857/jonathan-calm","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When African-American travelers wanted to drive across the U.S. in the Jim Crow era, they consulted a guidebook specially made and marketed to the growing Black middle class. \u003ci>The Negro Motorist Green Book\u003c/i>, published between 1936 and 1966, told them where it was safe to stop for gas, where to eat and where to sleep, where they wouldn’t be refused service because of racial discrimination. “Vacation without aggravation” reads one volume’s cover.\u003c/p>\n\u003cfigure id=\"attachment_13867885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg\" alt=\"'The Negro Motorist Green-Book' in 1940\" width=\"800\" height=\"1083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-800x1083.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-768x1039.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-1020x1380.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped-887x1200.jpg 887w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB_Stamped.jpg 1478w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Negro Motorist Green-Book’ in 1940\u003c/figcaption>\u003c/figure>\n\u003cp>Over half a century later, Palo Alto artist and Stanford University Assistant Professor of Photography \u003ca href=\"https://www.jonathancalm.com/projects\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Calm\u003c/a> revisits the sites listed in the \u003ci>Green Book\u003c/i>, photographing them in black and white as part of a growing archive, and exploring the myth of the road trip as a quintessential American freedom.\u003c/p>\n\u003cp>“There were definitely more dangerous times to be a black motorist,” Calm says, “even though it doesn’t feel like that today.” He is acutely aware of the number of Black men and women who have been pulled from their cars and become victims of police violence. In his series \u003ci>\u003ca href=\"https://www.jonathancalm.com/prejudice\" target=\"_blank\" rel=\"noopener noreferrer\">Travel is Fatal to Prejudice\u003c/a>\u003c/i>, Calm superimposes a target symbol on aerial views of cities; names like Sandra Bland and Philando Castille run across the bottom of each print.\u003c/p>\n\u003cp>Driving, stopping, eating, drinking and staying at hotels along the way, Calm enacts a contemporary version of the 20th-century African-American road trip, often finding the places listed in the \u003ci>Green Book\u003c/i> long gone, converted into other businesses, or simply rubble.\u003c/p>\n\u003cfigure id=\"attachment_13867864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg\" alt=\"\" width=\"800\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I-1158x1200.jpg 1158w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GB-Lorraine-Motel-I.jpg 1853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lorraine Motel in Memphis, photographed by Calm in 2016. The site of Martin Luther King, Jr.’s 1968 assassination was once listed in the ‘Green Book.’\u003c/figcaption>\u003c/figure>\n\u003cp>As a New Yorker, Calm’s journey has also been personally educational—until he drove through the Southern states when he started the project three years ago, his only conception of the region was what he’d learned in school growing up. Visiting sites of Black hospitality in areas marked by past racist violence, there was a constant dissonance with his 2016 present. “I saw a lot of emptiness,” Calm says, “towns and cities that were hollowed out.”\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>Calm’s project isn’t just about photographing historical locations (or their absence); the experience of being a Black man driving on American highways is part of the art-making. “That fear that I have,” he says, “that fear that other people have for me is a very similar fear that people would have had back when the \u003ci>Green Book\u003c/i> was published.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to be free, and this drive is investigating that level of freedom.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867857/jonathan-calm","authors":["byline_arts_13867857"],"categories":["arts_70"],"tags":["arts_1331","arts_1118","arts_750","arts_5266","arts_596","arts_1315","arts_822","arts_3652","arts_3126","arts_2309","arts_4204","arts_1007","arts_901"],"featImg":"arts_13867875","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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